上帝与天使手持激情象征的父亲 - 美国大都会艺术博物馆展品查阅

品名（中）	上帝与天使手持激情象征的父亲
品名（英）	God the Father with Angels Holding Symbols of the Passion
入馆年号	1971年，1971.146
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Pietro da Cortona (Pietro Berrettini)【1596 至 1669】【意大利人】
创作年份	公元 1647 - 公元 1651
创作地区
分类	图画（Drawings）
尺寸	18-1/4 x 14-1/4 英寸 (46.4 x 36.2 厘米)
介绍（中）	这项不朽的研究充满了光线和动感，为1647年至1651年间由Pietro da Cortona绘制的罗马瓦利切拉圣玛丽亚教堂（"Chiesa Nuova"）圆顶壁画的一部分提供了早期设计。这幅自信的画是对壁画中心部分的初步研究，尽管艺术家对完成的设计进行了一些修改。图上部人物的相对微弱的清晰度对应于壁画中最大强度的图像光，其与从圆顶的灯笼发出的真实光源相统一艺术家一定创作了许多像这幅这样的画作，以便通过光的神奇效果和大幅缩短的人物（对于这样一幅大型画作来说，这些细节表现出了非凡的清晰度）来思考这幅巨大圆顶壁画的幻觉。在完成的壁画和这幅预备画之间，天使手持棕榈枝、维罗妮卡的面纱和Flagellation的柱子，在设计上有很多不同。这幅壁画的主题——《荣耀中的三位一体》和《基督激情之器的荣耀》——在反宗教改革圣菲利普·内里和菲律宾骑士团（Chiesa Nuova的赞助人）的虔诚实践中具有特殊意义。Walter Vitzthum为爱丁堡、维也纳和巴黎的圆顶画出了Cortona的钢笔和粉笔画，而Eckhard Schaar则发表了一项关于杜塞尔多夫圣父形象的研究（此处为"参考文献"）。尼古拉斯·特纳认为，一幅钢笔和墨水素描（私人收藏，伦敦）是对圆顶壁画中亚伯拉罕、艾萨克和亚当人物的研究。
介绍（英）	Full of light and movement, this monumental study offers an early design for a portion of the dome fresco, painted by Pietro da Cortona between 1647 and 1651, of the church of Santa Maria in Vallicella ('Chiesa Nuova') in Rome. This confident drawing is a preparatory study for the central section of the fresco, though the artist introduced a number of changes to the finished design.The relatively faint articulation of the figures in the upper parts of the drawing corresponds to the greatest intensity of pictorial light in the fresco, which is unified with the real source of light that emanates from the lantern of the dome. The artist must have produced numerous drawings such as this one in order to think through the illusionism of the enormous dome fresco with its magical effects of light and sharply foreshortened figures (which exhibit a remarkable articulation of detail for such a large painting). There are many differences of design between the finished fresco and this preparatory drawing in which angels hold palm branches, Veronica's veil, and the column of the Flagellation. The subject of the fresco - the Trinity in Glory and the Glorification of Christ's Instruments of the Passion - held special significance in the devotional practices of the Counter-Reformation Saint Philip Neri and the Filippine order, patrons of the Chiesa Nuova. Walter Vitzthum identified pen and chalk drawings by Cortona for the dome in Edinburgh, Vienna, and Paris, while Eckhard Schaar published a study for the figure of God the Father at Düsseldorf (se here 'references'). Nicholas Turner suggested that a pen and ink sketch (private collection, London) is a study for the figures of Abraham, Isaac, and Adam in the dome fresco.