报喜天使（刺绣漫画） - 美国大都会艺术博物馆展品查阅

品名（中）	报喜天使（刺绣漫画）
品名（英）	The Angel of the Annunciation (Cartoon for an Embroidery)
入馆年号	1912年，12.56.5a
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Raffaellino del Garbo (also known as Raffaelle de' Capponi and Raffaelle de' Carli)【1465 至 1527】【意大利人】
创作年份	公元 1466 - 公元 1524
创作地区
分类	图画（Drawings）
尺寸	Diameter: 3 13/16 英寸 (9.7 厘米)
介绍（中）	拉斐利诺·德尔·嘉宝是文艺复兴时期刺绣大师，是菲利皮诺·利皮（约1457-1504）的学生和天才绘图员。这幅精致的刺孔卡通（全尺寸图画）于1912年被纽约博物馆购买，作为菲利皮诺·利皮（Filippino Lippi）的作品，是拉斐利诺作为刺绣人物模型制作的众多卡通之一：这项研究的内外轮廓线实际上是精心刺穿的转移。Garzelli（1973）在彼得拉桑塔的圣马蒂诺大学教堂的教堂中发现了一个严重损坏的刺绣碎片，以及类似于现在在彼得拉桑塔圣马蒂诺大学教堂的教堂上的绘画的构图。尽管物理证据证实这张纸是一张功能强大的工作图纸，但设计上的一些微小差异表明它没有直接用于生产彼得拉桑塔刺绣。拉斐利诺似乎至少在天使报喜类型上产生了很少的变化——考虑到天使报喜在文艺复兴时期纺织品中的流行，以及他在无数现存的图纸中广泛使用基于斯波尔维罗的设计复制技术。人物类型以及线条和白色水粉高调的精致是拉斐利诺绘画的典型特征，反映了他的主人菲利皮诺·利皮诺的影响，尤其是他 1483-84 年在圣吉米尼亚诺公民博物馆的同调和他在慕尼黑老陈列馆约 1495-97 年的"奇尔斯特崇拜"——这些画作的年代可能比拉斐利诺的小张早二十多年。
介绍（英）	A master designer for embroideries in the Renaissance, Raffaellino del Garbo was a pupil of Filippino Lippi (ca. 1457-1504) and a gifted draftsman. Purchased by the Museum in New York in 1912 as a work by Filippino Lippi , this delicate pricked cartoon (full-scale drawing) was one of many made by Raffaellino as models for embroidered figures: the inner and outer contour lines of this study were in fact carefully pricked for transfer. Garzelli (1973) identified a badly damaged embroideredd fragment with the archangel of the Annunciation and a composition similar to that of the present drawing on a chasuble at the collegiate church of San Martino at Pietrasanta. Although the physical evidence confirms that this sheet was a highly functional working drawing, a number of small differences in design suggest that it was not directly used to produce the Pietrasanta embroidery. It seems possible that Raffaellino produced at least few variations on the Annunciate-angel type –given the popularity of the Annunciation in Renaissance textiles as well as his extensive use of spolvero-based techniques of design reproduction in his countless extant drawings. The figural type and the delicacy of line and white gouache heightening are typical of Raffaellino's drawings and reflect the impact of his master Filippino Lippino, especially his tondos of 1483-84 in the Museo Civico of San Gimignano and his 'Adoration of the Chirst' of about 1495-97 in the Alte Pinakothek of Munich - paintings that probably date more than twenty years earlier than Raffaellino's small sheet.