基督的被捕 - 美国大都会艺术博物馆展品查阅

品名（中）	基督的被捕
品名（英）	The Arrest of Christ
入馆年号	1919年，19.76.17
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Niccolò Giolfino【1476 至 1555】【意大利人】
创作年份	公元 1540 - 公元 1550
创作地区
分类	图画（Drawings）
尺寸	9-1/8 x 10-1/2 英寸 (23.1 x 26.7 厘米)
介绍（中）	1540年代，意大利北部城市维罗纳的著名艺术家尼科洛·佐勒菲诺绘制了这一场景，为1546年为维罗纳圣贝纳迪诺教堂的阿凡提礼拜堂完成的油画《基督被捕》做准备。这一混乱的场景描绘了犹大背叛后的一刻，他亲吻了罗马士兵，认出了基督。现在，留着胡子的犹大几乎够不到额头，被戴着头盔的士兵推到一边，后者将基督推向等待的绳索。基督似乎没有意识到自己被俘虏了，他把注意力转向了圣彼得，圣彼得砍掉了大祭司的奴隶马尔克斯的耳朵。简洁的白色水粉画形成了基督下垂的嘴，表达了他对彼得愤怒的失望。在这里和其他前景图中，用画笔点画出的细线清晰而仔细地描述了形式；相比之下，在背景中，景观的定义更为松散，用宽泛、快速的笔触来定义。
介绍（英）	Niccolò Giolfino, a leading artist in the north Italian city of Verona in the 1540s, drew this scene in preparation for his oil painting "The Arrest of Christ" completed in 1546 for the Avanzi Chapel in the church of San Bernardino, Verona. The tumultuous scene depicts the moment following Judas's betrayal with a kiss that identified Christ to the Roman soldiers. Now, barely able to reach his forehead, the bearded Judas is pushed aside by the helmeted soldier who moves Christ toward the waiting rope. As if oblivious to his own capture, Christ turns his attention to Saint Peter, who has struck off the ear of the high priest's slave Malchus. Succinct strokes of white gouache forming Christ's downturned mouth convey his disappointment at Peter's anger. Here and in the other foreground figures, fine lines made with the point of the brush clearly and carefully describe the forms; in the background, by contrast, the landscape is more loosely defined in broad, rapid strokes.