水星坐姿图 - 美国大都会艺术博物馆展品查阅

品名（中）	水星坐姿图
品名（英）	Seated Figure of Mercury
入馆年号	1997年，1997.154
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Parmigianino (Girolamo Francesco Maria Mazzola)【1503 至 1540】【意大利人】
创作年份	公元 1524 - 公元 1526
创作地区
分类	图画（Drawings）
尺寸	12 x 8 1/8英寸 (30.5 x 20.6厘米)
介绍（中）	这幅画的归属于帕玛强尼诺首先由Oberhuber提出（与前任所有者的口头交流），并已被普遍接受。德格拉齐亚假设，这可能是帕玛强尼诺在1561年属于他的赞助人弗朗切斯科·拜亚多骑士的作品清单中列出的一幅丢失的水星画作的准备研究。无论这是否属实，很明显，这幅画是与完成的作品有关的，因为它的构图的特殊性以及华盛顿国家美术馆中同一人物的早期小草图的存在（华盛顿和帕尔马 1984 年，图 42a）。水星的姿势，细长的躯干和急剧缩短的腿，表明这幅画或壁画是从下面观看的。这幅画的风格，以及它明显部分依赖于米开朗基罗在西斯廷天花板上的约拿壁画（另见第 68 类），表明艺术家于 1524 年抵达罗马后不久。sfumato造型仍然是Correggesque，但米开朗基罗和古罗马雕塑对帕玛强尼诺的影响在这里显而易见。也许在他的绘画中，无论是形式还是技巧上，最具有可比性的是在卢浮宫中对一个坐在地上的男人的研究（Popham，第 504 期，第 112 页）。（乔治·R·戈德纳（George R. Goldner）在《科雷焦和帕尔马干吉亚尼诺：文艺复兴时期的制图大师》（Master Draughtsmen of the Renaissance， exh. cat）中。纽约和伦敦，2000年，第112页，第69号）
介绍（英）	The attribution of this drawing to Parmigianino was first advanced by Oberhuber (oral communication to the previous owner) and has been universally accepted. De Grazia hypothesized that it may have been made as a preparatory study for a lost painting of Mercury by Parmigianino listed in the 1561 inventory of works belonging to his patron, the Cavaliere Francesco Baiardo. Whether or not this is true, it is clear that the drawing was made in connection with a finished work, on account both of the specificity of its composition and the existence of a small earlier sketch of the same figure in the National Gallery of Art, Washington (Washington and Parma 1984, fig. 42a). The pose of Mercury, with elongated torso and sharply foreshortened legs, indicates that the painting or fresco was to be viewed from below. The style of the drawing, and its obvious partial dependence on Michelangelo's fresco of Jonah on the Sistine ceiling (see also cat. 68), indicated a date shortly after the artist's arrival in Rome in 1524. The sfumato modeling is still Correggesque, but the impact of Michelangelo and ancient Roman sculpture on Parmigianino are evident here. Perhaps most comparable among his drawings in both form and technique is the study in the Louvre of a man seated on the ground (Popham, no. 504, pl.112). (George R. Goldner in Correggio and Parmigianino: Master Draughtsmen of the Renaissance, exh. cat. New York and London 2000, p. 112, no. 69)