圣母升天 - 美国大都会艺术博物馆展品查阅

品名（中）	圣母升天
品名（英）	The Assumption of the Virgin
入馆年号	1971年，1971.243
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Francesco de Mura【1696 至 1782】【意大利人】
创作年份	公元 1751
创作地区
分类	图画（Drawings）
尺寸	17 3/16 x 10英寸 (43.6 x 25.4厘米)
介绍（中）	那不勒斯晚期巴洛克大师弗朗切斯科·德·穆拉（Francesco de Mura）创作了三幅代表圣母升天的天花板画作，所有这些画都受到他伟大的大师弗朗切斯科·索利梅纳（Francesco Solimena，1656-1747）的强烈影响。其中第一个是大约 1727 年在贝内文托附近的艾罗拉的天使报喜圣器收藏室的拱顶上绘制的假设，在那不勒斯的皮奥蒙特德拉米塞里科迪亚有一幅油画素描。1737年，德穆拉在一幅布面天花板画上签名并注明日期，这幅画的目的地是加里波利的一座教堂，现在在该市的主教宫殿中。多米尼卡·帕斯库利·费拉拉（Domenica Pasculli Ferrara）为加里波利假设引用了三幅油画素描。1986年，劳伦斯·图尔契奇（Lawrence Turčic）在卢浮宫确定了德穆拉的一幅钢笔和水洗画作，作为加里波利画作的研究;卢浮宫的绘画被归类为弗朗切斯科·索利梅纳工作室的作品（Inv. 9787-1，见Monbeig Goguel and Vitzthum 1967，第83号）。德穆拉最雄心勃勃的圣母升天是 1751 年在那不勒斯 Nunziatella 天花板上绘制的（见 Enggass 1964，图 7）。这幅壁画的油画素描保存在那不勒斯的卡波迪蒙特博物馆，卡波迪蒙特素描的亲笔签名复制品保存在多伦多安大略省美术馆（见 Enggass 1964，图 8）。博物馆的图纸可能是纪念性Nunziatella壁画的早期准备。然而，图纸和壁画之间存在显着差异。画中缺少圣三位一体在画顶的幻影，前景中的人物较少。在绘画中，背景是建筑，而在壁画中，背景是风景。场地的形状也存在差异。
介绍（英）	The Neapolitan late-Baroque master Francesco de Mura executed three major ceiling paintings representing the Assumption of the Virgin, all of them strongly influenced by the example of his great master Francesco Solimena (1656-1747). The first of these was an Assumption painted about 1727 on the vault of the sacristy of the Annunziata in Airola, near Benevento for which an oil sketch is in the Pio Monte della Misericordia, Naples. In 1737 De Mura signed and dated a ceiling painting on canvas destined for a church in Gallipoli and now in the episcopal palace of that city. Domenica Pasculli Ferrara cites three oil sketches for the Gallipoli Assumption. In 1986 Lawrence Turčic identified a pen and wash drawing by De Mura in the Louvre as a study for the Gallipoli picture; the Louvre drawing had been classified as a work of the studio of Francesco Solimena (Inv. 9787-1, see Monbeig Goguel and Vitzthum 1967, no. 83). The most ambitious Assumption of the Virgin by De Mura is that painted in 1751 on the ceiling of the Nunziatella in Naples (see Enggass 1964, fig. 7). An oil sketch for this fresco is preserved in the Museo di Capodimonte, Naples, and a presumably autograph replica of the Capodimonte sketch is in the Art Gallery of Ontario, Toronto (see Enggass 1964, fig. 8). The Museum’s drawing may be an early preparation for the monumental Nunziatella fresco. There are, however, notable differences between the drawing and the fresco. The apparition of the Holy Trinity at the summit of the painting is lacking in the drawing, where there are fewer figures in the foreground. In the drawing the setting is architectural, while in the fresco the background is a landscape. There are also differences in the shape of the field.