站着的女人望向左边的背景 - 美国大都会艺术博物馆展品查阅

品名（中）	站着的女人望向左边的背景
品名（英）	Standing Woman Looking to Left Background
入馆年号	1965年，65.131.3
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Francesco Vanni【1563 至 1610】【意大利人】
创作年份	公元 1590 - 公元 1598
创作地区
分类	图画（Drawings）
尺寸	9 3/4 x 6 9/16 英寸 (24.8 x 16.7 厘米)
介绍（中）	圣海辛斯是13世纪的波兰多明尼加传教士，于1594年被封为圣人，此后不久，弗朗切斯科·瓦尼获得了两项重要的委托，为锡耶纳的多明尼加教堂创作了代表这位圣人奇迹的画作（另见发票1975.131.55），这项敏锐观察到的初步研究是在现场模型为瓦尼的画作《圣风信子复活一个溺水男孩》（Saint Hyacinth Resurrecting a Drowned Boy）的右前景设计了一名女性旁观者之后进行的，该画作约1595-96年，旨在为锡耶纳圣斯皮里托教堂的巴格利礼拜堂设计。在这幅画中，女人直视着眼前发生的奇迹。在这里，艺术家用稀释在水中的透明红色粉笔粉重新处理中间阴影区域，从而将他用干红色粉笔获得的发光效果统一起来该项目的其他一些预备图纸仍然存在：巴黎卢浮宫博物馆的一幅纸上油画初步草图（2015年）在许多方面与完成的绘画不同，这是我们图纸中人物向后看的原因。在卢浮宫的构图草图中，奇迹发生在绘画空间的第二个平面上，因此前景中的观众向内看。这幅画的一些预备图保存了下来（见Riedl 1976，第36-37页）。十六世纪下半叶的主要锡耶纳画家Francesco Vanni和他的继弟Ventura Salimbeni在反宗教改革的严格氛围中主要为教会赞助人工作，他们通过对这一现场模型的仔细研究，为自己的绘画注入了新的自然主义。
介绍（英）	Saint Hyacinth, a thirteenth-century Polish Dominican missionary, was canonized in 1594, and shortly thereafter Francesco Vanni received two important commissions for paintings representing miracles of this saint for Dominican churches in Siena (see also inv. 1975.131.55). Here, this keenly observed preliminary study after the live model served for the design of a female onlooker on the right foreground of Vanni's painting of ‘Saint Hyacinth Resurrecting a Drowned Boy’, circa 1595-96, which was intended for the Bargagli Chapel at the church of Santo Spirito in Siena. In the painting the woman looks directly down at the miracle, which occurs in the immediate foreground. Here, the artist unified the luminous effects he obtained with the dry red chalk by reworking areas of intermediate shadow with a transparent wash of red chalk powder diluted in water. A number of other preparatory drawings for this project survive: A preliminary sketch in oil paint on paper in the Musée du Louvre, Paris (Inv. 2015), which differs in many ways from the finished painting, accounts for the backward glance of the figure in our drawing. In the Louvre composition sketch, the miracle takes place on a second plane of the pictorial space, thus the spectator in the foreground looks inward. A number of preparatory drawings for this painting have survived (see Riedl 1976, pp. 36-37). The leading Sienese painters of the second half of the sixteenth century, working chiefly for ecclesiastical patrons during the strict climate of the Counter-Reformation, Francesco Vanni and his younger stepbrother Ventura Salimbeni infused their paintings with a new naturalism through attentive studies of the live model such as this one.