俄耳甫斯和欧律狄刻 - 美国大都会艺术博物馆展品查阅

品名（中）	俄耳甫斯和欧律狄刻
品名（英）	Orpheus and Eurydice
入馆年号	1917年，17.37.170
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Agostino Carracci【1557 至 1602】【意大利人】
创作年份	公元 1585 - 公元 1600
创作地区
分类	印刷品（Prints）
尺寸	5 1/2 x 4 英寸 (14 x 10.2 厘米) tri毫米ed to the platemark
介绍（中）	俄耳甫斯无法履行他的诺言，在他们天亮之前不回头，他第二次失去了欧律狄刻。阿戈斯蒂诺描绘了一个戏剧性的时刻，俄耳甫斯扔掉他的乐器，试图把他的爱从哈迪斯的火焰中拉出来。奥维德描述了俄耳甫斯徒劳地向她伸手，只抓住了空荡荡的空气（《变形记》10.58-59），而维吉尔在《乔治王》（4.498）中写道，欧律狄刻向俄耳甫s伸出了"无力的手"。仔细观察发现，这两个人物并没有完全接触到对方——这种难以捉摸的把握增加了主题的色情张力和悲情尽管这是一个合法的神话主题，具有相当大的叙事兴趣，但人们普遍认为它属于15幅以暗示主题为特征的小版画，从吸引人的裸体到真正猥亵的描绘，被称为拉西维。阿戈斯蒂诺自己发明的这一系列版画，采用了与他复制版画不同的技术，而是类似于快速绘制的钢笔草图。《俄耳甫斯》和《欧律狄刻》之后的八本已经为人所知，这表明这是最受欢迎的《拉西维》系列。
介绍（英）	Unable to keep his promise not to look back until they reached the light of day, Orpheus lost Eurydice a second time. Agostino depicts the dramatic moment when Orpheus, throwing aside his instrument, tries to pull his love free of the flames of Hades. Ovid describes Orpheus vainly reaching out for her, grasping nothing but empty air (Metamorphoses 10.58–59), and Virgil, in the Georgics (4.498), writes of Eurydice stretching 'strengthless hands' toward Orpheus. Close examination reveals that the two figures do not quite touch each other—this elusive grasp adds erotic tension as well as pathos to the subject. Although this is a legitimate mythological subject, with considerable narrative interest, it is generally thought to belong to the set of fifteen small engravings characterized by suggestive subjects—ranging from groupings of attractive nudes to genuinely lewd depictions—and known as the Lascivie. This series of engravings, of Agostino's own invention, were carried out in a different technique from his reproductive prints, and instead resemble quickly executed pen sketches. Eight copies after of the Orpheus and Eurydice are known, suggesting that this was the most popular of the Lascivie series.