埃涅阿斯和他的家人逃离特洛伊 - 美国大都会艺术博物馆展品查阅

品名（中）	埃涅阿斯和他的家人逃离特洛伊
品名（英）	Aeneas and his family fleeing Troy
入馆年号	1947年，47.100.1023
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 1595
创作地区
分类	印刷品（Prints）
尺寸	页 (Tri毫米ed): 15 1/4 × 20 7/8 英寸 (38.7 × 53 厘米)
介绍（中）	埃涅阿斯明白保卫燃烧的特洛伊城是徒劳的，于是背着年迈的父亲安西斯逃走了。Anchises携带着penates（家庭神），埃涅阿斯牵着他的儿子Ascanius的手。他的妻子克鲁萨跟在后面几步，但在混乱的战斗中迷失了方向。这里看到的特洛伊建筑让人想起了罗马的纪念碑，这可能是预示埃涅阿斯命运的有意细节费德里科·巴罗奇创作了两幅关于这个主题的画作。阿戈斯蒂诺创作这幅版画时，早期的版本已经在布拉格，而第二个版本则将其推迟了三年。另一位版画家Cornelis Cort用版画复制了其中一幅画。Agostino的传记作者Malvasia告诉我们，Agostino创作这幅版画是为了"学习和取悦自己"然而，阿戈斯蒂诺并没有取悦巴洛奇，他给巴洛奇寄去了两张版画的印象，并收到了一封相当恶劣的回信。巴罗奇不高兴也就不足为奇了，因为他的画的特点是柔和和微妙的色彩变化，而不是阿戈斯蒂诺在版画中强调的雕塑形式和凸起的肌肉。在之前的版画中，阿戈斯蒂诺采用了科内利斯·科尔特的方式来再现威尼斯绘画的色彩特征。在这幅作品中，他第一次引用了荷兰雕刻师Hendrick Goltzius的例子，也许是为了回应Goltzius前一年出版的《在飞行中休息》，该书巧妙地复制了巴罗奇的绘画风格，而没有复制特定的绘画。然而，Agostino并没有模仿Goltzius用来模糊轮廓和融合色调的流动和溶解的膨胀线网络，而是模仿Goltzus早期应用于英雄题材和罗马雕像的强调和夸张的埋葬线（17.37.59），阿戈斯蒂诺以在雕刻模型时"纠正"模型而闻名，在这种情况下，通过让人想起古代雕塑的更坚固的轮廓，使英雄主题更加突出。
介绍（英）	Understanding that defending the burning city of Troy was futile, Aeneas fled with his aged father Anchises on his back. Anchises carried the penates (household gods), and Aeneas held his son Ascanius by the hand. His wife Creusa followed a few steps behind but was lost in the confusion of battle. The buildings of Troy seen here recall monuments in Rome, which was possibly an intentional detail to foreshadow Aeneas' fate. Federico Barocci produced two paintings of this subject. The earlier one was already in Prague when Agostino created this engraving, while the second version postdates it by three years. Another printmaker Cornelis Cort reproduced one of the paintings in a print. Agostino's biographer Malvasia tells us that Agostino created this engraving 'for study, and to please himself.' Agostino did not however please Barocci, to whom he sent two impressions of the engraving and received a rather nasty letter in return. It is hardly surprising that Barocci was unhappy, given that his paintings are characterized by softness and subtle coloristic changes rather than the sculptural form and bulging muscles that Agostino emphasized in his print. In previous engravings, Agostino had adapted the manner of Cornelis Cort to reproduce the coloristic qualities of Venetian painting. In this work, he turned for the first time to the example of the Dutch engraver Hendrick Goltzius, perhaps in response to Goltzius' 'Rest on the Flight', published the previous year, which masterfully replicates Barocci's painting style without copying a specific painting. Yet Agostino did not imitate the flowing and dissolving network of swelling lines that Goltzius had used to blur contours and blend tones, but rather the emphatic and exaggerated burin line that Goltzius had earlier applied to heroic subjects and Roman statues (17.37.59). Involved with his brother and cousin in the reform of painting, Agostino was known for 'correcting' his models when he engraved them, in this case making a heroic subject even more pronounced through firmer contours that recall ancient sculpture.