法尔内塞·赫拉克勒斯 - 美国大都会艺术博物馆展品查阅

品名（中）	法尔内塞·赫拉克勒斯
品名（英）	Farnese Hercules
入馆年号	1917年，17.37.59
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Hendrick Goltzius【1558 至 1617】【荷兰人】
创作年份	公元 1587 - 公元 1617
创作地区
分类	印刷品（Prints）
尺寸	页: 16 9/16 x 11 15/16 英寸 (42.1 x 30.4 厘米)
介绍（中）	正是戈尔齐乌斯的健康状况不佳以及他渴望看到罗马的宝藏，激发了他在 1590-91 年前往意大利的灵感。据说，这位著名的荷兰版画家隐姓埋名旅行，以避免可能分散他真正目的的社会义务，即素描和研究古董雕塑。被称为法尔内塞大力神（Farnese Hercules）的古罗马雕像于1546年在罗马的卡拉卡拉浴场被发现，并安装在台伯河畔法尔内塞家族宫殿的庭院中，在那里它是访问学者，鉴赏家和艺术家的罗马之旅的亮点之一。当Goltzius绘制雕像时，他看到的腿是Guglielmo della Porta在1560年制作的替代品 - 尽管古代腿是在雕像的其余部分之后不久发现的，米开朗基罗说服法尔内塞人现代的腿一样好。抬头看着雕刻右下角的巨大雕像的两个人物从未被令人满意地识别出来。也许，正如十八世纪荷兰艺术家和收藏家科内利斯·普洛斯·范·阿姆斯特尔（Cornelis Ploos van Amstel）所建议的那样，它们是一幅自画像，也是艺术家的继子雅各布·马瑟姆（Jacob Matham）的肖像，他也是一位雕刻师。法尔内塞大力神展示了戈尔齐乌斯开发的精湛技术，其中科内利斯·科特开创的膨胀和锥形线被夸大到它本身成为兴趣的焦点。随着线条围绕形式蜿蜒，膨胀和收缩，它为英雄身体的曲线和凸起赋予了巨大的雕塑力量。Goltzius的雕刻因其观点和观察者而不同寻常，是传播雕像名声的长系列之一，其中包括雅各布·博斯（Jacob Bos）（41.72[2.63]）的雕刻，它提供了更常见的大力神正面视图。
介绍（英）	It was Goltzius' poor health as well as his desire to see the treasures of Rome that inspired him to travel to Italy in 1590—91. Supposedly, the famed Dutch printmaker traveled incognito in order to avoid social obligations that might distract from his real purpose, which was sketching and studying antique sculptures. The ancient Roman statue known as the Farnese Hercules had been discovered in the Baths of Caracalla in Rome in 1546, and installed in a courtyard of the Farnese family's palace on the banks of the Tiber, where it was one of the highlights of the Roman tour for visiting scholars, connoisseurs, and artists. When Goltzius drew the statue, the legs he saw were substitutions that had been made by Guglielmo della Porta in 1560—although the ancient legs had been found soon after the rest of the statue, Michelangelo convinced the Farnese that the modern ones were just as good. The two figures looking up at the massive statue in the lower right corner of the engraving have never been satisfactorily identified. Perhaps, as was suggested by the eighteenth-century Dutch artist and collector Cornelis Ploos van Amstel, they are a self-portrait and a portrait of the artist's stepson Jacob Matham, who was also an engraver. The Farnese Hercules shows to excellent advantage the virtuosic technique that Goltzius had developed, in which the swelling and tapering line pioneered by Cornelis Cort is exaggerated to the point that it becomes a focus of interest in itself. As the line winds around the forms, expanding and contracting, it gives great sculptural force to the curves and bulges of the hero's body. The engraving by Goltzius, unusual for its viewpoint and its inclusion of observers, was one of a long series that had spread the fame of the statue, including one by Jacob Bos (41.72[2.63]) that provides the more common front view of the Hercules.