坐在云上的圣母 - 美国大都会艺术博物馆展品查阅

品名（中）	坐在云上的圣母
品名（英）	The Virgin seated on a cloud
入馆年号	1917年，17.50.18-147
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Federico Barocci【1535 至 1612】【意大利人】
创作年份	公元 1580 - 公元 1584
创作地区
分类	印刷品（Prints）
尺寸	页: 6 x 4 7/16 英寸 (15.2 x 11.3 厘米)
介绍（中）	虽然费德里科·巴罗奇只创作了四幅版画，但它们对版画史非常重要。以帕尔马强尼诺为例，1530年代的许多意大利艺术家经常使用蚀刻和雕刻来制作他们的版画。Barocci的例子提醒了整个欧洲的艺术家注意蚀刻的潜力，这将成为下个世纪的主导媒介。巴罗奇的蚀刻版画是后来版画家的重要模型，如雅克·贝朗格（1575-1616）和伦勃朗·范·莱因（1606-1669）。在这幅版画中，巴罗奇展示了如何通过最少的手段传达出充满自发性、温柔和光彩（与巴洛克美学非常和谐的品质）的图像。各种蚀刻标记表明艺术家努力以最佳方式传达他想要的绘画品质。这幅版画由阿戈斯蒂诺（意大利，1557-1602 年）和安尼巴莱·卡拉奇（1560-1609 年）复制，并可能促使后者放弃版画进行蚀刻。伦勃朗也欣赏这幅画，几十年后他制作了自己的主题版本。有关修剪后的展示次数以及其他信息，请参阅 27.78.1.（196）（威尔顿专辑，第 57 对开页）
介绍（英）	Although Federico Barocci produced only four prints, they were of great importance to the history of printmaking. Following the example of Parmigianino, a number of Italian artists from the 1530s used etching often with engraving to produce their prints. Barocci's example alerted artists throughout Europe to the potential of etching, which would become the dominant medium in the next century. Barocci's etchings were an important model for later printmakers such as Jacques Bellange (1575–1616) and Rembrandt van Rijn (1606–1669). In this print, Barocci demonstrated how an image full of spontaneity, tenderness, and luminosity (qualities very much in harmony with the Baroque aesthetic) could be conveyed through minimal means. The variety of etched marks show the artist striving for the best way to convey the pictorial qualities he desired. The print was copied by Agostino (Italian, 1557–1602) and Annibale Carracci (1560–1609)—and possibily motivated the latter to give up engraving for etching. The print was also admired by Rembrandt, who produced his own version of the subject decades later. For a trimmed impression, with additional information, see 27.78.1.(196) (Wilton Album, folio 57)