神圣的家庭 - 美国大都会艺术博物馆展品查阅

品名（中）	神圣的家庭
品名（英）	The Holy Family
入馆年号	1919年，19.73.51
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Albrecht Dürer【1471 至 1528】【德国人】
创作年份	公元 1512 - 公元 1513
创作地区
分类	印刷品（Prints）
尺寸	页: 8 1/4 x 7 1/8 英寸 (21 x 18.1 厘米)
介绍（中）	丢勒只创作了三幅干点印刷品。由于另外两个的日期是1512年，因此推测这个干点的日期是同一时间。因此，这幅版画是在艺术家职业生涯的巅峰时期制作的，就在忧郁症和骑士、死亡和魔鬼等著名的"大师版画"之前。然而，这幅作品可以追溯到艺术家最早的版画之一，当时丢勒受到文艺复兴时期最多产的干点艺术家——家庭图书大师的影响。通过用锋利的针划伤金属表面而产生，图像具有精致图画的特征。显然是在实验模式下构思的，从未完成，但印刷品仍然非常令人回味。三个幽灵般的人物压在圣母和圣婴背后的空间——圣约翰、玛格德琳和尼哥底母——不属于基督童年的故事，但作为十字架的见证人，是他未来痛苦的预感。干点毛刺产生的柔和阴影笼罩着人物，加深了忧郁的气氛。
介绍（英）	Dürer created only three prints in the medium of drypoint. Since the other two are dated 1512, this drypoint is presumed to date from the same time. The print was thus produced at the height of the artist's career, just prior to such famous "master prints" as the Melancholia and Knight, Death, and the Devil. Yet the composition harks back to one of the artist's earliest engravings, produced when Dürer was under the influence of the most prolific drypoint artist of the Renaissance, the Housebook Master. Produced by scratching the surface of the metal with a sharp needle, the image has the character of a delicate drawing. Apparently conceived in an experimental mode and never completed, the print is nonetheless highly evocative. The three ghostly figures who press into the space behind the Virgin and Child—Saint John, the Magdelene, and Nicodemus—do not belong to the story of Christ's childhood but, as witnesses to the Crucifixion, are a presentiment of his future suffering. The soft shadow produced by the drypoint burr shrouds the figures and deepens the melancholy atmosphere.