荒野中的圣杰罗姆 - 美国大都会艺术博物馆展品查阅

品名（中）	荒野中的圣杰罗姆
品名（英）	St. Jerome in the Wilderness
入馆年号	1922年，22.73.3-119
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Nicolò Boldrini【1500 至 1566】【意大利人】
创作年份	公元 1547 - 公元 1566
创作地区
分类	印刷品（Prints）
尺寸	页: 15 1/4 × 21 5/16 英寸 (38.8 × 54.1 厘米)
介绍（中）	这幅木刻展示了提香对版画的参与，不仅是复制他绘画的一种手段，也是一种新的表现媒介。自十五世纪以来，圣杰罗姆的主题一直是威尼斯艺术中最受欢迎的主题，并经常在提香的画作中描绘。在这里，圣徒的矮小身影被吸收在适合冬宫和祈祷的广阔野生景观中。在这幅版画中，大自然似乎活了起来——不仅狮子徘徊，鹿奔跑，树木在风中扭动和扭曲，水从看不见的源头涌出，悬崖涌起，云层在动荡的天空中展开。景观的活力源于线条，虽然是用木头雕刻的，但在模仿提香的笔触时有机地膨胀，并遵循悬崖、泥土和树木的轮廓。曲线笔触的方向变化，以及阅读为阴影的密集线条区域与阅读为被断断续续的阳光照亮的地面的白纸区域之间的对比，进一步使图像生动起来。正是通过这样的版画，提香将风景作为一个独立的主题引入意大利艺术。这位技艺精湛的刨石机师将提香的图纸翻译成印刷品，他以前被认为是尼科洛·博尔德里尼（Niccolò Boldrini，活跃于 1530 年 - 约 1570 年）。最近，有人提出了乔瓦尼·布里托（Giovanni Britto，约1500年-1550年后）的名字。众所周知，两位艺术家都根据提香的设计创作了木刻版画。然而，尽管人们想给提香创作这幅宏伟木刻画的合作者起一个名字，但由于缺乏明确的证据，无法确定归属。
介绍（英）	This woodcut illustrates Titian's involvement with printmaking not only as a means of reproducing his drawings but also as a new expressive medium. The subject of Saint Jerome had been a favorite theme in Venetian art since the fifteenth century and was depicted often in paintings by Titian. Here the diminutive figure of the saint is absorbed in a vast, wild landscape appropriate to hermitage and prayer. Nature seems alive in this print—not only do the lions prowl and the deer run, but the trees writhe and twist in the wind, water gushes from an unseen source, the cliffs surge up, and the clouds unfurl in a turbulent sky. The dynamism of the landscape results from the lines that, although carved in wood, swell organically in imitation of Titian's pen strokes and follow the contours of cliffs, earth, and trees. The changing directions of the curvilinear strokes, together with the contrast between areas of dense linework that read as shadow, and the areas of white paper that read as patches of ground illuminated by fitful sunlight, further animate the image. It was through prints such as this one that Titian introduced landscape as an independent theme into Italian art. The highly skilled block cutter who translated Titian's drawing into a print was formerly identified with Niccolò Boldrini (active ca. 1530–ca. 1570). More recently, the name of Giovanni Britto (ca. 1500–after 1550) has been suggested. Both artists are known to have created woodcuts based on Titian's designs. However, much as one would like to attach a name to Titian's collaborator in the creation of this magnificent woodcut, the lack of clear evidence precludes a definite attribution.