骷髅，来自Grotteschi（Grotesques） - 美国大都会艺术博物馆展品查阅

品名（中）	骷髅，来自Grotteschi（Grotesques）
品名（英）	The Skeletons, from Grotteschi (Grotesques)
入馆年号	1937年，37.45.3(38)
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Giovanni Battista Piranesi【1720 至 1778】【意大利人】
创作年份	公元 1743 - 公元 1753
创作地区
分类	印刷品（Prints）
尺寸	页: 19 1/2 x 25 3/16 英寸 (49.5 x 64 厘米) Plate: 15 3/8 x 21 1/4 英寸 (39 x 54 厘米)
介绍（中）	皮拉内西在威尼斯停留后返回罗马，制作了他的系列版画《Grotteschi》，据说他曾在那里与蒂波罗短暂合作。这四幅版画反映了与这位著名威尼斯人的非凡版画的相遇。在《骷髅》中，在印刷品的某些区域发现的不同长度的轻快、粗略的笔触让人想起了蒂波罗的技巧，而头骨、植被和摇摇欲坠的废墟的结合，以及主题的模糊性，是蒂波罗的《谐谑曲》（1976.537.19）和《随想曲》系列的共同特征。在Grotteschi中可以看到蒂波罗的一些直接引用——出现在这里的微笑的赫尔姆，在《凯旋门》中，蒂波罗的一首谐谑曲也有其来源。无论皮拉内西是为蒂波罗工作，还是仅仅与他相识，这位年长的艺术家很可能向皮拉内塞介绍了他最喜欢的17世纪版画家的作品。这幅版画中的骷髅让人想起了斯特凡诺·德拉·贝拉（59.570.379[3]）的某些蚀刻画，而萨尔瓦托·罗莎（17.50.17–85）也描绘了成堆的骨头、废墟和冒烟的骨灰缸，为这一系列中首次出现的涂鸦线条和十字线网提供了一个模型。
介绍（英）	Piranesi made his series of print the Grotteschi when he returned to Rome after a stay in Venice, where he is said to have worked briefly with Tiepolo. The four etchings reflect encounter with the remarkable prints of the famous Venetian . In The Skeletons, the light, sketchy strokes of varying lengths found in some areas of the print recall Tiepolo's technique, while the combination of skulls, vegetation, and crumbling ruins, as well as the ambiguity of the subject, are characteristics shared with Tiepolo's Scherzi (1976.537.19) and Capricci series. A few direct quotations from Tiepolo are seen in the Grotteschi—the smiling herm who appears here and in The Triumphal Arch has its source in one of Tiepolo's Scherzi. Whether Piranesi worked for Tiepolo or merely became acquainted with him, it appears likely that the older artist introduced Piranesi to the work of his favorite seventeenth-century printmakers. The skeletons in this print recall certain etchings by Stefano della Bella (59.570.379[3]), while Salvator Rosa (17.50.17–85)—who also depicted piles of bones, ruins, and smoking urns—provides a model for the scribbled lines and webs of crosshatching that first appear in this series.