坐在框架上的推杆 - 美国大都会艺术博物馆展品查阅

品名（中）	坐在框架上的推杆
品名（英）	A Putto Seated on a Frame
入馆年号	2008年，2008.334.2
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Girolamo Mazzola Bedoli【1505 至 1570】【意大利人】
创作年份	公元 1533 - 公元 1545
创作地区	原产国: 意大利（Country of Origin: Italy）
分类	图画（Drawings）
尺寸	页: 4 3/4 x 2 9/16 英寸 (12 x 6.5 厘米)
介绍（中）	由于他迅速的绘画创作，吉罗拉莫·马佐拉·贝多利在 1530 年代末和 40 年代成为帕尔马竞争激烈的艺术舞台上的著名画家。贝多利是维亚达纳人（就像帕尔马干酪一样，他更着名的主人和婚姻亲属），根据贝多利的第一位传记作者乔治·瓦萨里（Giorgio Vasari，1568年）的说法，贝多利被认为是帕尔马干酪学派的继任者。这种快速执行的绘画片段是艺术家的典型特征。他是一位特别有天赋的绘图员，也许比画家更是如此，这从他明亮的水洗和他对线条的大胆控制以及他描绘推杆缩短姿势的轻松中可见一斑。正如最近提出的，这幅令人愉快的画作与贝多利最重要的项目之一有关，即大约 1538-40 年帕尔马大教堂合唱团的壁画，它们代表了幻觉绘画建筑中令人眼花缭乱的人物构图。（卡门 C. 班巴赫，2009）
介绍（英）	Due to his expeditious production of paintings, Girolamo Mazzola Bedoli became a painter of note in the competitive artistic arena of Parma during the late 1530s and 40s. A native of Viadana (like Parmigianino, his better-known master and kinsman by marriage), Bedoli was considered Parmigianino's successor in the Parmese school, according to Giorgio Vasari, Bedoli's first biographer (1568). This rapidly executed drawing fragment is typical of the artist. He was a particularly gifted draftsman, perhaps more so than as a painter, evident here from his luminous use of wash and his bold control of line, as well as his ease in portraying the foreshortened pose of the putto. As has recently been proposed, this delightful drawing is connected to one of Bedoli's most important projects, the frescoes in the choir of Parma Cathedral of about 1538-40, which represent a dazzling composition of figures set within illusionistically painted architecture. (Carmen C. Bambach, 2009)