一个金匠在他的店里 - 美国大都会艺术博物馆展品查阅

品名（中）	一个金匠在他的店里
品名（英）	A Goldsmith in his Shop
入馆年号	1975年，1975.1.110
策展部门	罗伯特·雷曼典藏系列（Robert Lehman Collection）
创作者	Petrus Christus【1444 至 1476】【荷兰人】
创作年份	公元 1449
创作地区
分类	绘画（Paintings）
尺寸	整体 39 3/8 x 33 3/4 英寸 (100.1 x 85.8 厘米); painted surface 38 5/8 x 33 1/2 英寸 (98 x 85.2 厘米)
介绍（中）	这幅画是北方文艺复兴时期艺术的著名杰作，由扬·凡·艾克去世后布鲁日（佛兰德斯）的主要画家彼得鲁斯·克里斯图斯于 1449 年签名并注明日期。该小组证明了荷兰艺术家对图像幻觉主义的浓厚兴趣和对细节的一丝不苟的关注，特别是在发光的珠宝、玻璃和金属制品、世俗和教会贸易商品方面，这些都是金匠精湛技艺的典范。这幅神秘画作中的主要人物长期以来一直被认为是圣埃利吉乌斯（金匠的守护神），因为存在光环，该光环被认为是后来添加的，随后被删除。这幅画很可能是一幅职业画，描绘了金匠的职业，也许是一个特定的金匠。技术分析显示，金匠脸部的底图需要非常仔细地建模 - 比这对夫妇的脸更仔细 - 表明肖像的可能性。有人认为他是威廉·范·弗勒滕（Willem van Vleuten），布鲁日金匠，曾为勃艮第公爵菲利普一世工作。1449年，这幅画的日期，公爵委托范弗吕滕在她与苏格兰国王詹姆斯二世结婚之际送给古尔德斯的玛丽的礼物。这幅画中很可能描绘了这对夫妇，描绘了购买一枚在秤上称重的结婚戒指。从商店的壁架延伸到观众空间的腰带是对婚姻的进一步暗示。凸面镜将图像空间与外面的街道连接起来，反射出两个带着猎鹰（骄傲和贪婪的象征）的年轻人，并在观众的不完美世界与这里描绘的美德和平衡世界之间建立了道德比较。
介绍（英）	A celebrated masterpiece of Northern Renaissance Art, this painting was signed and dated 1449 by Petrus Christus, the leading painter in Bruges (Flanders) after the death of Jan van Eyck. The panel attests to Netherlandish artists’ keen interest in pictorial illusionism and meticulous attention to detail, especially in the luminous jeweled, glass, and metallic objects, secular and ecclesiastic trade wares that are examples of the goldsmith's virtuosity. The main figure in this enigmatic painting was long identified as Saint Eligius (the patron saint of goldsmiths) due to the presence of a halo, which was recognized as a later addition and subsequently removed. The panel is likely a vocational painting, which portrays the profession of goldsmithing and perhaps a specific goldsmith. Technical analysis reveals the underdrawing of the goldsmith's face to be very carefully modeled—more so than the faces of the couple—indicating the possibility of a portrait. It has been suggested that he is Willem van Vleuten, a Bruges goldsmith who worked for Philip the Good, duke of Burgundy. In 1449, the date of this painting, the duke commissioned from van Vlueten a gift for Mary of Guelders on the occasion of her marriage to James II, King of Scots. That couple may well be depicted in this painting, portrayed buying a wedding ring that is being weighed on a scale. The girdle that extends over the ledge of the shop into the viewer’s space is a further allusion to matrimony. The convex mirror, which links the pictorial space to the street outside, reflects two young men with a falcon (a symbol of pride and greed) and establishes a moral comparison between the imperfect world of the viewer and the world of virtue and balance depicted here.