景观 - 美国大都会艺术博物馆展品查阅

品名（中）	景观
品名（英）	Landscape
入馆年号	2015年，2015.539
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Goya (Francisco de Goya y Lucientes)【1746 至 1828】【西班牙人】
创作年份	公元 1802 - 公元 1812
创作地区	原产国: 西班牙（Country of Origin: Spain）
分类	印刷品（Prints）
尺寸	页: 12 1/8 × 17 1/16 英寸 (30.8 × 43.4 厘米) Plate mark: 6 9/16 × 11 1/4 英寸 (16.7 × 28.5 厘米)
介绍（中）	这种版画非常罕见。这是戈雅一生中仅有的四个已知印相之一。其他印象在马德里的国家图书馆、芝加哥艺术学院和柏林的私人收藏中。在他的作品中，《风景》处于一个重要的转折点。它是在他的主要系列版画《Los Capricos》（1799年）之后和《战争灾难》（约1810-15年）之前制作的。因此，它是在戈雅对单个受试者进行实验时制作的，而不是一个系列的一部分，并发现与大约同一时间的其他作品有相似之处。印刷品并不是为了广泛分发，印刷的印象也很少。这个主题的个人性和内省性是理解戈雅在半岛战争爆发前前进方向的关键。景观的构成既平衡又不稳定。引人注目的自然形态笼罩在前景中的小人物身上——令人不安的并置。这幅版画可能被解读为体现了风暴前的平静，当时一种不祥的存在可能会压倒毫无戒心的受害者。因此，它可能会捕捉到拿破仑军队入侵的恐惧预期，拿破仑军队于1807年进入葡萄牙，次年前往西班牙 1810年，或稍早于1810年，戈雅将风景铜版切成两半，在他的纪念性蚀刻系列《战争的灾难》中使用了这两幅蚀刻版画（第13版"痛苦的存在"和第15版）没有任何帮助"）。这幅风景画是其中一幅（哈里斯24）。另一个带有岩石和瀑布的也出于同样的目的被切成两半。两个盘子都在马德里的Calcografía。戈雅可能是因为在半岛战争开始时，当他开始"战争灾难"时，铜短缺而切割了这些盘子。1920年左右，这些印版（最初的两块被切成四块）被暂时重新组合起来，以印刷风景的印象。由于切口不美观，断层无法掩盖，只留下了少量印痕（例如，见大英博物馆19751025.32）。切口前后印痕之间的对比是明确无误的。
介绍（英）	The print is of great rarity. It is one of only four known impressions printed by Goya in his lifetime. The other impressions are in the Biblioteca Nacional, Madrid, The Art Institute in Chicago and a private collection in Berlin. Within the context of his work, the Landscape sits at an important juncture. It was made after his major series of prints 'Los Caprichos' (1799) and before the 'Disasters of War' (ca. 1810-15). As such, it was produced when Goya was experimenting with individual subjects – not part of a series – and finds parallels with this other work from around the same time. The print was not meant for wide distribution and very few impressions were printed. The personal and somewhat introspective nature of is subject is key to understanding the direction Goya was moving in before the outbreak of the Peninsular War. The composition of the landscape is both balanced and precarious. Imposing natural forms loom over the diminutive figures in the foreground—a disquieting juxtaposition. The print might be interpreted as embodying the calm before the storm, when a foreboding presence threatens to overpower unsuspecting victims. It might therefore capture the fearful anticipation of the invasion by Napoleon’s army, who entered Portugal in 1807 before moving to Spain the following year. In 1810, or slightly before, Goya cut the Landscape copper plate in half to use the verso for two etchings in his monumental series of etchings the Disasters of War (plates 13 ‘Bitter to be present’ and 15. ‘And there is no help’). This Landscape is one of a pair (Harris 24). The other with a rock and waterfall was also cut in half for the same purpose. Both plates are in the Calcografía in Madrid. Goya probably cut the plates because of the shortage of copper at the beginning of the Peninsular War when he was embarking on the 'Disasters of War'. Around 1920 the plates (the original two cut into four) were temporarily rejoined to print impressions of the landscapes. Because of the disfiguring cut, the fault could not be concealed and only a few impressions were taken (see for example British Museum 1975,1025.32). The contrast between the impressions before and after the cut is unmistakable.