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作 者:徐紫迪 Xu Zidi(Research Fellow of School of Arts,Peking University)
机构地区:[1]北京大学艺术学院
出 处:《美术》2024年第12期126-135,共10页Art Magazine
基 金:北京大学学科建设项目《西方传统油画叙事性与绘画性研究》(项目编号:7101303267)的阶段性研究成果。
摘 要:2017年至2021年德累斯顿古代大师画廊对《窗前读信的少女》展开了史无前例的修复,画面背景墙上挂着的丘比特“画中画”被首次清洗出来,画家曾先后4次引用它。然而,这个解读画面内涵的重要注解究竟源自何处?曾有学者指出此画与徽志书、油画、雕塑等作品中类似的丘比特图像之间存在关联,但其忽视了一个隐含在画中的重要事实:画家描绘了一个行走的丘比特。据此本文另辟蹊径,尝试从绘画性角度重新建立起丘比特“画中画”与范·维恩作品之间的联系,证明维米尔画中的重要注解另有源头。Gemaeldegalerie Alte Meister launched an unprecedented restoration of Girl Reading a Letter at an Open Window from 2017 to 2021,which made visible an image of Cupid hanging on the wall behind the forlorn young woman.Painters have quoted it four times.However,where does the important annotation for interpreting the meaning of Cupid come from?Some scholars pointed out that it was related to similar Cupid images in emblematic books,oil paintings and sculptures,but they ignored an important,hidden fact:what the painter depicted was a walking Cupid.On this basis,this article takes a different approach and tries to reestablish the connection between the image of Cupid(a painting within a painting)and Otto van Veen’s artworks from a painting perspective,to prove that the important annotation of Vermeer’s painting has other sources.
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