Painted Gems. The Color Worlds of Portrait Miniature Painting in Sixteenth- and Seventeenth-Century Britain
Painted Gems. The Color Worlds of Portrait Miniature Painting in Sixteenth- and Seventeenth-Century Britain
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彩绘宝石。
DOI：
10.1163/15733823-02046p06
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发表时间：
2015
影响因子：
0.3
通讯作者：
K. Leonhard
中科院分区：
文献类型：
--
作者：
K. Leonhard
有一种观点很有说服力，认为肖像画家的艺术与金匠的艺术密切相关--把肖像画上的“宝石”镶嵌成一件装饰华丽的珠宝。事实上，尼古拉斯·希利亚德的肖像微型绘画艺术和金匠之间有着密切的联系。他的论文中著名的宝石部分反映了这一想法，因为它关注的是这些宝石与微型画中使用的颜色的关系，这些颜色可以被视为宝石本身的替代品。色彩、光线和阴影--如何将自然世界渲染成绘画的这三个方面是密切相关的：正是这种关系的复杂性要求绘画技巧注意不要创造出奇亚假彩色效果，特别是不要让色彩被阴影“破坏”或与其他颜色“混合”。
It has been argued persuasively that we should see the art of the portrait miniaturist as being closely related to the art of the goldsmith – with the painted ‘jewel’ of the portrait set into a richly ornamented piece of jewelry. Indeed, there is a close affinity between Nicholas Hilliard’s art of portrait miniature painting and goldsmithery. His Treatise’s famous section devoted to precious stones reflects this idea, as it is concerned with the relationship of those stones to the colors used in the miniatures, colors that can be seen as surrogates for the stones themselves. Color, light and shadow – these three aspects of how to render the natural world into paint are closely related: it is the complexity of the relationship that demanded a painting technique that took care not to create chiaroscuro-effects and specifically not let color be ‘corrupted’ by shadows or ‘mixed’ with other colors.