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A comprehensive Study on Velazquez and the Spanish Court Painters-the Painter's Image, System and Society.

委拉斯贵支与西班牙宫廷画家综合研究——画家的形象、体系与社会。

基本信息

批准号：
12610064
负责人：
OTAKA Yasujiro
金额：
$ 2.05万
依托单位：
Waseda University (2001-2002)Sophia University (2000)
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
2000
资助国家：
日本
起止时间：
2000 至 2002
项目状态：
已结题

项目摘要

1.While the history of the interpretation of Las Hilanderas in itself represents the vicissitudes in the historical evaluation of Velazquez, it offers a typical case for examining the "discovery" of Spain or the reception of its art in Western countries.2.Contrary to the traditional belief in Velazquez's lower aristocratic origins (hidalgo), it has been proved that he belonged to a wealthy but common family of converted Jewish (judeo-converso) descent, which had migrated from Portugal to Seville in the second half of the sixteenth century. Some of the family members were notary publics while others were engaged in the real estate business. This background seems to have been crucial to the development of his marked realism and humanistic spirit, which were to lead him to open up a new, distinctively Spanish ground in Baroque painting.3.Iconographically, Velazquez's Portrait of the Sculptor Martinez Montanez could be understood within the tradition of the paragone controversy, one of the common artistic topics in sixteenth-century Italy ; nevertheless, the painting needs to be considered beyond the limit of this dispute between painting and sculpture over superiority. It is not impossible, on the other hand, to interpret it in relation to the "sight" and the "touch" of a series of the "Allegory of Five Senses".4.In 1630's the Florentine sculptor Pietro Tacca was commissioned to make a bronze equestrian portrait of Philip IV. The idea of this dynamic large-scale equestrian statue standing up on the hind legs is presumably related to the so-called Madrid Manuscript of Leonardo da Vinci, which was then in possession of a Spanish nobleman and was well-known in the Madrid court.5.In his portraits of the royal family and courtiers Velazquez succeeds in synthesizing the two different traditions of the Spanish court portraits since the sixteenth century : the Flemish and the Venetian.

1.虽然《希兰德拉斯》的解读史本身就代表了对委拉斯开兹的历史评价的变迁，但它为考察西班牙的“发现”或西方国家对西班牙艺术的接受提供了一个典型案例。2.与传统上认为委拉斯开兹出身于下层贵族（hidalgo）的看法相反，事实证明，他出身于一个富裕而普通的犹太人家庭，这个家庭是在16世纪后半叶从葡萄牙移民到塞维利亚的。一些家庭成员是公证人，而其他人则从事真实的房地产生意。这一背景似乎对他显著的现实主义和人文主义精神的发展至关重要，这使他在巴洛克绘画中开辟了一个新的，独特的西班牙地面。3.从图像学上看，委拉斯开兹的雕塑家马丁内斯蒙塔内兹的肖像可以在paragone争议的传统中理解，这是十六世纪意大利常见的艺术主题之一;但是这幅画需要超越绘画和雕塑的这种优劣之争的界限来考虑。另一方面，我们也可以把它与一系列“五感寓言”中的“视觉”和“触觉”联系起来加以解释。1630年，佛罗伦萨雕塑家彼得罗·塔卡受委托为菲利普四世制作一幅青铜骑马肖像。这种用后腿站立的动态大型骑马雕像的想法可能与列奥纳多·达·芬奇的所谓马德里Mandaript有关，当时它被一位西班牙贵族拥有，在马德里宫廷中很有名。5.在他的皇家和朝臣肖像中，委拉斯开兹成功地综合了十六世纪以来西班牙宫廷肖像的两种不同传统：佛兰芒人和威尼斯人