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标题: “油画之父” 扬·凡·艾克（Jan van Eyck) [打印本页]

作者: ngsunyu 时间: 2020-8-30 00:01
标题: “油画之父” 扬·凡·艾克（Jan van Eyck)
比利时邮政在3月16 日发行了五枚扬·凡·艾克邮票。

2月1日至4月30日在根特美术博物馆举行 “凡·艾克：一场光学革命“ 画展。
邮票上这五幅画和许多其他扬·凡·艾克作品都在这次展览中展出。

由于2019冠狀病毒疫情，我没有参观“凡·艾克：一场光学革命“ 画展。我于2019年10月参观了根特美术博物馆。

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作者: ngsunyu 时间: 2020-8-30 00:03
本帖最后由 ngsunyu 于 2020-8-30 00:06 编辑

扬·凡·艾克（Jan van Eyck）是早期尼德兰画派最伟大的画家之一，也是十五世纪北欧后哥德式绘画的创始人，被誉为“油画之父”。他以写实的精细描写和微妙的光影表现，使作品闻名于世。

近期，其名作《根特祭坛画the Ghent Altarpiece）》中的《神秘的献祭羔羊（Adoration of the Mystic Lamb）》阶段性修复工作告一段落。《根特祭坛画》（the Ghent Altarpiece）是15世纪荷兰画家凡·埃克兄弟创作的一幅祭坛组画中的核心图，展现了《圣经》中众人站在即将被献祭的羔羊前礼拜的场景。该组油画现存于比利时根特·圣·巴夫大教堂，被认为是世界上第一件真正的油画作品。

在全球范围内，仅有20件（组）扬·凡·艾克的作品被保留至今。如今，将有一半的作品被运往根特，与《根特祭坛画》一起呈现在观众面前，展现艺术家对于中世纪晚期的描绘与理解。

这场令人着迷的展览庆祝了祭坛画修复过程中的关键一步。扬·凡·艾克在他的合作者，其兄弟胡伯特（Hubert）逝世的六年后，于1432年完成了《根特祭坛画》的创作。自2012年以来，根特美术馆一直在认真地，科学地逐步对这幅名作进行修复。现在最有名的部分，《神秘的献祭羔羊》（Adoration of the Mystic Lamb）重新出现了，回归了原来的色彩与细节。

（注：根特祭坛画是由凡·艾克兄弟先后持续完成的，但整个祭坛画中究竟哪些部分是出自胡伯特·凡·艾克之手，哪些部分出自扬之手，至今只能根据推测加以鉴别。1432年祭坛画完成时，曾使扬·凡·艾克的名声大振，在一片褒奖声中，人们似乎已经忘记了早已去世的胡伯特为此画作出的贡献。但是具有高尚美德的扬·凡·艾克却在作品的铭文中记叙了他对兄长的敬爱之情。）

原标题：扬·凡·艾克与修复后的根特祭坛画，神似而又震撼人心  。
本文是介绍在2月1日至4月30日在根特美术博物馆（Museum voor Schone Kunsten）举行的画展 “凡·艾克：一场光学革命“。(本文编译自《卫报》，news.sina.com.cn。）

We know Jan to have been an exquisite painter of miniatures who worked for the Dukes of Burgundy, and there are many aspects of the work here consistent with the detailed work of a manuscript illuminator, but there are also some important differences, particularly in scale. The relatively large size of the panels pushed Jan to new heights of virtuosity as a master of light; directional light, saturation, the softest scale of illuminations in the gradation of shadow, the construction of space through light and shade, symphonies of reflection and refraction alive in a world of textured surfaces—literally, the light of the world. Here, for the first time on such a scale, is a picture of the completely natural world saturated by the light of God—the perfect intermingling of divine illumination with the created world—and all described in paint. Van Eyck creates a world within the painting as substantial and real as the world outside the painting. Say what you will about Brunelleschi and Masaccio and linear perspective in Florence, without the subtlety of oil paint, their works look like mathematical equations beside the painted world of the Ghent Altarpiece. (khanacademy.org/humanities/renaissance-reformation/northern-renaissance1/burgundy-netherlands/a/vaneyck-ghentaltar)

请参阅  勃艮第統治尼德蘭(法语： Pays-Bas Bourguignons)時代(1384~1482)的两件艺术瑰宝  第6~18楼。

请参阅  追寻极限明信片中比利时名胜古迹与艺术杰作的足迹 (in the footsteps of .....)  第 55~57 楼。

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作者: 袁博 时间: 2020-8-30 06:49

ngsunyu 发表于 2020-8-30 00:03
扬·凡·艾克（Jan van Eyck）是早期尼德兰画派最伟大的画家之一，也是十五世纪北欧后哥德式绘画的创始人， ...

学习了

作者: ngsunyu 时间: 2020-9-5 03:10
本帖最后由 ngsunyu 于 2020-9-5 03:12 编辑

这幅画是从罗马尼亚的布鲁肯撒尔博物馆（罗马尼亚語：Muzeul Naţional Brukenthal）借来的1430年扬· 凡· 艾克《蓝帽子男人肖像》。
布鲁肯撒尔博物馆位于罗马尼亚锡比乌， 1790左右，由哈布斯堡王朝的特兰西瓦尼亚总督塞缪尔·冯·布鲁肯撒尔在其府邸内设立。1817年藏品正式向公众开放，为今日罗马尼亚境内最古老的博物馆。(zh.wikipedia.org/布鲁肯撒尔博物馆)

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作者: ngsunyu 时间: 2020-9-5 03:11
本帖最后由 ngsunyu 于 2020-9-5 03:13 编辑

《戴蓝帽子的男子》是荷兰早期画家扬· 凡· 艾克（Jan van Eyck）的身份不明男子的画像。
这幅画作于1430年左右完成。它包含了凡·艾克世俗肖像的一些典型元素，略大的头部，深色平整的背景，对男人脸部的细微细节和纹理的关注以及幻觉。在北文艺复兴时期，艺术家没有为其作品定任何标题，并且与任何失去标题的肖像画一样，这幅画多年来吸引了通用名称。长期以来，人们一直认为该男子右手戴的戒指是他作为珠宝商或金匠的职业的一种标志，因此该画长期以来都以这种形式命名珠宝商或有戒指的男人的肖像。最近因为头饰的颜色或形式通常更能描述，艺术史学家和出版物给予的标题为《戴蓝帽子的男子》。
这幅画的归因于凡·艾克（van Eyck）一直受到一些艺术史学家的不断挑战。直到1991年的一次清洁工作时，红外摄影揭示了凡·艾克（van Eyck）毫无疑问的油画和处理方法。

Portrait of a Man with a Blue Chaperon (or Portrait of a Man with a Blue Hood) is a very small (22.5 cm x 16.6 cm with frame) oil on panel portrait of an unidentified man attributed to the Early Netherlandishpainter Jan van Eyck.
The painting was commissioned and completed sometime around 1430. It contains a number of elements typical of van Eyck's secular portraits, including a slightly oversized head, a dark and flat background, forensic attention to the small details and textures of the man's face, and illusionistic devices. Artists did not give titles to their works during the Northern Renaissance period, and as with any portrait of a sitter whose identity is lost, the painting has attracted generic titles over the years. It had long been thought that the ring held in the man's right hand was meant as an indication of his profession as a jeweller or goldsmith and so the painting was long titled on variants of such. More recently the ring is interpreted as an emblem of betrothal and the titles given by various art historians and publications since are usually more descriptive of the colour or form of the headdress.
The painting was attributed to van Eyck in the late 19th century, but this was repeatedly challenged by some art historians until a 1991 cleaning when infra-red photography revealed an underdrawing and methods of handling of oil that were unmistakably van Eyck's.
The painting came into the collection of Samuel von Brukenthal (1721-1803), Habsburg governor of Transylvania from 1774 to 1787. Along with the rest of his collection at his Baroque house, Brukenthal Palace in Hermannstadt (Sibiu), it became part of a public collection that opened in 1817. Until 1948, the panel belonged to the Brukenthal National Museum in Sibiu, Romania. That year, the new Communist regime seized the panel, along with eighteen others it considered the museum's most valuable holdings, and gave it to the National Museum of Art of Romania in Bucharest. At the end of 2006, in time for Sibiu's stint as European Capital of Culture, the works were returned to the Brukenthal Museum.
(en.wikipedia.org/Portrait of a Man with a Blue Chaperon)

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作者: ngsunyu 时间: 2020-9-5 03:11
本帖最后由 ngsunyu 于 2020-9-5 03:19 编辑

比利时邮政发行扬·凡·艾克邮票与根特美术博物馆发行的 “凡·艾克：一场光学革命“ 画展明信片是不协调的。比利时邮商用了不一致的邮票和明信片。邮票是《戴蓝帽子的男子》。谁的眼睛在明信片上？

《扬· 德· 勒 (Jan de Leeuw) 的肖像》是荷兰早期画家扬· 凡· 艾克（Jan van Eyck）的小型木版油画( 24.5 x 19 公分)，这幅画作于1436年左右完成。现在藏于维也纳艺术史博物馆(Kunsthistorisches Museum)。

扬· 德· 勒是布魯日的金匠，當他用銳利而清晰的目光直盯著你時，他正拿著自己製造的戒指。珠寶商的藝術錯綜複雜，而繪畫又是另一回事。戒指抓住了一束光，閃爍著黃色的光芒。金匠製作的是一個能反射的物體，但扬· 凡· 艾克（Jan van Eyck）自己創造了光。(原文網址：https://kknews.cc/culture/m9q36k2.html)

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作者: ngsunyu 时间: 2020-9-12 21:13
本帖最后由 ngsunyu 于 2020-9-12 21:15 编辑

《包著紅頭巾的男子﹝Portrait of a Man in a Red Turban﹞ 》 1433 年，油彩畫板， 33 x 26 公分，现在藏于伦敦国家美术馆（英語：National Gallery，又譯為國家画廊、國立美術館、國家藝廊等）。

包著紅頭巾的男子是荷兰早期画家扬· 凡· 艾克（Jan van Eyck）在1433年創作的油畫作品。此油畫作品為橡木板畫，屬肖像畫，油畫描繪了一個頭包紅頭巾的男子，油畫裱框上畫有作者的創作日期和名字。這幅肖像畫的主人公身份是個謎。由於男子流露出權貴所擁有的沉靜睿智表情，所以有人認為這位男子是楊·凡·艾克的自画像，但這些猜測都不曾獲得證實。

大師對光與影的微妙和經意刻畫功底已達極致。畫中主人公像是在黑暗中浮現出來，他的臉和頭飾映出左邊照來的光線，栩栩如生。從正面欣賞，參觀者將完全被畫中主人公深邃的眼神所吸引。在這幅畫作上，相當引人注目的大塊紅色頭巾突出了人物臉部的線條，眼部的皺紋和眼線位置的每一個細部，都表現得相當細膩，觀者似乎能從主人公的眼神看透他內心深處的思想。頭巾皺摺的交會處具有完美的透視結構，搭配光線的運用，令人物相當具有真實感。

揚·凡·艾克的肖像畫，雖然受到義大利傳統畫風的很大影響，但在基本特徵上卻截然不同。義大利文藝復興時期的肖像畫會將人物予以美化，而楊·凡艾克所創造的法蘭德斯派則實事求是，即使畫面不賞心悅目或比例失調，也要真實呈現人物的原來面貌。(原文網址：https://kknews.cc/culture/kmger8.html)

Jan van Eyck is credited with originating a style of painting characterised by minutely realistic depictions of surface effects and natural light. This was made possible by using an oil medium, which allowed the building up of paint in translucent layers, or glazes.

Little is known of van Eyck's origins, but he probably came from Maaseik, near Maastricht, and was of the gentry class. He is first heard of in 1422 working in The Hague for John of Bavaria, ruler of Holland. From 1425 he was at Bruges and Lille as painter to Philip the Good, Duke of Burgundy. In 1428 van Eyck was sent to Portugal to paint Philip the Good's future wife, Isabella of Portugal.

Van Eyck appears to have painted many religious commissions and portraits of Burgundian courtiers, local nobles, churchmen and merchants. A small group of his paintings survive with dates from 1432 onwards. It is thought that his 'Portrait of a Man' may be a self portrait. (nationalgallery.org.uk)

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作者: ngsunyu 时间: 2020-9-13 01:22
本帖最后由 ngsunyu 于 2020-9-13 01:26 编辑

《阿诺菲尼的婚礼》，又名《阿尔诺非尼夫妇》又名《阿诺菲尼的肖像》，由荷兰早期画家扬· 凡· 艾克（Jan van Eyck）画于1434年。该画收藏于伦敦英國國家美術館。

The Arnolfini Portrait must be one of the most famous and intriguing paintings in the world. A richly dressed man and woman stand in a private room. They are probably Giovanni di Nicolao di Arnolfini, an Italian merchant working in Bruges, and his wife.

Although the room is totally plausible – as if Jan van Eyck had simply removed a wall – close examination reveals inconsistencies: there’s not enough space for the chandelier, and no sign of a fireplace. Moreover, every object has been carefully chosen to proclaim the couple’s wealth and social status without risking criticism for aping the aristocracy.

The house is of brick. Its window opens onto a garden, and a cherry tree can be glimpsed through the open shutters. The large and luxurious bed is covered with expensive red woollen cloth, and red cushions and fabric are scattered on the bedside chair and the bench. This is not a bedroom but a reception room, and the bed – the most expensive item of furniture in the house – is an essential part of its furnishings. The chair and bench are ornately carved, an oriental carpet lies on the floor and a splendid brass chandelier hangs from the ceiling. Even the carelessly scattered oranges indicate wealth; such fruit was extremely expensive. But this is not a palace: the floor is boarded and the walls are plastered rather than panelled or hung with tapestries. We are looking into a reception room in the comfortable, modern mansion of a wealthy merchant.

The room’s restrained luxury is equalled by the careful sartorial splendour of the couple. Their clothes are expensive and fashionable, but not flashy. The man wears a hat of plaited straw, and a dark tabard, probably of silk velvet, trimmed with brown fur. Under it is a black, possibly silk, doublet, with silver cuffs. His muddy pattens (overshoes) lie discarded on the floor. The woman wears a fine green wool overdress with elaborate dagged sleeves and a long train which falls in thick folds around her feet. It is trimmed with a white fur, possibly ermine or squirrel belly. She is not pregnant, though she might look it: she is holding up her bulky gown in front of her, as ladies commonly did. Her hair is caught up in fashionable but modest horns, held in red nets, and covered with an intricately folded veil.

So who are the people in this intimate setting? They are clearly husband and wife, and for many years the painting was understood as representing a marriage ceremony, though not anymore. From early on the painting was identified as showing one ‘Hernoul le Fin’ or ‘Arnoult Fin’. The Arnolfini were an extensive family of Italian merchants, with various members in Bruges at this period. The most likely candidate is Giovanni di Nicolao di Arnolfini, known as Giannino or Jehannin, who would have been in his late thirties in 1434. The lady is probably his second wife, whose identity is unknown. They may have been friends of van Eyck – he painted another portrait of the man at an older age (Staatliche Museen, Berlin). A large round mirror hangs right in the centre of the composition, its convex glass showing not just the compressed and contorted room but also two men coming in through a door behind us. The first man seems to be raising his left arm and stepping down steps from the passage. Immediately above the mirror is a flamboyant signature: Johannes de Eyck fuit hic. 1434 (‘Jan van Eyck was here. 1434’). Are the men in the mirror van Eyck himself and his servant, arriving on a visit?

Technical analysis tell us much about how the picture was made. Infrared reflectography shows that the underdrawing was done in stages. In the first one van Eyck sketched in the figures, the main pieces of furniture and the basic architecture of the room, but left out many of the objects for which the painting is now famous: the watchful terrier, the chandelier, the chair, the beads hanging on the wall and the discarded shoes. These were painted in at a late stage. Van Eyck also altered the man and woman’s faces and bodies. In the initial underdrawing, Arnolfini had a larger face and even odder features. His feet were in a different position, his robe was shorter and his hat larger. His wife originally looked up towards her husband and her features were lower, so her forehead seemed even higher. Van Eyck often manipulated his sitters‘ appearance to emphasise heads and hands, but here the faces, especially the man’s, have been altered substantially. Arnolfini must have been a strange-looking man, and in the second underdrawing van Eyck improved his proportions and idealised his features.

Even the room itself if not a literal record of the couple’s home. Although it looks as if van Eyck has simply removed a wall, close examination reveals inconsistencies. The chandelier cannot fit into the space it seems to occupy; there is no sign of a fireplace; the bed is too short and the ornate convex mirror on the back wall seems impossibly large. As usual, van Eyck created a perfectly convincing show of reality but altered things to fit his aesthetic purposes and perhaps also to accord with Arnolfini’s aspirations.

However, there is nothing unusual in the pigments used – this illusion of reality relied on van Eyck’s skill, not on any technical innovation. Look closely and you can see an astonishing level of detail. The oranges reflect in the polished wood of the casement, and the beads hanging by the bed cast both shadows and reflections on the wall behind. For a painting that seems so precise, it was surprisingly quickly and freely painted. Van Eyck was almost bouncing the paintbrush off the panel to get small touches of colour, and he used his fingers and the brush handles as well as the points of the brushes. We can see his thumbprint by the shadow of the dog’s leg, and the bristles of the brush hanging by the bed are scratched into the paint.

The painting has a fascinating afterlife. By the sixteenth century it was in the hands of Margaret of Austria, Regent of the Netherlands. From her, it migrated into the Spanish royal collection. It next appears in the possession of James Hay, a Scottish soldier who was in Spain during the Peninsular War (1807–14). We don’t know how Hay got it, but he brought it back to England and it was bought by the National Gallery in 1842 for ‘the moderate price’ of 600 Guineas. It was our first Netherlandish painting. (nationalgallery.org.uk)

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作者: ngsunyu 时间: 2020-9-13 01:29
本帖最后由 ngsunyu 于 2020-9-13 01:31 编辑

《天使報喜（The Annunciation）》是荷兰早期画家扬· 凡· 艾克（Jan van Eyck）于1435年左右完成的画作。现在藏于華盛頓國國家美術館。

The Annunciation described by Saint Luke is interpreted in terms of actuality in this painting, which was probably once the left wing of a triptych. The forms—even that of the archangel—seem to have weight and volume. Light and shadow play over them in a natural way, and with amazing skill, Jan van Eyck has distinguished between the textures of materials ranging from hard, polished stone to the soft, fragile petals of flowers.

Yet religious symbolism speaks from every detail, expounding the significance of the Annunciation, and the relationship of the Old Testament to the New. The structure of the church can be interpreted symbolically; the dark upper story, with its single, stained–glass window of Jehovah, may refer to the former era of the Old Testament, while the lower part of the building, already illuminated by the "Light of the World" and dominated by transparent, triple windows symbolizing the Trinity, may refer to the Era of Grace of the New Testament. The idea of passing from old to new is further manifested in the transition from the Romanesque round–arched windows of the upper story to the early Gothic pointed arches of the lower zone, and also in the depictions on the floor tiles: David beheading Goliath and Samson destroying the Philistine temple are both Old Testament events in the salvation of the Jewish people which prefigure the salvation of humankind through the coming of Christ.

More information on this painting can be found in the Gallery publication Early Netherlandish Painting, which is available as a free PDF https://www.nga.gov/content/dam/ ... andish-painting.pdf (nga.gov)

扬· 凡· 艾克（Jan van Eyck）可以創造的不僅僅是黃金。在他的作品，借於華盛頓國家美術館的《天使報喜（The Annunciation）》中，天使加布里埃爾（Jabriel）躺在珍珠，紅寶石和藍寶石的催眠中，而這些催眠物則是固體的。加百列（Gabriel）所說的話語被用金色的字體寫在空中。在聖母瑪麗後面，玻璃窗戶閃爍著光芒。但請稍等。這是一塊塗有油漆的扁平木頭，而不是真正的空間。這只是一種幻想。(原文網址：https://kknews.cc/culture/m9q36k2.html)

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