追寻RONALD 极限片中 荷兰名胜古迹 与 艺术杰作 的足迹 (in the footsteps of .....)

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莫瑞泰斯皇家美术馆收藏的油画包括荷兰油画家弗兰斯·哈尔斯 的作品《大笑的男孩》（荷蘭語： Lachende jongen )


This cheerfully laughing boy with sparkly eyes and dishevelled hair is not a portrait, but a ‘tronie’ – a study of a laughing child. Laughing figures are unusual, as laughter is one of the most difficult expressions to capture. The virtuoso Hals painted the boy very directly and spontaneously, using remarkably loose brushstrokes. And yet he knew exactly what he was doing. The bridge of the boy’s nose, for example, is painted with a single well-placed stroke of white. (Mauritshuis.nl)

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弗兰斯·哈尔斯(Frans Hals)是荷兰黄金时代伟大的大师之一。他的肖像画和“schutterstukken”(公民警卫群体肖像画)是世界闻名的。与他同时代的画家相比，他的风格是宽松而活泼的。他的大画笔绘画几乎带给他的画生命力。(Holland.com)

哈尔斯擅画肖像画，并以人物生动的姿态而出名。画中人多数是哈勒姆当地富有的居民，如彼得·范·登·布卢克和以撒·马萨。他还绘有不少群体肖像，主题多是公民警卫。他的画作生动地表现了社会不同层次中的人民与生活：军官的宴席或会议、枪手、工会成员、海军上将、将军、镇长、商人、律师、文员、流浪演员和歌手、名门世家、世俗老妪等等，展现出黄金时代期间荷兰人生活乐观、富裕的面貌。哈尔斯善于捕捉人物瞬间的表情，并能以巧妙而奔放的笔触将其栩栩如生地展现在画布上，生动的画面一反传统肖像画中人物死板的姿态。在群体肖像中，哈尔斯力求描绘每个人独特的面貌使他们清晰可辨，而人物生动的表情与姿势则体现了不同的性格，也使画面看起来更加真实。(zh.wikipedia.org/弗兰斯·哈尔斯)

他的第一幅造成轰动的画作 是于1616年完成的群体肖像画《圣乔治市民警卫队官员之宴》,
現收藏在位於荷兰哈勒姆市的弗兰斯·哈尔斯 博物馆 (Frans Hals Museum)。

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弗兰斯·哈尔斯(Frans Hals)是荷兰黄金时代伟大的大师之一。他的肖像画和“schutterstukken”(公民警卫群体肖像画)是世界闻名的。与他同时代的画家相比，他的风格是宽松而活泼的。他的大画笔绘画几乎带给他的画生命力。(Holland.com)

哈尔斯擅画肖像画，并以人物生动的姿态而出名。画中人多数是哈勒姆当地富有的居民，如彼得·范·登·布卢克和以撒·马萨。他还绘有不少群体肖像，主题多是公民警卫。他的画作生动地表现了社会不同层次中的人民与生活：军官的宴席或会议、枪手、工会成员、海军上将、将军、镇长、商人、律师、文员、流浪演员和歌手、名门世家、世俗老妪等等，展现出黄金时代期间荷兰人生活乐观、富裕的面貌。哈尔斯善于捕捉人物瞬间的表情，并能以巧妙而奔放的笔触将其栩栩如生地展现在画布上，生动的画面一反传统肖像画中人物死板的姿态。在群体肖像中，哈尔斯力求描绘每个人独特的面貌使他们清晰可辨，而人物生动的表情与姿势则体现了不同的性格，也使画面看起来更加真实。(zh.wikipedia.org/弗兰斯·哈尔斯)

于1627年完成的群体肖像画《圣乔治市民警卫队官员之宴》現收藏在位於荷兰哈勒姆市的弗兰斯·哈尔斯 博物馆 (Frans Hals Museum)。

ngsunyu

弗兰斯·哈尔斯(Frans Hals)是荷兰黄金时代伟大的大师之一。他的肖像画和“schutterstukken”(公民警卫群体肖像画)是世界闻名的。与他同时代的画家相比，他的风格是宽松而活泼的。他的大画笔绘画几乎带给他的画生命力。(Holland.com)

哈尔斯擅画肖像画，并以人物生动的姿态而出名。画中人多数是哈勒姆当地富有的居民，如彼得·范·登·布卢克和以撒·马萨。他还绘有不少群体肖像，主题多是公民警卫。他的画作生动地表现了社会不同层次中的人民与生活：军官的宴席或会议、枪手、工会成员、海军上将、将军、镇长、商人、律师、文员、流浪演员和歌手、名门世家、世俗老妪等等，展现出黄金时代期间荷兰人生活乐观、富裕的面貌。哈尔斯善于捕捉人物瞬间的表情，并能以巧妙而奔放的笔触将其栩栩如生地展现在画布上，生动的画面一反传统肖像画中人物死板的姿态。在群体肖像中，哈尔斯力求描绘每个人独特的面貌使他们清晰可辨，而人物生动的表情与姿势则体现了不同的性格，也使画面看起来更加真实。(zh.wikipedia.org/弗兰斯·哈尔斯)

于1633年完成的群体肖像画《圣哈德良市民警卫队官员》現收藏在位於荷兰哈勒姆市的弗兰斯·哈尔斯 博物馆 (Frans Hals Museum)。

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今年十月，我们游览了荷兰，比利时。 计划访问卢森堡，但法国铁路罢工使去卢森堡的行程出轨。 我们去的第二个城市是阿姆斯特丹。我们住的酒店 (Hotel Fita) 位于阿姆斯特丹国家博物馆（荷蘭語：Het Rijksmuseum Amsterdam，或Rijksmuseum) 步行距离只有5分钟。

荷兰国立博物馆欢迎您!
位于荷兰首都阿姆斯特丹的荷兰国立博物馆是荷兰国家级的历史和艺术博物馆. 始建于1885年, 是世界十大顶尖博物馆之一. 2015年曾被评为欧洲最佳博物馆.

荷兰国立博物馆将超过八百年的荷兰艺术和社会发展历史, 在分布于四个楼层的八十个展厅里一一为您呈现.这是一次从中世纪直至二十世纪的艺术社会发展之旅，您可以沿着时间的足迹感受艺术的无穷魅力. (Rijksmuseum.nl)

1930年荷兰郵票是17世纪荷兰黄金时代画家伦勃朗 完成于1662年的群体肖像名画《制布商协会之质量检察官员》現收藏在荷兰首都阿姆斯特丹的荷兰国立博物馆 (Het Rijksmuseum)。虽然这明信片是国家博物馆而不是极限明信片，这罕见的组合适用于明信片类别展。

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《夜巡》（荷蘭語：De Nachtwacht）是17世纪荷兰黄金时代画家伦勃朗的名画。完成于1642年，是荷兰肖像画黄金时代的杰作，现在是荷兰阿姆斯特丹国家博物馆的镇馆之宝。此画为伦勃朗受雇于阿姆斯特丹射手连队为其所作的肖像画，伦勃朗一改以往肖像画中人物按照尊卑顺序排列的原则，另辟蹊径作出舞台化的效果。此畫所描繪的其實是阿姆斯特丹市民警卫队隊長, 副隊長,（畫面中間兩位人物）與十六名队员 在白天时刻游行的景象，因光線昏暗而被誤為是描繪夜間。伦勃朗受18个人的委托，酬金总额 1600荷兰金币。最初完成的画中一共有34个角色，其中除去付钱的18人外，还有16个支撑画面结构的“模特”。后来画面受水侵等损害，裁剪后比原画略小。(zh.wikipedia.org/夜巡)

Operation Night Watch will look at questions regarding the original commission, Rembrandt’s materials and painting technique, the impact of previous treatments and later interventions, as well as the ageing, degradation and future of the painting. This will involve the newest and most advanced research methods and technologies, including art historical and archival research, scientific and technical research, computer science and artificial intelligence.

During the research phase The Night Watch will be unframed and placed on a specially designed easel. Two platform lifts will make it possible to study the entire canvas, which measures 379.5 cm in height and 454.5 cm in width.

Researchers will make use of high resolution photography, as well as a variety of advanced imaging techniques, such as macro X-ray fluorescence scanning (macro-XRF) and hyperspectral imaging, also called infrared reflectance imaging spectroscopy (RIS), to accurately determine the condition of the painting.

Researchers will make use of high resolution photography, as well as a variety of advanced imaging techniques, such as macro X-ray fluorescence scanning (macro-XRF) and hyperspectral imaging, also called infrared reflectance imaging spectroscopy (RIS), to accurately determine the condition of the painting.

A total of some 12,500 photographs will be taken at extremely high resolution, from 180 to 5 micrometres, or a thousandth of a millimetre. Never before has such a large painting been photographed at such high resolution. In this way it will be possible to see details such as pigment particles that normally would be invisible to the naked eye. The cameras and lamps will be attached to a dynamic imaging frame designed specifically for this purpose. (rijksmuseum.nl)

ngsunyu

1930年荷兰郵票是17世纪荷兰黄金时代画家伦勃朗 完成于1662年的群体肖像名画《制布商协会之质量检察官员》現收藏在荷兰首都阿姆斯特丹的荷兰国家博物馆 (Het Rijksmuseum)。

The Sampling Officials (Dutch: De Staalmeesters), also called Syndics of the Drapers’ Guild, is a 1662 oil painting by Rembrandt. It is currently owned by the Rijksmuseum in Amsterdam.  It has been described as his "last great collective portrait".

The men (with the exception of Bel who is an attendant as indicated by his calotte) are drapers who were elected to assess the quality of cloth that weavers offered for sale to members of their guild. Their one-year terms in office began on Good Friday and they were expected to conduct their inspections thrice weekly. The Dutch word staal means 'sample' and refers to the samples of cloth that were assessed. The inspectors used pliers to press the seals of their city (front) and guild (reverse) into penny-sized slugs of lead that were specially affixed to record the results of the inspection.[3] There were four grades of quality, the highest was indicated by pressing four seals and the lowest by pressing only one.

The men, who are appraising a length of Persian-style fabric against exemplars from a swatch book, are (from left to right):
Jacob van Loon (1595–1674)
Volckert Jansz (1605 or 1610–1681)
Willem van Doeyenburg (ca. 1616–1687)
Frans Hendricksz Bel (1629–1701)
Aernout van der Mye (ca.1625–1681)
Jochem de Neve (1629–1681)

The guild commissioned this portrait and it hung in their guildhall, the Staalhof (nl), until 1771. (en.wikipedia.org/Syndics of the Drapers' Guild)

After suffering financial difficulties in the 1650s, Rembrandt moved to a rental house on the Rozengracht. The Amsterdam élite no longer knocked on his door as often as they had done before. He nevertheless remained popular: this important guild commissioned him to paint a group portrait. Rembrandt produced a lively scene by having the wardens look up from their work as if interrupted by our arrival. (rijksmuseum.nl)

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1938年荷兰郵票是17世纪荷兰黄金时代画家伦勃朗 完成于1661年的名画《使徒保罗自画像》現收藏在荷兰首都阿姆斯特丹的荷兰国家博物馆 (Het Rijksmuseum)。

Rembrandt is 55 years old in this self-portrait, and he still looks at himself candidly. Here he assumes the guise of a personage from the Bible, the Apostle Paul. The sword protruding from his cloak and the manuscript in his hands are the apostle’s customary attributes. By using his own face, Rembrandt encouraged the viewer to engage personally with the saint. (rijksmuseum.nl)

The Dutchman depicts himself as an apostle wearing a turban and holding a book. Like de Acedo, he turns from the pages in his hands to look out at the viewer. He appears puzzled and perhaps somewhat skeptical. You’re drawn in by the chiaroscuro — by what slips into shadow, toward the unknowable — but also by the paint’s rich textures, which are picked out by localized light.

Rembrandt’s raised eyebrow rhymes with the wobbly wrinkles streaking his forehead, and those in turn rhyme with the folds and pleats of his tightly wound turban. The cloth feels taut, secure; the flesh beneath oily, blotchy, deliquescent. (WashingtonPost.com/Buried deep in a disappointing Rembrandt and Velázquez show are two portraits that demand to be seen  by  Sebastian Smee)

和德国文艺复兴时期艺术家丢勒一样，伦勃朗对自画像有着特殊的情感，一生之中留下了数量众多的自画像，包括速写、素描、版画和油画等创作手法，每一时期创作的自画像都反映了画家当时的艺术特色，其晚年的自画像和同时期的其他作品一样，笔触豪放而概括，形象生动而细腻，具有强烈的艺术感染力。(zh.wikipedia.org/伦勃朗)

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1941年荷兰郵票是17世纪荷兰黄金时代画家伦勃朗 完成于1655年的肖像名画《提图斯 》現收藏在荷兰鹿特丹的博伊曼斯·范伯宁恩美术馆 (Museum Boijmans Van Beuningen) 。
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伦勃朗和他的妻子莎斯姬亚·林布蘭生有4个孩子，只有最小的儿子提图斯 存活，但他妻子在生孩子后不久去世。 (zh.wikipedia.org/伦勃朗)

In 1634, Rembrandt married Saskia Uylenburgh. They had a son, Titus, in 1641. Then a year later Saskia died.

Titus van Rijn (22 September 1641 – 4 September 1668) was the fourth and only surviving child of Rembrandt Harmenszoon van Rijn and Saskia van Uylenburgh. Titus is best known as a figure or model in his father's paintings and studies. (en.wikipedia.org/Titus van Rijn)

The boy, who sits staring ahead, is lost in thought. His thumb presses against his chin. There are some papers on the desk, and he holds a pen in his right hand and a pen case in his left. That this is a portrait of Rembrandt’s son, Titus, is not in doubt. An important clue to this is that there are several other paintings by Rembrandt from the same period that unmistakably show the same boy. There is, moreover, a strong similarity between this work and the portrait etching of a boy by Rembrandt, which a seventeenth-century source tells us is of Titus. In the print, Titus wears a beret just like the one in the painting. (rembrandthuis.nl)

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《犹太新娘》（The Jewish Bride，荷蘭文：Het Joodse bruidje）是伦勃朗作于大约1667年的一幅画作。该画作的名字由一位19世纪的阿姆斯特丹的收藏家所取，他认为这幅画描绘的是一位犹太父亲为自己出嫁的女儿带上项链的场景。但这一解释后来不再被人们广泛承认。关于画中两人身份的说法有很多，但不可否认的是伦勃朗在此画中表现的崇高与深刻的爱情。该画现藏于阿姆斯特丹国家博物馆。(zh.wikipedia.org/犹太新娘)

To prevent being killed and having his wife captured by King Abimelech, Isaac concealed his love for Rebecca by pretending they were brother and sister. However, their intimacy betrayed them when they thought they were not being spied on. Rembrandt depicts them in a tender moment. Furthermore, he works with exceptional freedom, applies the paint thickly, and scratches into it with the butt end of his paintbrush. (rijksmuseum.nl)

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2019年2月15日，荷兰邮政为17世纪荷兰黄金时代画家伦勃朗 (Rembrandt 1606—1669)逝世350周年发行一套两枚自画像邮票，一枚邮票选用了伦勃朗在1630年创作的《戴皮帽自画像》。

From February 15 2019 to June 10 2019, Rijksmuseum marks the 350th anniversary of Rembrandt’s death in 2019 with ‘Year of Rembrandt’. The year-long celebration opens with ‘All the Rembrandts’, in which the Rijksmuseum will present for the first time an exhibition of all 22 paintings, 60 drawings and more than 300 best examples of Rembrandt’s prints in its collection.

ngsunyu

2019年2月15日，荷兰邮政为17世纪荷兰黄金时代画家伦勃朗 (Rembrandt 1606—1669)逝世350周年发行一套两枚自画像邮票，一枚邮票选用了伦勃朗在1634年绘制的《戴软帽自画像》。

From February 15 2019 to June 10 2019, Rijksmuseum marks the 350th anniversary of Rembrandt’s death in 2019 with ‘Year of Rembrandt’. The year-long celebration opens with ‘All the Rembrandts’, in which the Rijksmuseum will present for the first time an exhibition of all 22 paintings, 60 drawings and more than 300 best examples of Rembrandt’s prints in its collection.

ngsunyu

两个画展时间不重叠，我们错过了国家博物馆的伦勃朗画展《All the Rembrandts》因为卢浮宫的达·芬奇画展更重要。

From February 15 2019 to June 10 2019, Rijksmuseum marks the 350th anniversary of Rembrandt’s death in 2019 with ‘Year of Rembrandt’. The year-long celebration opens with ‘All the Rembrandts’, in which the Rijksmuseum will present for the first time an exhibition of all 22 paintings, 60 drawings and more than 300 best examples of Rembrandt’s prints in its collection. (rijksmuseum.nl)

在阿姆斯特丹国家博物馆，我们看到了伦勃朗和委拉斯开兹画展《Rembrandt-Velázquez: Dutch and Spanish Masters》。

Of the many exhibitions celebrating the Dutchman this year, “Rembrandt-Velázquez: Dutch and Spanish Masters” at the Rijks-museum in Amsterdam promised to be the best. The Rijksmuseum owns the most Rembrandts (it put all of them on its walls earlier in the year). And its partner on this show, the Prado (celebrating its own 200th anniversary), owns the most paintings by Velázquez. The prospect of these fabled institutions joining forces on a two-for-one of this caliber was as tantalizing as any of the year’s monographic anniversary exhibitions. (WashingtonPost.com)

这幅画是从西班牙的瓦倫西亞美術館（華倫西亞語：Museu de Belles Arts de València；西班牙語：Museo de Bellas Artes de Valencia）借来的1640年委拉斯开兹《自画像》。

ngsunyu

在阿姆斯特丹国家博物馆，我们看到了伦勃朗和委拉斯开兹画展《Rembrandt-Velázquez: Dutch and Spanish Masters》。这幅画是从西班牙馬德里的普拉多博物館借来的1630年委拉斯开兹《火神的熔爐, 西班牙語： Apolo en la Fragua de Vulcano》。 The painting depicts the moment when the god Apollo, identifiable by the crown of laurel on his head, visits Vulcan, who is found making weapons for war. The god Apollo tells Vulcan that his wife, Venus, is having an affair with Mars, the god of war. For this reason, the other figures in the room are looking in surprise at the god who has just appeared before them, some of them even opening their mouths to indicate surprise. (en.wikipedia.org/Apollo in the Forge of Vulcan)

几年前，当我参观普拉多博物馆时，摄影是被禁止的。

ngsunyu

小心1938年的委拉斯开兹极限明信片大多是倒戳，因为他们的明信片是1938年以后版。请参考  普拉多博物馆 (西班牙语：Museo Nacional del Prado) 成立200周年 第十六楼。