↗睡莲(百子莲)
克洛德·莫奈
Leonard C. Hanna Jr. Fund · 克利夫兰艺术博物馆
图像许可: CC0 · 博物馆记录与图像来源 ↗
This sculpture, along with that of Saint Lawrence (1959.42) and two others in Germany, are believed to be the remaining fragments of a large altarpiece carved by Riemenschneider for the Dominican convent in Rothenburg in Franconia (demolished in 1813). Saints Stephen and Lawrence both wear the dalmatic to indicate their status as deacons in the early church. Each holds a symbol of his martyrdom; here, Saint Stephen cradles some stones to indicate his death by stoning. Art in Germany through the early 1500s remained firmly anchored in the late Gothic style with its associated interests in realism. Riemenschneider was one of the most prolific and versatile sculptors of this style, a recognized master in both stone and wood. His flourishing workshop employed as many as 40 apprentices in sculpting, woodcarving, and painting. His sculptures are noted for the dreamy, melancholy, and introspective quality in their expressions, as well as their remarkable attention to detail.
馆藏文字 · 克利夫兰艺术博物馆 · CC0比较较早的雪花石膏圣哲罗姆及同为1502至1508年的圣劳伦斯与圣司提反,追踪衣褶、手势及浅色石材、木雕、残存彩绘和贴金的关系。后两件属于共同委托语境,并非独立晚期阶段;现有表色不能直接证明原貌。
以下为艺术家整体创作背景,单件作品可能有所不同。
雪花石膏与木雕保留不同肌理,设色和贴金也属于器物历史。
雕刻衣褶及节制面部、手势,让紧凑宗教人物富有生命。
应区分浅色石材、残存彩绘及贴金,与后来的脱落或表面变化。
从眼前可见之处开始:形状、表面、色彩与尺度。所列材料可能怎样影响作品的制作方式与观看体验?
观看提示 · 邀请你观察,而非对历史的定论。