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克洛德·莫奈
Severance and Greta Millikin Purchase 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 ↗
Hendrick Goltzius was one of many late Renaissance artists who felt compelled to travel to Italy as part of his artistic training. He went with one purpose—to study antique sculpture. Goltzius made drawings on-site and then made engravings after his designs once he returned to Haarlem in 1591. He portrayed the Farnese Hercules from a low viewpoint to capture the awesome experience of first encountering the famous monument. Goltzius showed the sculpture from behind and in shadow, emphasizing its glowing highlights. The print includes two observers, who were assumed by contemporary Dutch commentators to be a self-portrait of Goltzius with his stepson, Jacob Matham, who was also an engraver.
馆藏文字 · 克利夫兰艺术博物馆 · CC0比较早期使徒系列、1592年赫拉克勒斯雕版及约1600年风景木刻。粗细变化的凹刻线塑造肌肉,凸版木刻则通过刻去与保留区域形成形状。黑白同样能暗示人体体积或风景深度。
以下为艺术家整体创作背景,单件作品可能有所不同。
雕版在金属版上凹刻线,木刻则印出保留的凸起部分。
粗细变化的线塑造肌肉,凸版刀痕将风景简化为图形。
黑白亮度来自印刷笔迹的间距和密度,而非绘画提亮。
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。