弗朗切斯卡:沒有透視學,任何物體都不能被準確地……
透視是弗朗切斯卡一生深研的課題,他通過透視所達到的視錯覺效果 以在殿堂的牆壁上摹寫所見的世界,還原真實的歷史,圖繪傳說的故事。也許是所信之本體,甚或經時間長久的凝積與隔閡,那些顆粒斑斑的畫面人物總給觀者以超越現實的疏離感,有種明顯地高於當下之衆的東西。他的典雅(色彩)與嚴謹(造型)是可見的,不必多言,也許這就是給觀者真實卻又超越的原因。時代之所信必然會帶入時人所在的各處,藝術自然不會例外,因此畫面那種宗教莊嚴的儀式感仿若在會堂裏。卻又分明隱含着一種劇場感,像是在劇院裏,要演給人看。
Madonna del Parto
Tempera on panel
203 x 260 cm
~1467
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從皮耶羅幾何學和透視學的著述中可以看出,他在科學方面的造詣不亞於同時代的任何人,或許亦不遜於任何時代裏的任何人。他的全部作品——充滿透視學知識——表明了這一點。
——瓦薩里《著名畫家、雕塑家、建築家傳》
Madonna and Child with Saints
248 × 170 cm
Tempera on panel
Pinacoteca di Brera, Italy
~1472-74
Madonna and Child with Saints(detail)
Madonna and Child with Saints(detail)
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Portraits of the Duke and Duchess of Urbino
Tempera on panel
47 × 66 cm
Urfield Museum, Italy
~1473
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Augustinian Nun, Augustinian Monk
Tempera on panel
~1426
Saint ApolloniaTempera on panel
38.8 × 28 cm
American National Gallery
~1455-1460
Portrait of a WomanTempera on panel
31.4 x 25.4 cm
Portrait of a Boy Tempera on panel
41 x 27.5 cm
Museo Nacional Thyssen-Bornemisza, Madrid
~1483
Sigismondo Pandolfo MalatestaOil and tempera on panel
44.5 × 34.5 cm
Paris, Musée du Louvre
~1450-51
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皮耶羅對藝術一往情深,十分重視透視學,他對歐幾里得 深有研究,因而比任何一個幾何學家更懂得規則的物體的曲線,我們所有關於這些問題的最清楚的闡釋,都來自於他。
——瓦薩里《著名畫家、雕塑家、建築家傳》
The Baptism of Christ Tempera on panel
168 × 116 cm
National Gallery, London
~1448-50
The Baptism of Christ (detail)
The Baptism of Christ (detail)
The Baptism of Christ (detail)
The Baptism of Christ (detail)
The Baptism of Christ (detail)
The Baptism of Christ (detail)
The Resurrection
Tempera on panel
225 x 200 cm
Museo Civico,Sansepolcro,Italy
~ 1459
The Resurrection(Detail)
The Resurrections (Detail)
The Resurrection(Detail)
The Resurrection(Detail)
The Resurrection(Detail)
The Resurrections (Detail)
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要知道,繪畫不是別的什麼東西,而是許多所見之物和許多所見之面的表達,這些所見之物和這些所見之面要在有限的平面上被縮小或放大,而且要縮小或放大到那種程度——使它們在不同角度下被眼睛所看見的那些真實物體和那些真實的面一模一樣。
沒有這種科學(指透視學),任何物體都不能被準確地縮小。
——弗朗切斯卡《論繪畫透視》
General view of the Cappella
Maggiore in San Francesco,Arezzo
General view of the Cappella
Exaltation of the Cross
Tempera on panel
Maggiore in San Francesco,Arezzo
~1460s
Exaltation of the Cross(detail)
Exaltation of the Cross(detail)
Exaltation of the Cross(detail)
Exaltation of the Cross(detail)
Exaltation of the Cross(detail)
Exaltation of the Cross(detail)
Exaltation of the Cross(detail)
Exaltation of the Cross(detail)
Death of Adam
Tempera on panel
390 x 747 cm
Maggiore in San Francesco,Arezzo
~1460s
Death of Adam(detail)
Death of Adam(detail)
Death of Adam(detail)
Death of Adam(detail)
Death of Adam(detail)
Death of Adam(detail)
Death of Adam(detail)
Death of Adam(detail)
Death of Adam(detail)
discovery and proof of the true cross
Tempera on panel
747 x 356 cm
Maggiore in San Francesco,Arezzo
~1460s
discovery and proof of the true cross(detail)
discovery and proof of the true cross(detail)
discovery and proof of the true cross(detail)
discovery and proof of the true cross(detail)
discovery and proof of the true cross(detail)
discovery and proof of the true cross(detail)
discovery and proof of the true cross(detail)
Procession of the Queen of Sheba
And Meeting between the Queen of Sheba and King Solomon
Tempera on panel
336 × 747cm
Maggiore in San Francesco,Arezzo
~1460s
Procession of the Queen of Sheba(detail)
Procession of the Queen of Sheba(detail)
Procession of the Queen of Sheba(detail)
Procession of the Queen of Sheba(detail)
Procession of the Queen of Sheba(detail)
Meeting between the Queen of Sheba and King Solomon(detail)
Meeting between the Queen of Sheba and King Solomon(detail)
Meeting between the Queen of Sheba and King Solomon(detail)
Meeting between the Queen of Sheba and King Solomon(detail)
Meeting between the Queen of Sheba and King Solomon(detail)
battle between heraclius and chosroes
Tempera on panel
747 x 329 cm
Maggiore in San Francesco,Arezzo
~1460s
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between heraclius and chosroes(detail)
battle between constantine and maxentius
Tempera on panel
764 x 322 cm
Maggiore in San Francesco,Arezzo
~1458
battle between constantine and maxentius(detail)
battle between constantine and maxentius(detail)
battle between constantine and maxentius(detail)
battle between constantine and maxentius(detail)
battle between constantine and maxentius(detail)
battle between constantine and maxentius(detail)
battle between constantine and maxentius(detail)
battle between constantine and maxentius(detail)
battle between constantine and maxentius(detail)
Giovanni di Piamonte, The Prophet Isaiah
Tempera on panel
Maggiore in San Francesco,Arezzo
~1455
Giovanni di Piamonte, The Prophet Isaiah(detail)
The Prophet Jeremiah
Tempera on panel
Maggiore in San Francesco,Arezzo
1455
The Prophet Jeremiah(detail)
The Prophet Jeremiah(detail)
Torture of the Jew
193 x 356cm
Tempera on panel
Maggiore in San Francesco,Arezzo
~1455
Torture of the Jew(detail)
Torture of the Jew(detail)
Torture of the Jew(detail)
Torture of the Jew(detail)
burial of the wood
190 x 356 cm
Tempera on panel
Maggiore in San Francesco,Arezzo
~1455
burial of the wood(detail)
burial of the wood(detail)
burial of the wood(detail)
Annunciation
Tempera on panel
193 x 329 cm
Maggiore in San Francesco,Arezzo
~1455
Annunciation(detail)
Annunciation(detail)
Annunciation(detail)
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皮耶羅最精彩的他是的“夜”(《康斯坦丁大帝之夢》constantines dream),不論想象力還是藝術性。一個按透視法縮短的天使,頭朝下飛去,把勝利的預兆帶給康斯坦丁,後者正睡在一個大帳篷裏,一名內侍和幾名士兵在一旁守衛。在夜晚的黑暗中,他們依稀可辨,天使以自己的光照亮帳篷、士兵和周圍的一切。這幅畫是精心之作,因爲皮耶羅讓我們知道了在這樣的黑暗中,把事物如實地、依據真實的模特兒描繪是多麼的重要。他做得很成功,致使後人可以跟隨他而在我們的時代中獲得他藝術的那種無上的完美。
——瓦薩里《著名畫家、雕塑家、建築家傳》
constantines dream
329x 190cm
Tempera on panel
Maggiore in San Francesco,Arezzo
~1455
constantines dream(detail)
constantines dream(detail)
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Four Saints
Maggiore in San Francesco,Arezzo
tempera on panel
~1460s
Four Saints(detail)
head of an angel
tempera on panel
Maggiore in San Francesco,Arezzo
~1460s
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繪畫包括三個主要部分,我們把這三部分稱之爲素描、測度(透視)和賦彩。我們說素描,是指包含在物體本身的側面和輪廓。我們說測度,是指把這些側面和輪廓成比例地安置在它正確的位置。我們說賦彩,是指把被畫之物呈現出來的顏色(依賴於光的強弱而呈現出來的明的和暗的顏色)塗在素描上。測度,我們把它稱之爲透視。
——弗朗切斯卡《論正確的形體》
The Flagellation
Oil and tempera on panel
58.4 × 81.5 cm
Italy,Galleria Nazionale delle Marche Urbino
~1454 -1460
The Flagellation(detail)
The Flagellation(detail)
The Nativity
Tempera on panel
122.6 x 124.5 cm
The National Gallery, England
~1470
The Nativity(detail)
The Nativity(detail)
The Nativity(detail)
The Crucifixion
Tempera on panel
~1460s
Virgin and Child Enthroned with Four Angels
Tempera on panel
107.8 × 78.4 cm
Clark School of art, Massachusetts, USA
~1460-1470
Madonna and Child with Saints
53.5 x 61 cm
Tempera on panel
Italy,the ducal palace of urbino and national gallery of brands
~1470
Polyptych of the Misericordia
Oil and tempera on panel
323 x 273 cm
Sansepolcro , Museo Civico
~1445-62
Polyptych of the Misericordia
(detail of the Madonna of Mercy)
Oil and tempera on panel
134 x 91 cm
Sansepolcro , Museo Civico
~1445-62
Polyptych of the Misericordia
(detail of the Madonna of Mercy)
Polyptych of the Misericordia
(detail of The Crucifixion)
Oil and tempera on panel
81 x 52 cm
Sansepolcro , Museo Civico
~1445-62
Polyptych of the Misericordia (detail of Saint Sebastian and Saint John the Baptist)
Oil and tempera on panel
108 x 90 cm
Sansepolcro , Museo Civico
~1445-62
Polyptych of the Misericordia (detail of Saint Sebastian and Saint John the Baptist)
Saint Sigismund and Sigismondo Malatesta
tempera on panel
257 x 345 cm
Rimini. San Francesco(Tempio Malatestiano)
Saint Sigismund and Sigismondo Malatesta (detail)
Penance of Saint Jerome
Tempera on panel
51 × 38 cm
Berlin, Gemaldegalerie Dahlem
~1450
Sant Jerome and a donor
Tempera on panel
40 x 42 cm
Venice, Gallerie dell' Accademia
saint Julian
Tempera on panel
105 x 130 cm
~1455-1460
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Saint Michael,SaintJohn the Evangelist,Saint Nicholas of Tolentino
oil and tempera on panel
133 × 59 cm x 3
The National Gallery, England
~1454-69
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皮耶羅·德拉·弗朗切斯卡(Piero della Francesca,約1415/1420-1492)來自托斯卡納省,後來成爲早期文藝復興最著名的藝術家之一。弗朗切斯卡早年受到優良教育,生前享有盛譽,許多富商都到他那裏訂畫,然而死後被人遺忘,直到20世紀才被人重新發現。他寫了大量關於數學和透視法的文章,晚年寫有論文《論繪畫透視》和《論正確的形體》兩篇。精準的線性透視法是其作品的主要特色,他在藝術實踐中把完善的透視、嚴謹的形體比例與細膩和諧的色彩合而爲一。他的許多作品都是花大量時間完成,背景刻畫十分細緻,光線清晰,空間距離感得到適當強調,構圖勻稱,他的風格對15世紀中葉的佛羅倫薩以及北意大利諸城有革命性的影響,推動了北部和中部意大利畫派的發展。
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微信設計:韓博
編輯:昌旭正
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