坐着的巨人 - 美国大都会艺术博物馆展品查阅

品名（中）	坐着的巨人
品名（英）	Seated Giant
入馆年号	1935年，35.42
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Goya (Francisco de Goya y Lucientes)【1746 至 1828】【西班牙人】
创作年份	公元 1818
创作地区	制造于: 西班牙（Made in: Spain）
分类	印刷品（Prints）
尺寸	Plate: 11 3/16 × 8 3/16 英寸 (28.4 × 20.8 厘米) Framed: 21 3/4 × 19 英寸 (55.2 × 48.3 厘米)
介绍（中）	完全以水色执行，这是戈雅技术上最具雄心勃勃但又神秘的版画之一。一个巨人主宰着荒凉的景观，在过渡的时刻被捕捉到。他把头转向我们，仿佛从沉思、沉睡或沮丧中醒来。也许他一直在等待新的一天的到来，因为那一刻已经到来。戈雅使用aquatine来实现明暗的微妙效果——这是一种描绘黄昏气氛并传达弥漫在构图中的不安感的恰当技术。目前尚不清楚戈雅何时制作了这幅画。它的年代可以追溯到 1800 年左右或"到 1818 年"。版画与普拉多博物馆的著名巨像画作之间有着密切的关系，这幅画被认为与半岛战争有关，象征着横冲直撞的暴君或抵御敌方入侵者的保护者。在位于荒凉之上的版画中，巨人可能体现了战争余波中的悲伤，凄凉的景观象征着残酷的冲突，而下方的白色条带则暗示着抹杀。这幅画长期以来一直被认为是戈雅的，但在 2008 年，普拉多博物馆将其指定为工作室作品，而不是大师本人的作品。没有达成共识，分歧仍在继续，但越来越多的人支持将其归还给戈雅。在关于这幅画的作者身份的辩论中，版画至关重要。如果这幅画是工作室的作品，那么艺术家从戈雅的版画中借用了巨像的形象。鉴于他的想象力和独创性，戈雅似乎不太可能从别人的画作中借用这个人物作为他版画的基础。（马克·麦克唐纳）
介绍（英）	Executed entirely in aquatint, this is one of Goya’s most technically ambitious yet enigmatic prints. A giant dominating a desolate landscape is captured in a moment of transition. He turns his head toward us as if roused from deep thought, slumber, or despondency. Perhaps he had been awaiting the dawning of a new day and turns because that moment has come. Goya used aquatint to achieve subtle effects of light and dark—an apt technique for depicting a crepuscular atmosphere and conveying the sense of unease that pervades the composition. It is not known exactly when Goya made this print. It has been dated from around 1800 or ‘by 1818'. There is a close relationship between the print and the famous painting of the Colossus in the Museo del Prado, a painting thought to relate to the Peninsular War, symbolizing either a rampaging tyrant or a protector against enemy invaders. In the print, positioned above the desolation, the giant might embody sorrow in war’s aftermath, the bleak landscape symbolizing brutal conflict and the lower white strip suggesting obliteration. The painting has long been attributed to Goya, but in 2008 the Prado Museum designated it as a studio work and not by the master himself. There is no consensus, and disagreement continues, but there is growing support for it to be returned to Goya. The print is critical in the debate about the authorship of the painting. If the painting is a studio work then the artist borrowed the figure of Colossus from Goya’s print. Given his imagination and originality, it seems highly unlikely that Goya would borrow the figure from someone else’s painting to use as the basis for his print. (Mark McDonald)