手持弓的站立男性裸体（“Poynter Apollo”） - 美国大都会艺术博物馆展品查阅

品名（中）	手持弓的站立男性裸体（“Poynter Apollo”）
品名（英）	Standing Male Nude Holding a Bow ("Poynter Apollo")
入馆年号	1963年，63.212
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Albrecht Dürer【1471 至 1528】【德国人】
创作年份	公元 1501 - 公元 1503
创作地区
分类	图画（Drawings）
尺寸	8 5/8 x 5 11/16 英寸 (21.9 x 14.5 厘米)
介绍（中）	随着艺术生涯的发展和对意大利艺术的接触不断增加，阿尔布雷希特·杜勒（Albrecht Dürer）越来越专注于研究和表现理想的人类比例。波因特·阿波罗（Poynter Apollo）以几个世纪以来拥有这件作品的几位收藏家之一的名字命名，是杜勒根据古典原型和古罗马建筑师维特鲁威（Vitruvius）的经典对男性裸体的四项研究之一，维特鲁威的论文在文艺复兴时期得到了重新审视和极大赞赏。这幅画还反映了杜勒对古代雕塑的体验和欣赏，尤其是最近被发现的阿波罗丽城，直到19世纪初，它都被认为是男性美的完美典范。这是Dürer通过绘画认识的，也是他寻找完美解剖结构的灵感来源。这项研究显示，阿波罗手持一把弓和一个地球仪，或是一个球体——这是神的众多属性中的两个——是在16世纪的头几年，在杜勒第一次和第二次访问意大利之间的一段时间内完成的。它是在两个不同的阶段制备的，从墨水的颜色和线条的性质可以看出。浅棕色的墨水轮廓可能是从现在伦敦大英博物馆的艺术家阿波罗和戴安娜的画作中太阳神的形象描绘出来的。然后，头发和造型线可能是徒手添加的，为艺术家提供了一种以其他方式渲染同一主题的练习。在1504年雕刻的《亚当与夏娃》中，杜勒对亚当的描绘紧跟着阿波罗的姿态。
介绍（英）	As his artistic career advanced and his exposure to Italian art grew, Albrecht Dürer became increasingly preoccupied with the study and representation of ideal human proportion. The Poynter Apollo, named for one of the several collectors who have owned the work over the centuries, is one of four studies by Dürer of the male nude based on classical prototypes and the canon of Vitruvius, the ancient Roman architect whose treatises were reexamined and greatly appreciated during the Renaissance. The drawing also reflects Dürer's experience of and admiration for antique sculpture–in particular, the Apollo Belvedere, which had been recently discovered and was considered the perfect example of male beauty until the beginning of the nineteenth century. It was known to Dürer through drawings and was a source of inspiration in his search for the perfect anatomy. This study, which shows Apollo holding a bow and a globe, or orb–two of the god's many attributes–was executed in the first years of the sixteenth century, during a period in between Dürer's first and second trips to Italy. It was prepared in two distinct stages, as can be seen from both the color of the inks and the nature of the lines. The light-brown ink contours may have been traced from the figure of the sun god in the artist's painting of Apollo and Diana, now in London's British Museum. The hair and modeling lines may have then been added freehand, providing the artist with an exercise in alternative ways of rendering the same subject. Apollo's pose was closely followed by Dürer in his depiction of Adam in the 1504 engraving Adam and Eve.