景观 - 美国大都会艺术博物馆展品查阅

品名（中）	景观
品名（英）	Landscape
入馆年号	1880年，80.3.442
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Gillis van Coninxloo【1544 至 1607】【荷兰人】
创作年份	公元 1550 - 公元 1649
创作地区
分类	图画（Drawings）
尺寸	12 11/16 x 14 3/16 英寸 (32.2 x 36 厘米)
介绍（中）	在未完成的状态下，这幅钢笔和水粉画的风景画有着近乎幽灵般的外观。这在一定程度上是由于棕色纸张上颜色的强烈对比。然而，最初，这张纸的外观会大不相同：图纸的边缘显示，纸实际上是蓝色的，但由于暴露在阳光下而变色。因此，在最初的状态下，水粉就不会那么突出了，而且这幅画会更清晰、更吸引人这幅风景画的匿名作者显然受到了荷兰画家Gillis Coninxloo作品的影响。Coninxloo工作于17世纪初，是森林景观发展的关键人物。他详细而逼真的森林内部与前几十年那些异想天开、矫揉造作的山谷截然不同。Coninxloo设计之后的各种版画被制作出来，增加了他的发明的传播，这些都是传播他的发明的重要手段看起来，这幅画的作者通过组合各种视觉元素来构成风景，这些视觉元素来源于这些版画。Coninxloo的例如，萨姆森杀死狮子的景观显示了山顶上一座极其相似的城堡，周围有各种拱形结构。《巴黎审判》的景观同样描绘了森林边缘的小屋，类似于我们画中的小屋。[1] 另一个表明这可能是抄写员的作品的迹象是，绘图员似乎一直专注于描绘他所描绘的结构的轮廓。他谨慎的线条缺乏原创设计师的自由度，而原创设计师的创作过程会显示出较少的预谋。很明显，这幅画还没有完成。可能是右上角溢出的油漆污渍导致艺术家丢弃了这张纸 [1]这一比较是由W.Wegner，"Zeichnungen von Gillis van Coninxloo und seiner Nachfolge"，Oud HollandLXXXII（1967），第215和221页进行的。
介绍（英）	In its unfinished state, this pen and gouache landscape has an almost ghost-like appearance. This is partly due to the strong contrast of the colors on the brown paper. Originally, however, the sheet would have had a very different appearance: the edges of the drawing show that the paper actually was blue, but has discolored due to the exposure to sunlight. In its original state, the gouaches therefore would not have stood out as much, and the drawing would have been more legible and appealing. The anonymous author of this landscape was clearly influenced by the works of the Dutch painter Gillis Coninxloo. Coninxloo worked in the early 1600s and was a pivotal figure in the development of the forest landscape. His detailed and realistic forest interiors were a distinct move away from the fanciful mannerist mountain valleys of earlier decades. Various prints after Coninxloo’s designs were made, increasing the dispersal of his inventions and these were an important means for the dispersal of his inventions. It has the appearance that the author of this drawing composed the landscape by assembling various visual elements, deriving from these engravings. Coninxloo’s Landscape with Samson Killing the Lion, for example, shows a strikingly similar castle on a hilltop with various arched structures surrounding it. The Landscape with the Judgement of Paris , likewise depicts cottages along a forest edge, resembling the ones in our drawing.[1] Another indication that this might be the work of a copyist is the fact that the draftsman seems to have been preoccupied with the delineation of the outlines of the structures he depicted. His cautious lines lack the freedom of an original designer, whose creative process would have shown less premeditation. Clearly, the drawing was left unfinished. Possibly the stains of spilled paint in the upper right led the artist to discard the sheet. [1] This comparison was made by W. Wegner, ‘Zeichnungen von Gillis van Coninxloo und seiner Nachfolge’, Oud Holland LXXXII (1967), p. 215 and 221.