基督和法利赛人；verso；基督和一个法利赛人 - 美国大都会艺术博物馆展品查阅

品名（中）	基督和法利赛人；verso；基督和一个法利赛人
品名（英）	Christ and the Pharisees; verso; Christ and a Pharisee
入馆年号	1980年，1980.515
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Anthony van Dyck【1599 至 1641】【佛兰德人】
创作年份	公元 1610 - 公元 1641
创作地区
分类	图画（Drawings）
尺寸	6 x 8 7/16 英寸 (15.2 x 21.5 厘米)
介绍（中）	虽然范戴克以肖像画家而闻名，但他在他的家乡安特卫普的成长时期创作了许多宗教作品。像他那一代的其他佛兰芒艺术家一样，他的图形风格受到鲁本斯的影响。在对新约主题基督和法利赛人的研究中（马太福音22：15-22），范戴克使用高度缩写的笔法将主要人物安排成浮雕般的构图。通过面部表情、手势和人物姿势之间的相互关系，范戴克探索了表达基督和法利赛人西门之间关于忠于律法的激烈辩论的方法。他将人物置于战斗位置，以严格的轮廓直接相对，并通过双手的相互作用将两者联系起来;他们的脸传达了争论的激烈程度。范戴克从文艺复兴时期硬币上的肖像中得出面部类型，并从拉斐尔为使徒行传的漫画中得出手势。然而，在构图、寻找正确的轮廓和块状形式方面，他模仿了他的主人鲁本斯的风格。
介绍（英）	Although best known as a portraitist, van Dyck executed many religious works during his formative period in his native city of Antwerp. Like other Flemish artists of his generation, his graphic manner was influenced by Rubens. In this study of the New Testament subject Christ and the Pharisees (Matthew 22:15–22), van Dyck arranged the primary figures in a relieflike composition using highly abbreviated penwork. Through facial expression, gesture, and the interrelationships between the poses of the figures, van Dyck explored the means to express the ferocity of the debate between Christ and Simon the Pharisee concerning fidelity to the law. He placed the figures in combative positions, directly opposite each other in strict profile, and connected the two through the interplay of their hands; their faces convey the intensity of the argument. Van Dyck derived the facial types from portraits on Renaissance coins, and the gestures from Raphael's cartoons for the Acts of the Apostles. In the composition, the search for the correct outline, and the blocky forms, however, he emulated the style of his master, Rubens.