卧河神 - 美国大都会艺术博物馆展品查阅

品名（中）	卧河神
品名（英）	Reclining River God
入馆年号	1961年，61.28
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Louis de Boullogne the Younger【1654 至 1733】【法国人】
创作年份	公元 1694 - 公元 1715
创作地区
分类	图画（Drawings）
尺寸	12 15/16 x 20 9/16 英寸 (32.9 x 52.2 厘米)
介绍（中）	Louis de Boullogne the Younger出生于一个画家家庭，成为跨越17世纪和18世纪的一代艺术家中的杰出成员。1681年，他被法兰西学院录取，1722年获得院长职位，1725年被任命为国王路易十四的第一位画家这幅学术裸体画是他许多充满活力的人生研究的典型例子，展现了一种自信的图形方式，将古典主义与魅力和优雅融合在一起。从职业生涯的早期起，小布洛涅就喜欢在蓝色纸上结合黑白粉笔进行构图研究和人物研究，后者有时作为学术练习，有时为绘画做准备这本充满活力的生活研究以其美丽的mise en page（放在床单上）描绘了河神以传统的斜倚姿势，但从后面看，他靠着一个大罐子休息，双臂举在空中。这位模特留着胡子，梳着一圈月桂枝，裹着只覆盖左腿顶部的窗帘。Louis de Boullogne专注于肌肉组织的渲染，通过将勾勒轮廓的柔软但有力的笔触与黑白粉笔的平行和交叉阴影相结合，描绘了河神的体力，以实现广泛的色调。这个寓言人物可以被认为是男性气概的化身，但也可以被视为富足的化身，因为他负责河流的源头 François Marandet最近指出，这幅画是对法国私人收藏的阿波罗和达芙妮画作中人物的研究。
介绍（英）	Louis de Boullogne the Younger was born into a family of painters and became a prominent member of the generation of artists who bridged the 17th and 18th centuries. Accepted at the Académie in 1681, he attained the position of director in 1722 and was appointed first painter to the king Louis XIV in 1725. This academic nude is a typical example of his many vigorous life studies, exhibiting a confident graphic manner that blends classicism with charm and grace. From very early in his career, Boullogne the Younger favored the combination of black and white chalks on blue paper for both composition studies and figure studies, the latter of which were sometimes executed as academic exercises and sometimes in preparation for paintings. With its beautiful mise en page (placement on the sheet), this energetic life study portrays the river god in a traditional reclining pose, but seen from behind, resting against a large jug with his arms raised in the air. Bearded and coiffed with a wreath of laurel branches, the model is swathed in drapery that only covers the top of his left leg. Focusing on the rendering of the musculature, Louis de Boullogne depicted the physical strength of the river god by combining supple but strong strokes that outline the contours, with parallel and cross-hatching in black and white chalk to achieve a broad range of tones. This allegorical figure can be considered as a personification of virility but also of abundance, since he is responsible for the sources from which spring the rivers. François Marandet has recently pointed out that this drawing is a study for a figure in a painting of Apollo and Daphne in a French private collection.