侧面朝右的怪人头像 - 美国大都会艺术博物馆展品查阅

品名（中）	侧面朝右的怪人头像
品名（英）	The Head of a Grotesque Man in Profile Facing Right
入馆年号	1917年，17.142.3
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Leonardo da Vinci【1452 至 1519】【意大利人】
创作年份	公元 1500 - 公元 1520
创作地区
分类	图画（Drawings）
尺寸	(irregular): 3 5/8 × 2 1/8 英寸 (9.2 × 5.4 厘米)
介绍（中）	这幅画是在达芬奇的"蜥蜴保真寓言"（大都会艺术博物馆，编号 17.142.3）下发现的，当时后者于 1917 年从托马斯·纳什手中收购。当时，"寓言"被铰接在一座蓝色的支架上，上面刻着十九世纪早期法国人手中的铭文："de la main de Leonardo da Vinci and l'écriture est á gauche， et doit se lire dans une glace。这些评论显然是指带有长左手注释的"寓言"。在旧山的底部写着帕尔梅吉亚尼诺的名字，这似乎表明了法国收藏家J.-G偏爱的归属。罗格朗为本图。虽然这幅蜡笔的笔迹与帕尔马干酪的笔迹几乎没有相似之处，但署名并不完全是错误的，因为这位帕尔马斯大师确实在轮廓中绘制了过去与达芬奇的作品相混淆的人物（见第1972.118.264号）。通过将这幅画与达芬奇的亲笔签名作品如此接近，罗格朗可能希望暗示"帕尔梅吉亚尼诺"头像来自达芬奇的原作。卡洛·佩德雷蒂（Carlo Pedretti）于1973年将这幅画作为莱昂纳多的亲笔签名和迄今为止未出版的作品复制，他似乎没有意识到这幅画在1935年版的塞德利茨关于大师的作品中得到了插图。这个怪诞的头也以相同的方向出现在维万特·德农收藏的伦纳德式研究纸上，该研究现在在大英博物馆（Popham and Pouncey，1950 年，第 122 期，第 110 页）。佩德雷蒂建议在现在的图纸之后复制伦敦的头像;这似乎不太可能，因为伦敦的副本煞费苦心地模仿了达芬奇的左手阴影特征，而这里的阴影是模糊的垂直。现在的这幅画，枯燥而笨拙，似乎比大英博物馆的复制品离达芬奇更远。（卡门·班巴赫）
介绍（英）	This drawing was discovered underneath Leonardo's 'Allegory of the Fidelity of the Lizard' (Metropolitan Museum of Art, acc. no. 17.142.3) at the time of the acquisition of the latter from Thomas Nash in 1917. At that time the 'Allegory' was hinged to a blue mount bearing inscriptions in an early nineteenth-century French hand: "de la main de Leonardo da Vinci and l'écriture est á gauche, et doit se lire dans une glace." These comments obviously refer to the 'Allegory' with its long left-handed annotations. At the bottom of the old mount is penned the name Parmegianino, which seems to indicate the attribution preferred by the French collector J.-G. Legrand for the present drawing. Though the pen work in this head bears little resemblance to that of Parmigianino, the attribution is not entirely misdirected because the Parmese master did draw heads in profile that have in the past been confused with the work of Leonardo (see acc. no. 1972.118.264). By placing the present drawing in such close proximity to an autograph work by Leonardo, Legrand may have wished to suggest that the "Parmegianino" head derives from an original by Leonardo. Carlo Pedretti, who reproduced this drawing in 1973 as an autograph and hitherto unpublished work by Leonardo, does not seem to have been aware that it was illustrated in the 1935 edition of Seidlitz's work on the master. This grotesque head also occurs in the same direction on a sheet of Leonardesque studies from Vivant Denon's collection that is now in the British Museum (Popham and Pouncey, 1950, no. 122, pl. 110). Pedretti suggested that the London head is copied after the present drawing; this seems unlikely because the copy in London painstakingly imitates the left-handed shading characteristic of Leonardo, while the shading here is ambiguously vertical. The present drawing, dry and awkward in execution, seems a good deal further from Leonardo than is the copy in the British Museum. (Carmen C. Bambach)