家庭场景 - 美国大都会艺术博物馆展品查阅

品名（中）	家庭场景
品名（英）	A Domestic Scene
入馆年号	1972年，1972.133.2
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Annibale Carracci【1560 至 1609】【意大利人】
创作年份	公元 1582 - 公元 1584
创作地区
分类	图画（Drawings）
尺寸	页: 12 7/8 x 9 1/4 英寸 (32.8 x 23.6 厘米)
介绍（中）	这个温柔地观察家庭生活的场景，一位母亲在家里炉膛的小火炉前加热孩子的睡袍，而她的两个孩子和猫在一旁看着，可能可以追溯到 1580 年代初。安静亲密的气氛是卢多维科和安尼巴莱卡拉奇的革命流派研究和绘画中的一个显着特征。在这里，Annibale对水性苍白水洗的快速启发处理，这些水洗在纸张的白色表面上"以污渍的形式"（借用十六世纪意大利艺术理论家的恰当短语，他们欣赏这种类型的精湛素描），导致了色调的神奇效果。火发出的光是构图中的关键主角。艺术家使用水洗来定义形式一定是最大胆的绘图练习之一，因为他的自信是如此之大，以至于他显然是在没有任何底画的情况下即兴创作的。当这幅画被十八世纪的绘画鉴赏家皮埃尔-让·玛丽埃特（Pierre-Jean Mariette，1694-1774 年）收藏时，佛罗伦萨版画家文森佐·范格利斯蒂（Vincenzo Vangelisti，1740-1798 年）以棕色墨水印刷的混合方法雕刻和蚀刻反向复制了这幅画。这个设计的印象，带有莫里兹·冯·弗里斯和托马斯·劳伦斯的收藏家标记，这幅画本身的两位前任所有者，在大都会艺术博物馆（inv. 1972.133.2a）。这幅画于1954年在莱斯特展出，归属于E.K.沃特豪斯提出的巴尔托洛梅奥·谢多尼。这一建议并未被接受，尽管巴贝特·博恩（Babette Bohn）在2005年的专著中拒绝将这幅画归因于安尼巴莱或阿戈斯蒂诺·卡拉奇。
介绍（英）	This tenderly observed scene of family life, with a mother warming her child's nightgown before a small fire in the hearth of their home while her two children and cat look on, probably dates from the early 1580s. The mood of quiet intimacy is a striking characteristic in the revolutionary genre studies and paintings by Ludovico and Annibale Carracci. Here, Annibale's quick inspired handling of the watery pale washes, which run on the white surface of the paper "in the form of a stain" (to borrow the apt phrase of sixteenth-century Italian art theorists who admired this type of virtuoso sketching), leads to magical effects of tone. The light emanating from the fire is a key protagonist in the composition. The artist's use of wash to define form must rank among the most daring exercises of draftsmanship, for his self-confidence was such that he apparently improvised the drawing without any underdrawing whatsoever. When the drawing was in the collection of the Eighteenth-century drawing connoisseur Pierre-Jean Mariette (1694-1774) it was reproduced in reverse by the Florentine printmaker Vincenzo Vangelisti (1740-1798) in a mixed-method engraving and etching printed in brown ink. An impression of this design, bearing the collector's marks of Moriz von Fries and Thomas Lawrence, two previous owners of the drawing itself, is in the Metropolitan Museum of Art (inv. 1972.133.2a). The present drawing was exhibited in Leicester in 1954, with an attribution to Bartolomeo Schedoni, proposed by E. K. Waterhouse. This suggestion has not found acceptance, even though Babette Bohn in her monograph of 2005 rejected the attribution of the drawing either to Annibale or Agostino Carracci.