坐着的女神戴安娜（校长）；从后面看裸体男性躯干和腿（verso）的研究 - 美国大都会艺术博物馆展品查阅

品名（中）	坐着的女神戴安娜（校长）；从后面看裸体男性躯干和腿（verso）的研究
品名（英）	Seated Goddess Diana (recto); Studies of a Nude Male Torso Seen from the Rear, and a leg (verso)
入馆年号	1910年，10.45.4
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Parmigianino (Girolamo Francesco Maria Mazzola)【1503 至 1540】【意大利人】
创作年份	公元 1517 - 公元 1527
创作地区
分类	图画（Drawings）
尺寸	5 3/4 x 3 7/16英寸 (14.6 x 8.7厘米)
介绍（中）	这张早期床单正面的柔和绘制显然受到了科雷乔的《戴安娜》的启发，这幅壁画于1518-19年左右在帕尔马圣保罗照相机的壁炉上方绘制。绘画技术明显是Corregesque的，强化的轮廓充满了运动，尽管使用了阴影，但色调也很柔和。本研究被描述为科雷乔之后的"记忆复制品"，但它揭示了与科雷乔壁画在概念上的根本差异（女神展现出更紧凑的身体比例，坐在一个懒散、完全安静的姿势），这似乎是一件独立的作品。很可能是在丰塔内拉托Rocca Sanvitale的小房间里设计自己的戴安娜壁画周期的挑战刺激了Parmigianino的这一肖像创作。床单背面的躯干比例似乎更接近于科雷乔在圣保罗奥库利的相机壁画中的一些putti，或他在圣乔瓦尼福音教堂圆顶壁画中的半裸使徒的厚重解剖结构，而不是著名的Belvedere torso的原始结构。（这件现藏于梵蒂冈博物馆的希腊化大理石雕塑是16世纪初在罗马科隆纳宫（Palazzo Colona）创作的。）相反，这位艺术家可能是根据蜡模绘制躯干的，科雷乔也曾使用这种做法设计圣乔瓦尼·伊万杰利斯塔（San Giovanni Evangelista）的壁画。Parmigianino对约1522年在Louvere（波帕姆405号，第15页）的两次推杆的研究，在技术和实践方面与本表完全相似。这幅壁画很可能是在科雷乔完成《圣保罗的摄影机》壁画后不久制作的。这幅画的风格和技术表明它可以追溯到1522年左右，反映了Parmigianino和Correggio都在圣乔瓦尼福音派工作的那一刻（卡门C.班巴赫，2000年）
介绍（英）	The softly rendered drawing on the recto of this early sheet was clearly inspired by Correggio's Diana, frescoed around 1518-19 above the fireplace in the Camera di San Paolo in Parma. The drawing technique is palpably Correggesque, with reinforced contours full of movement and a sfumato effect of tone despite the use of hatching. The present study has been described as a "copy from memory" after Correggio, but it reveals such fundamental differences of conception with respect to Correggio's fresco (the goddess exhibits more compact bodily proportions, and is seated in a languid, entirely restful pose) that it seems an independent work. It may well be that the challenge of designing a Diana fresco cycle of his own in the small room at the Rocca Sanvitale in Fontanellato stimulated Parmigianino in this iconographic exercise. The proportions of the torso on the verso of the sheet seem closer to the hefty anatomy of some of the putti in Correggio's camera di San Paolo oculi frescoes, or of his semi-nude apostles in the dome frescoes at San Giovanni Evangelista than to the original of the famous Belvedere Torso, as has been suggested. (This Hellenistic marble sculpture now in the Vatican Museums was at the Palazzo Colonna in Rome in the early sixteenth century.) Rather the artist probably drew the torso after a wax model, a practice also used by Correggio to design the San Giovanni Evangelista frescoes. Parmigianino's studies of two putti in the Louvere (Popham no.405, pl.15) of ca.1522 offer an exact analogy to the present sheet in terms of technique and practice. The recto was most probably produced soon after Correggio completed the Camera di San Paolo frescoes. The style and technique of the drawing suggest that it dates from around 1522, reflecting the moment when Parmigianino and Correggio were both working in San Giovanni evangelista. (Carmen C. Bambach 2000)