东方三博士的崇拜 - 美国大都会艺术博物馆展品查阅

品名（中）	东方三博士的崇拜
品名（英）	The Adoration of the Magi
入馆年号	1908年，08.227.30
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Guercino (Giovanni Francesco Barbieri)【1591 至 1666】【意大利人】
创作年份	公元 1625 - 公元 1630
创作地区
分类	图画（Drawings）
尺寸	页: 9 3/16 x 14 13/16 英寸 (23.3 x 37.7 厘米)
介绍（中）	虽然这幅画无法与盖奇诺现存的项目联系起来，但众所周知，他在皮亚琴察大教堂的圆顶上画了许多耶稣诞生的场景（1626-27），即牧羊人的崇拜。根据David Stone（1991）的说法，这可能是对这一壁画周期的一个未执行的想法的研究佛罗伦萨版画家弗朗切斯科·巴托洛齐（Francesco Bartolozzi，1727-1815）在一幅现已失传的同一主题的画作后，有一幅大型复制版画，该画作曾属于G.B.蒂波罗（哈佛大学，福格美术馆，发票号R11685）。蚀刻包含了许多构图相似的相同人物，印刷品在轮廓和色调范围上表现出非常相似的处理方式，以至于它可以直接来源于盖奇诺的钢笔和墨水画雅各布·比恩（Jacob Bean，1979）根据风格将这幅画的年代定为1620年代。然而，比较的一个很好的例子是瓦萨学院对皮亚琴察圆顶"神庙中的展示"的研究（见Bagni 1983，第47页），该研究以快速用笔探索用大胆的笔触塑造的跪着人物群为特色，尽管没有像博物馆的研究那样大量应用在稍早的一幅圣普罗斯珀的亲笔签名画中也可以看到非常相似的处理方式，一位女性（可能是圣母玛利亚），以及一幅Putto Carring A Model of Reggio Emilia（温莎皇家图书馆，inv.no.2553），这是一幅与圣母玛利亚、抹大拉、福音派圣约翰和圣普罗斯佩尔一起钉十字架的研究，1624-25年雷焦主教（雷焦艾米利亚，圣母玛利亚教堂）。在这项研究中，圣普洛斯珀的雕像与博物馆图纸上跪着的马格斯的雕像惊人地相似稍晚的例子是《刺杀阿姆农》的两幅画（温莎皇家图书馆，库存编号2398、2399），1628年同一主题的一幅现已失传的画作的研究，以及一幅《慈善与老人》的水墨画（伦敦，大英博物馆，库存编号1895-9-15-706），一项可追溯到1620年代的研究，但与任何已知的委员会无关（见Turner和Plazzotta 1991，第54号，第82页）。
介绍（英）	While the drawing cannot be connected to an extant project by Guercino, he is known to have painted a number of nativity scenes in the cupola of Piacenza Cathedral (1626-27), namely the Adoration of the Shepherds. According to David Stone (1991), it could be a study for an unexecuted idea for this fresco cycle. There exists a large reproductive etching by Florentine printmaker Francesco Bartolozzi (1727-1815) after a now lost drawing of the same subject that once belonged to G.B. Tiepolo (Harvard University, Fogg Art Museum, inv. no. R11, 685). The etching contains many of the same figures in a similar composition, and the print exhibits a very similar handling of outline and tonal range, so much so that it could have been derived directly from Guercino's pen and ink drawing. Jacob Bean (1979) dated the drawing to the 1620s on stylistic grounds. However, a good example for comparison is the Vassar College study for the ‘Presentation in the Temple’ from the Piacenza cupola (see Bagni 1983, no. 47), which features rapid pen exploration of a kneeling figure group modeled with bold strokes of wash, though not as heavily applied as in the Museum's study. A very similar treatment can also be seen in a slightly earlier autograph drawing of St. Prosper, a Woman (probably the Madonna), and a Putto Carrying a Model of Reggio Emilia (Royal Library, Windsor, inv. no. 2553), which is a study for a Crucifixion with the Madonna, The Magdalen, Saint John the Evangelist and St. Prosper, Bishop of Reggio of 1624-25 (Reggio Emilia, Church of the Madonna della Ghiara). In this study, the figure of St. Prosper is strikingly similar to that of the kneeling Magus from the Museum's sheet. Slightly later examples are two drawings for The Assassination of Amnon (Royal Library, Windsor, inv. nos. 2398, 2399), studies for a now lost painting of the same subject from 1628, and a richly-washed pen and ink drawing of Charity, with an Old Man (London, British Museum, inv. no. 1895-9-15-706), a study dated to the 1620s, but unrelated any known commission (See Turner and Plazzotta 1991, no. 54, p. 82).