右臂抬起的坐姿老人（Tithonus）（直肠）；坐着的裸体青年（每日人物）（verso） - 美国大都会艺术博物馆展品查阅

品名（中）	右臂抬起的坐姿老人（Tithonus）（直肠）；坐着的裸体青年（每日人物）（verso）
品名（英）	Seated Old Man with Right Arm Upraised (Tithonus) (recto); Seated Nude Youth (figure of Day) (verso)
入馆年号	1970年，1970.168
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 1621
创作地区
分类	图画（Drawings）
尺寸	9 1/4 x 12 11/16 英寸 (23.5 x 32.2 厘米).
介绍（中）	这项生活研究是为提索努斯的老年形象设计的——黎明女神奥罗拉的被遗弃的情人——她坐在 1621 年绘制的罗马卢多维西赌场 Guercino 天花板壁画"极光"的左侧。以尖锐的"sotto in sù"（从下面看）视角投射，显示极光乘坐战车穿越天空，是意大利巴洛克幻觉天花板绘画传统的里程碑。Guercino是意大利巴洛克最伟大和最多产的绘图员之一，他用红色粉笔完成了这幅生动的绘画，从而有力地增强了图形和蓝纸之间的色彩对比。这幅壁画是由年轻的 Guercino 委托他于 1621 年 2 月 15 日被任命为罗马教廷的红衣主教和财务主管后不久由年轻的 Guercino 委托的。沃尔特·维茨图姆（Walter Vitzthum）在1968年（当时在佛罗伦萨艺术市场上）确定了这幅画，作为对卢多维西赌场中提索努斯形象的研究。反面的裸体青年由马洪（Mahon，1968 年，第 91 页）与天花板壁画一端下方的半月形中的戴人物联系起来（萨勒诺，1988 年，图 2，第 168 页）。卢多维西赌场的装饰可以追溯到1621年下半年。这一时期的可比粉笔研究是《死去的基督与天使》（1617-18）和《埃尔米尼亚》（1619-20）（温莎皇家图书馆，第2755、2898号;见马洪和特纳，1989年，猫。分别为第3、12号）。绘画技巧和风格独立地证实了这张纸的年代为 1621 年，因为与 1620 年代后期更精致的粉笔研究（受 1624 年访问帕尔马的影响）相比，该人物的内部建模相对广泛和绘画，例如 1625 年塞梅勒人物的研究（维也纳，阿尔贝蒂娜，第2395号）和1626-27年撒迦利亚雕像研究，为皮亚琴察大教堂（热那亚，罗索宫，第1118号;见：特纳和普拉佐塔，1991年，分别分类号57，58）。
介绍（英）	This study from life was intended for the elderly figure of Tithonus – the discarded lover of Aurora, goddess of dawn – who is seated on the left in Guercino's ceiling fresco of the ‘Aurora’ in the Casino Ludovisi, Rome, painted in 1621. Projected in sharp ‘sotto in sù’ (seen from below) perspective, the scene, showing Aurora crossing the heavens in a chariot, was a milestone in the Italian Baroque tradition of illusionistic ceiling painting. Guercino, one of the greatest and most prolific draftsmen of the Italian Baroque, realized this lively drawing with red chalk, thus powerfully enhancing the chromatic contrast between the figure and the blue paper. The fresco was commissioned from the young Guercino by Ludovico Ludovisi (1595-1632) soon after he was made cardinal and treasurer to the Holy See on February 15, 1621. Walter Vitzthum identified this drawing in 1968 (then on the Florence art market), as a study for the figure of Tithonus in the Casino Ludovisi. The nude youth on the verso was connected by Mahon (Mahon, 1968, p. 91), not entirely convincingly, to the figure of Day in a lunette below one end of the ceiling fresco (Salerno, 1988, fig.2, p. 168) . The Casino Ludovisi decorations date from the second half of 1621. Comparable chalk studies from this period are Dead Christ with an Angel (1617-18) and Erminia (1619-20)(Royal Library, Windsor, inv. nos. 2755, 2898; See Mahon and Turner, 1989, cat. nos. 3, 12, respectively). The drawing technique and style independently confirm the dating of this sheet to 1621, because the figure's interior modeling is relatively broad and painterly when compared with that of more refined chalk studies (influenced by a 1624 visit to Parma) from later in the 1620s, such as Study for a Figure of Semele of 1625 (Vienna, Albertina, inv. no. 2395) and Study for a Figure of Zechariah of 1626-27, for Piacenza Cathedral (Genoa, Palazzo Rosso, inv. no. 1118; see: Turner and Plazzotta, 1991, cat. nos. 57, 58, respectively).