拱顶装饰研究 - 美国大都会艺术博物馆展品查阅

品名（中）	拱顶装饰研究
品名（英）	Study for the Decoration of a Vault
入馆年号	1971年，1971.66.6
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Orazio Samacchini【1532 至 1577】【意大利人】
创作年份	公元 1532 - 公元 1577
创作地区
分类	图画（Drawings）
尺寸	15-3/8 x 10-1/16 英寸 (39.1 x 25.5 厘米)
介绍（中）	萨马奇尼曾在罗马短暂工作，但主要在他的家乡博洛尼亚及周边地区工作。1570年，他获得了在附近的帕尔马镇绘制大教堂北耳堂拱顶的委托。在这幅画中，Samacchini的耳堂装饰方案，一个坐着的《旧约》先知和一个异教徒的sibyl——这两种类型通常被认为是基督降临的预兆——被描绘在拱顶的四个角落，并伴随着putti 这种精致精致的设计的图像和风格的主要灵感来源于米开朗基罗在西斯廷天花板上的壁画（1508-12年），其以各种复杂的姿势交替出现的西伯利亚人和先知的不朽人物。与此同时，人物的压缩装饰排列和清脆的装饰线条更接近弗朗西斯科·萨尔维亚蒂和祖卡里的一些设计，他们与萨马奇尼同时在梵蒂冈宫装饰萨拉里贾。由于这些风格特征，这幅画之前被认为是Cherubino Alberti的作品这项研究的高度完成表明，它可能是一份供赞助人批准的招股说明书。然而，尽管它的细节水平很高，但构图与绘画版本并不完全一致。许多细微的变化，例如先知耶利米右手的手势，揭示了艺术家挑剔的工作方法。本研究的鉴定及其与帕尔马大教堂装饰的联系是由菲利普·庞西（1970）完成的（联邦公报，2015年）
介绍（英）	Samacchini worked briefly in Rome but primarily in his native Bologna and surrounding areas. In 1570 he secured the commission to paint the vault of the north transept of the cathedral in the nearby town of Parma. In this drawing, Samacchini's decorative scheme for the transept, a seated prophet of the old Old Testament and a pagan sibyl - both types generally understood to be harbingers of the coming of Christ - are depicted in each of the four corners of the vault, accompanied by putti. The iconography and style of this refined and polished design find their principal inspiration in Michelangelo's frescoes in the Sistine Ceiling (1508-12), with its alternating monumental figures of sibyls and prophets in a variety of complicated poses. At the same time, the compressed, decorative arrangement of the figures and the crisp, ornamental line are closer to some of the designs of Francesco Salviati, and the Zuccari, artists who were working on the decoration of the Sala Regia in the Vatican Palace at the same time as Samacchini. For these stylistic features, the drawing was previously attributed to Cherubino Alberti. This study's high degree of finish suggests that it may have served as a prospectus drawing for the patron's approval. Despite its level of detail, however, the composition does not correspond precisely to the painted version. Many subtle changes-for example, in the gesture of the right hand of the prophet Jeremiah-reveal the artist's fastidious working method. The identification of the present study and its connection with the decoration of the Cathedral of Parma is due to Philip Pouncey (1970). (F.R., 2015)