来自十字架的沉淀 - 美国大都会艺术博物馆展品查阅

品名（中）	来自十字架的沉淀
品名（英）	The Deposition from the Cross
入馆年号	2001年，2001.89
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Domenico Campagnola【1500 至 1564】【意大利人】
创作年份	公元 1537 - 公元 1550
创作地区
分类	图画（Drawings）
尺寸	14 3/4 x 9 5/16 英寸 (37.4 x 23.7 厘米)
介绍（中）	这一强烈的悲伤场景描绘了死去的基督的尸体（刚刚从十字架上取下）在前景中被大幅缩短，一群哀悼者聚集在周围准备埋葬他的尸体。在左上角，一名与基督一起被钉在十字架上的小偷扭曲的尸体实际上被从十字架上取下，这个动作生动地向观众传达了这种处决的残忍。多梅尼科·坎帕尼奥拉是威尼斯画家兼版画家朱利奥·坎帕尼诺拉（约1482年，1515年后）的养子，这幅画用笔平行阴影和交叉阴影的高度表现力和图形化的方式似乎也是坎帕尼拉大师级版画的典型 Hans Tietze于1949年首次出版（完整参考文献请参见此处的"参考文献"），这项关于"沉积"的研究是多梅尼科绘图技巧的杰出例子，多梅尼科是提香圈子里的主要平面艺术家之一。尽管坎帕尼奥拉也是一名画家，但他作为版画家和绘图员的成就要大得多，尤其是在15世纪20年代，乔治、提香和多梅尼科的导师朱利奥·坎帕尼诺拉的例子在他脑海中记忆犹新。在这张纸中，艺术家以一种让人想起Baldung当代版画的方式构建了一个精心制作的动态构图，其不对称性、表现主义的手势和面部特征，以及缺乏对准确空间视角的关注。这是坎帕尼奥拉尝试过的最大胆、最雄心勃勃的作品之一，尽管字迹是提香式的，但它在形式和表达上表现出了一种受欢迎的个人主义，这在他的作品中是罕见的。以其生动的笔触和戏剧性的构图，它是艺术家最令人印象深刻的画作之一。
介绍（英）	This intense scene of grief portrays the body of the dead Christ (just taken down from the Cross) dramatically foreshortened in the foreground and a group of mourners gathering around to prepare his body for burial. At upper left, the distorted corpse of one of the thieves who was crucified with Christ is seen actually being detached from his cross, and the action vividly conveys to the viewer the brutality of such an execution. Domenico Campagnola was the adopted son of the Venetian painter and printmaker Giulio Campagnola (ca. 1482-after 1515) and the drawing's highly expressive, graphic manner of parallel hatching and cross-hatching of shadows with the pen also seems typical of Campagnola's masterful prints. First published by Hans Tietze in 1949 (see here 'References' for full bibliography), this study for a 'Deposition' is an outstanding example of the draftsmanship of Domenico , who was one of the leading graphic artists in Titian's circle. Although he was also a painter, Campagnola was much more accomplished as a printmaker and draftsman, especially during the 1520s, when the examples of Giorgione, Titian, and Domenico's mentor Giulio Campagnola were fresh in his mind. In this sheet, the artist constructed an elaborate and dynamic composition in a manner that recalls contemporary prints by Baldung in its asymmetry, expressionistic gestures and facial characterizations, and lack of concern for accurate spatial perspective. It is among the boldest and most ambitious compositions that Campagnola attempted and-although the handwriting is Titianesque-it displays a welcome individualism of form and expression rarely found in his work. In its lively pen strokes and dramatic composition it is among the most impressive drawings by the artist.