岩石悬崖侧面研究；诗句：山涧上的水坝 - 美国大都会艺术博物馆展品查阅

品名（中）	岩石悬崖侧面研究；诗句：山涧上的水坝
品名（英）	Study of the Side of a Rocky Cliff; Verso: Dam on a Mountain Stream
入馆年号	2001年，2001.444a, b
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Paulus Willemsz. van Vianen【1565 至 1619】【荷兰人】
创作年份	公元 1600 - 公元 1605
创作地区
分类	图画（Drawings）
尺寸	5 3/8 x 7 英寸 (13.7 x 17.8 厘米)
介绍（中）	艺术家保卢斯·范·维亚宁（Paulus van Vianen）最出名的是金匠，他一生的大部分时间都在布拉格的鲁道夫二世（1552-1612）宫廷工作。除了他的金属制品设计外，他绘制的作品中有相当一部分包括风景和自然研究。考虑到艺术家没有用这种图像进行绘画或印刷设计，我们可以假设范维亚宁纯粹是为了自己的乐趣而创作这些图画。他的素描具有显着的现实主义特征，在这方面可以被认为是当时艺术发展的说明：在十六世纪和十七世纪初的最后几十年，山水画向更大的现实主义迈进，远离更理想化和戏剧化的风景。荷兰艺术家罗兰特·萨弗里（Roelant Savery，1576-1639）和彼得·史蒂文斯（Pieter Stevens，1567-1626年后）也活跃在鲁道夫二世皇帝的宫廷中，是这一发展中最有影响力的人物之一。众所周知，Van Vianen与他的同胞一起走进大自然，研究当地的风景：Van Vianen和Stevens的几幅素描记录了其他艺术家坐在树林中，膝盖上放着素描本。由于我们的绘图有一个小钱包的大小，并且在背面和反面都经过处理，因此纸张很可能来自艺术家的素描本之一。斜面上的图画显示了对岩层的研究，这些岩层以精致的笔线和蓝色和棕色的水洗谨慎执行。Van Vianen细致地捕捉到了岩石不守规矩的表面的所有方面。相比之下，在第二个图片平面中，他选择了更自由的处理方式，主要使用刷子和蓝色水洗。反面包含山涧中小瀑布的草图。在这里，艺术家通过在稀疏的笔线上使用微妙的灰色洗涤，获得了流动的水及其闪光的有力暗示。
介绍（英）	The artist Paulus van Vianen is best known as a goldsmith, who worked for most of his life at the court of Rudolf II (1552–1612) in Prague. Apart from his designs for metalwork, a considerable part of his drawn oeuvre consists of landscapes and nature studies. Considering the fact that the artist made no paintings or print designs with such imagery, we can assume that Van Vianen made these drawings purely for his own pleasure. His sketches are characterized by a remarkable degree of realism, and in that respect can be considered illustrative of the artistic development at the time: during the last decades of the sixteenth- and early years of the seventeenth century, landscape painting made a leap towards greater realism, away from the more idealized and dramatized scenery. The Netherlandish artists Roelant Savery (1576–1639) and Pieter Stevens (1567–after 1626), also active at the court of Emperor Rudolf II, were among the most influential figures in this development. It is known that Van Vianen went out into nature together with his fellow countrymen to study the local scenery: several sketches by both Van Vianen and Stevens record other artists sitting amid the trees with sketchbooks on their lap. Since our drawing has the size of a small pocketbook, and is worked on both recto and verso are worked, it is likely that the sheet derived from one of the artist’s sketchbooks. The drawing on the recto shows a study of a rock formation cautiously executed in delicate pen lines and blue and brown washes. Van Vianen minutely captured all the facets of the rock’s unruly surface. In the second picture plane, in contrast, he chose a freer handling, mostly using brush and blue wash. The verso contains a sketch of a small waterfall in a mountain stream. Here, the artist obtained a powerful suggestion of the moving water and its shimmers, by using subtle gray washes over scanty pen lines.