圣劳伦斯殉难 - 美国大都会艺术博物馆展品查阅

品名（中）	圣劳伦斯殉难
品名（英）	Martyrdom of St. Lawrence
入馆年号	1949年，49.97.537
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Cornelis Cort【1533 至 1578】【荷兰人】
创作年份	公元 1571
创作地区
分类	印刷品（Prints）
尺寸	页: 19 13/16 x 13 3/4 英寸 (50.3 x 34.9 厘米)
介绍（中）	作为他那个时代最著名的版画家之一，科内利斯·科特因其将色调转换为黑白版画的能力而备受钦佩。Cort在一定程度上通过一项重要的技术创新实现了这一点：这是一条雕刻线的本质，它是用一种工具（burin）切割的，这种工具的切割边缘达到一个尖锐的三角形点，从一个点开始，在中心几乎无法察觉地膨胀，最后又缩小到一个点。Cort利用了这种质量的burin线；通过在凿板时改变对工具的压力，他形成了一条沿着长度越来越粗的柔性线，在不增加额外线的情况下创造了不同程度的黑暗十六世纪上半叶，Marcantonio Raimondi通过使用统一线条的系统网络，成功地将拉斐尔移动人物的坚固轮廓和塑性形式转化为版画。但提香是一位以色彩而非色彩著称的艺术家，他寻求一位能够传达其画作所著名的不那么有形的氛围、色彩和光线的版画家，并特别委托科特在他的几项设计之后创作版画。这幅坚忍的圣劳伦斯在烤架上的形象融合了提香两幅画的元素；然而，为Cort柔软的线条提供如此美妙陪衬的滚滚浓烟只有在雕刻中才能找到。Cort的膨胀和渐缩线条对后来的雕刻师来说非常重要，如Agostino Carracci（意大利人，1557-1602）和Hendrick Goltzius（荷兰人，1558-1617）。
介绍（英）	One of the most famed printmakers of his day, Cornelis Cort was admired for his ability to translate tonal qualities into a black and white engraving. Cort accomplished this in part through an important technical innovation: It is the nature of an engraved line, cut as it is with a tool (the burin) whose cutting edge comes to a sharp triangular point, to begin as a point, swell almost imperceptibly at the center, and narrow to a point again at the end. Cort exploited this quality of the burin line; by varying his pressure on the tool as he gouged the plate, he developed a flexible line that becomes thicker and thinner along its length, creating various degrees of darkness without adding additional lines. In the first half of the sixteenth century, Marcantonio Raimondi had successfully translated the firm contours and plastic form of Raphael's mobile figures into engravings through the use of a systematic network of uniform lines. But Titian, an artist known for his colore rather than his disegno, sought a printmaker who could convey the less tangible atmosphere, color, and light for which his paintings were famed, and specifically commissioned Cort to create engravings after several of his designs. This image of the stoic Saint Lawrence upon the grill combines elements of two paintings by Titian; however, the billows of smoke that provide such a wonderful foil for Cort's supple line are found only in the engraving. Cort's swelling and tapering line would have great importance for subsequent engravers, such as Agostino Carracci (Italian, 1557–1602) and Hendrick Goltzius (Netherlandish, 1558–1617).