包皮环切术 - 美国大都会艺术博物馆展品查阅

品名（中）	包皮环切术
品名（英）	The Circumcision
入馆年号	1917年，17.37.36
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Hendrick Goltzius【1558 至 1617】【荷兰人】
创作年份	公元 1570 - 公元 1617
创作地区
分类	印刷品（Prints）
尺寸	图像: 18 1/4 x 13 13/16 英寸 (46.4 x 35.1 厘米)
介绍（中）	这幅版画所属的系列通常被称为Goltzius的Meisterstiche，或与他的伟大前任Albrecht Dürer的三幅著名的Meisterstiche相类比的杰作。在这一系列作品中，Goltzius在自己发明的作品中模仿了各种大师的风格，这是对精湛技艺的杰出展示。在这种情况下，他参考了《圣母的一生》系列中丢勒木刻《包皮环切术》的构图，但以大师的雕刻风格创作了他的新作品。Goltzius的传记作家van Mander回忆道，Goltzius对丢勒的模仿非常成功，以至于艺术爱好者将印象作为丢勒的原创作品购买。然而，Goltzius在人群中以正确的背景加入了自己的肖像，揭示了自己的欺骗行为，这是他在哈勒姆当地圣巴沃教堂拍摄的场景该系列中的其他四幅版画与各种意大利大师的作品有关，这些大师的作品不那么容易辨认；拉斐尔、帕尔米吉亚尼诺、雅各波·巴萨诺、提香和费德里科·巴罗奇已被提名。然而，Goltzius的模型似乎不是他们的绘画，而是北方雕刻师在他们工作后广泛流传的版画。在这个鉴赏家的谜题中，戈尔齐乌斯确立了他作为版画家的精湛技艺，超越了当代雕刻师，并试图与早期伟大的雕刻师平起平坐。从1590年代起，这种超越过去艺术家的努力主导了他的大部分艺术作品。
介绍（英）	The series to which this engraving belongs is commonly known as Goltzius's Meisterstiche, or masterpiece—by analogy with the three famous Meisterstiche by his great predecessor Albrecht Dürer. In a remarkable demonstration of virtuosity in the series, Goltzius imitated the styles of various masters in compositions of his own invention. In this case, he looked to the composition of Dürer's woodcut Circumcision from the series The Life of the Virgin, but created his new work in the engraving style of the great master. Goltzius's imitation of Dürer was so successful, his biographer van Mander recounted, that art lovers bought impressions as original works by Dürer. Goltzius, however, revealed his deception by including his own portrait among the crowd in the right background, a scene he set in the local Church of Saint Bavo in Haarlem. The four other prints in the series relate to the work of various Italian masters who are not as readily identifiable; Raphael, Parmigianino, Jacopo Bassano, Titian, and Federico Barocci have been proposed. Goltzius's models, however, do not seem to have been their paintings but the widely circulated prints by Northern engravers after their work. In this puzzle for connoisseurs, Goltzius established his virtuosity as a printmaker, outshining contemporary engravers and attempting to equal great early ones. Such efforts to outdo artists of the past dominated much of his artwork from the 1590s onward.