罗马废墟随想曲 - 美国大都会艺术博物馆展品查阅

品名（中）	罗马废墟随想曲
品名（英）	Capriccio with Roman Ruins
入馆年号	2005年，2005.330.5
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Francesco Guardi【1712 至 1793】【意大利人】
创作年份	公元 1720 - 公元 1793
创作地区
分类	图画（Drawings）
尺寸	页: 10 7/8 x 15 3/4 英寸 (27.6 x 40 厘米)
介绍（中）	虽然这幅大型作品的田园诗般的想象主题是18世纪中后期威尼斯绘画、素描和版画的典型，但正是瓜迪对这些绘画的认识将其列为艺术精湛的伟大壮举。在这里，景观以惊人的即时性和经济性表达出来，暗示着一个充满光线的空间，它逐渐神奇地融入了白皮书的远处。中心的一座古罗马凯旋门的废墟或多或少地构成了另一座更完整的建筑——后面是一座带三角墙的小寺庙。这位艺术家在画完这幅作品后，似乎考虑过在左边裁剪这幅作品，在拟议的切口处划一条石墨线，并在不想要的形式上涂抹一些污渍，以尽量减少它们。瓜迪绘画风格的特点之一是用抖动、断裂的线条快速地总结出形状的轮廓，以及大量使用石墨绘制。
介绍（英）	While the idyllic, imaginary subject matter of this large composition is typical of Venetian paintings, drawings, and prints of the mid- to late eighteenth century, it is Guardi's realization of such drawings that ranks them as great feats of artistic virtuosity. Here, the landscape is articulated with a stunning immediacy and economy of mark, suggesting a light-filled space that gradually and magically dissolves into the far distance of the white paper. The ruin of an ancient Roman triumphal arch at the center more or less frames another, more complete building-a small, pedimented temple-behind it. The artist seems to have considered cropping the composition at left, after having drawn it, by ruling a line in graphite at the proposed cut and smudging some wash over the undesired forms to minimize them. The quick manner of summing up the contours of the forms with jittery, broken lines and the extensive use of underdrawing in graphite are among the hallmarks of Guardi's drawing style.