苏格拉底之死 - 美国大都会艺术博物馆展品查阅

品名（中）	苏格拉底之死
品名（英）	The Death of Socrates
入馆年号	2013年，2013.59
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Jacques Louis David【1748 至 1825】【法国人】
创作年份	公元 1777 - 公元 1787
创作地区
分类	图画（Drawings）
尺寸	页: 9 5/8 × 14 7/8 英寸 (24.4 × 37.8 厘米)
介绍（中）	这张纸是雅克·路易·戴维后来在1787年的画作《苏格拉底之死》中对这个主题的早期探索http://www.metmuseum.org/art/collection/search/436105"target="_blank">31.45，1931年进入大都会博物馆收藏。它本质上是对私人收藏中一幅日期为1782年的松散草图的追踪或重新绘制（Rosenberg-Prat，2002，I，no.52，pp.71-72）。这两种早期治疗方法的特点是古希腊哲学家苏格拉底在牢房里，周围都是门徒。他因其非正统信仰被雅典法院判处死刑，准备用一杯铁杉喝水。他向上的手势表明他已经停下来阐述他的人类灵魂不朽理论 1786年，巴黎议会富有的顾问Charles Louis Trudaine de Montigny委托大卫创作了一幅关于这个主题的画作，大卫回到了这个主题。在这一点上，他制作了一幅快速完成的构图草图，也在博物馆收藏中（2015.149），融合了各种新思想。在后来的绘画中，他在左边增加了一个通向一组楼梯的拱形通道，并补充了右边的门徒数量。这些作品是大卫精心制作主要画布方法的特点。他通常从草图发展到许多更成品的构图al研究，在每次迭代中引入小的更改和改进。只有当构图得到很好的解决后，他才会开始研究个别人物。博物馆的藏品还包括克里托的窗帘研究（61.161.1），弟子坐在右边的方块上。（Perrin Stein，2017年7月）
介绍（英）	This sheet is an early exploration of the subject that Jacques Louis David would later treat in his 1787 painting, The Death of Socrates 31.45, which entered the Met’s collection in 1931. It is essentially a tracing or re-drawing of a looser sketch in a private collection (Rosenberg-Prat, 2002, I, no.52, pp.71-72) which bears a date of 1782. The composition of these two early treatments features the ancient Greek philosopher Socrates in his prison cell, surrounded by disciples. Sentenced to death by the Athenian courts for his unorthodox beliefs, he prepares to drink from a cup of hemlock. His gesture heavenward indicates that he has paused to expound upon his theory of the immortality of the human soul. David would return to the theme in 1786 when Charles-Louis Trudaine de Montigny, a wealthy conseiller in the Paris parliament, commissioned from him a painting on the subject. At that point, he made a quickly executed composition sketch, also in the museum’s collection (2015.149), incorporating various new ideas. In the later drawing, he has added recession with an arched passageway leading to a set of stairs on the left and supplemented the number of disciples on the right. These works are characteristic of David’s elaborate method of preparing his major canvases. He typically progressed from sketches to numerous more finished compositional studies, introducing small changes and refinements with each iteration. Only when the composition was fairly resolved would he begin making studies for individual figures. The museum’s collection also includes a drapery study for Crito (61.161.1), the disciple seated on the block to the right. (Perrin Stein, July 2017)