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美国纽约大都会艺术博物馆展品查阅
美国纽约大都会艺术博物馆展品查阅
美国大都会艺术博物馆中的24万件展品,图片展示以及中文和英文双语介绍(中文翻译仅供参考)
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品名(中)最后的晚餐
品名(英)The Last Supper
入馆年号1975年,1975.1.1915
策展部门罗伯特·雷曼典藏系列Robert Lehman Collection
创作者Bernard van Orley【1492 至 1542】【荷兰人】
创作年份公元 1520 - 公元 1530
创作地区
分类纺织品挂毯(Textiles-Tapestries)
尺寸131 7/8 x 137 13/16 英寸 (335 x 350 厘米)
介绍(中)这幅华丽的《最后的晚餐》是一系列四幅挂毯的一部分,设计于 1520 年左右,描绘了基督的受难,可能是为阿尔巴公爵编织的。该场景由奥地利玛格丽特的宫廷画家Bernaert van Orley设计,场景设置在精致的意大利文艺复兴时期的凉廊中,通过凉廊可以看到其他古典风格的建筑。大理石桥墩、带图案的桌布和虚构的壁挂对装饰细节的热爱表明了佛兰芒人对丰富表面装饰品的品味。基督以他巨大的灵光出现在构图的中心,他的右臂搂着熟睡的圣约翰,他伸出的左臂将观众的视线引向犹大,犹大在右下角起身离开,他的钱包里已经装满了他因承诺的背叛而收到的报酬。

《最后的晚餐》中的几个细节表明它是用新教的解释构思的。逾越节的羔羊缺席,桌子中央的盘子本来可以容纳它,支撑着装满葡萄酒的大圣杯,反映了马丁路德的信仰,他拒绝以被宰杀的羔羊为象征的弥撒牺牲的概念,作为一种可憎的东西,但支持分享面包和葡萄酒。面包被放在门徒面前的桌子上,一个摆放显眼、穿着华丽的旅店老板将酒从水壶里倒入前景中一位使徒的杯子里。在基督长袍的领口边缘刻着"MEI",这是他在擘饼和喝酒时说的话的片段,"这是为了纪念我。构图以及一些人物的姿势和手势的灵感来自阿尔布雷希特·丢勒 1510 年的木刻版画《最后的晚餐》。拉斐尔为挂毯系列《使徒行传》创作的漫画,受西斯廷教堂委托并送往布鲁塞尔编织,是范奥利和其他佛兰芒艺术家的重要模型,为当代罗马艺术的宏伟、英雄叙事风格提供了典范。在《最后的晚餐》中,由肌肉发达、修辞手势的人物组成,他们参与了高度戏剧性的时刻,范奥利充分意识到挂毯在模仿纪念性绘画方面的潜力。
介绍(英)This splendid Last Supper is part of a series of four tapestries, designed about 1520, illustrating the Passion of Christ and possibly woven for the duke of Alba. Designed by Bernaert van Orley, who was court painter to Margaret of Austria, the scene is set in an elaborate Italian Renaissance loggia, through which other classically inspired building are visible in the background. The love of decorative detail evident in the marble piers, the patterned tablecloth, and the fictive wall hangings signal the Flemish taste for rich surface ornament. With his enormous nimbus, Christ is shown at the center of the composition with his right arm around the sleeping Saint John and his outstretched left arm directing the viewer's eye toward Judas, who rises to leave in the lower right, his purse already filled with the payment he has received for his promised betrayal.

Several details in the Last Supper suggest it was conceived with a Protestant interpretation. The paschal lamb is absent and the dish at the center of the table that would have held it supports the large chalice filled with wine, reflecting the beliefs of Martin Luther, who repudiated the notion of the sacrifice of the Mass, symbolized by the slaughtered lamb, as an abomination, but supported the partaking of bread and wine. Bread has been placed on the table before the disciples, and a conspicuously placed, lavishly dressed innkeeper pours wine from a ewer into the cup of one of the apostles in the foreground. On the neckline border of Christ's robe is inscribed "MEI," a fragment of his words spoken at the breaking of bread and drinking of wine, "This do in remembrance of me." The composition as well as the poses and gestures of some of the figures are inspired by a 1510 woodcut of the Last Supper by Albrecht Dürer. Raphael’s cartoons for the tapestry series Acts of the Apostles, commissioned for the Sistine Chapel and sent to Brussels to be woven, were significant models for van Orley and other Flemish artists, providing a paradigm of the grand, heroic narrative style of contemporary Roman art. In the Last Supper, populated by muscular, rhetorically gesturing figures engaged in a moment of high drama, van Orley fully realized tapestry's potential for emulating monumental painting.
  大都会艺术博物馆,英文 Metropolitan Museum of Art,是美国最大的艺术博物馆,世界著名博物馆,位于美国纽约第五大道的82号大街。
  大都会博物馆回顾了人类自身的文明史的发展,与中国北京的故宫、英国伦敦的大英博物馆、法国巴黎的卢浮宫、俄罗斯圣彼得堡的艾尔米塔什博物馆并称为世界五大博物馆。