两个持剑站立的人的研究（亚历山大大帝）；verso：腿、手臂、手和人物颈部的研究 - 美国大都会艺术博物馆展品查阅

品名（中）	两个持剑站立的人的研究（亚历山大大帝）；verso：腿、手臂、手和人物颈部的研究
品名（英）	Two studies of a Standing Man with a Sword (Alexander the Great); verso: Studies of a Leg, an Arm, a Hand, and a Figure's Neck
入馆年号	2014年，2014.151
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Peter Candid (Pieter de Witte, Pietro Candido)【1548 至 1628】【荷兰人】
创作年份	公元 1601
创作地区
分类	图画（Drawings）
尺寸	页: 7 1/2 × 6 1/2 英寸 (19 × 16.5 厘米)
介绍（中）	这张双面纸是描绘亚历山大大帝的巨大画布的准备图，这是 1601 年至 1605 年间在坎迪德的工作室为马克西米利安一世在慕尼黑的宫殿（Residenz）创作的八幅古代和早期巴伐利亚统治者的系列画作之一。亚历山大的画作在第二次世界大战期间在住宅的部分破坏中幸存下来，并留在慕尼黑（Residenz mit Innenhöfen，Gemäldedepot），展示了马其顿领导人与戈迪翁结。根据弗里吉亚人的传说，一位神谕预言，谁能够解开这个不可能的结，谁就能征服亚洲。亚历山大的解决方案是用剑砍它。与这幅画相关的三幅已知画作之一（另外两幅也在粉红色的纸上，分别在柏林和斯图加特[1]），这张纸揭示了坎迪德对英雄人物精心策划的早期阶段。在左边的直肠上，是对整个人物的研究，几乎可以肯定是从真人模特那里画出来的，几乎与他在最后一幅画中将采取的姿势一模一样，但只有粗略地指出了右手的传说结。铅白色水粉的笔触突出了身体的体积形式，并捕捉了剑的闪闪发光的金属。在右边的研究中，规模更大，可能来自雕塑模型，坎迪德将注意力集中在躯干的肌肉组织和适当的右大腿上，用黑色和红色的粉笔勾勒出，并用笔墨绘制。在反面，他专注于身体的各个部位：脖子、举起的手臂、握剑柄的手和右腿，画了两次，鞋子的可能性不同。这里所代表的调整和改进（特别是颈部和抬起的手臂的角度）似乎为柏林的绘画提供了信息，其中仍然裸体但戴着头盔的人物出现在他将在最后一幅画中穿的精致盔甲的研究旁边。最后，在斯图加特完全开发的模型中，Candid穿着服装绘制了人物，并详细渲染了手中的断结。（JSS， 8/23/2018） [1] Kupferstichkabinett， Staatliche Museen zu Berlin， Inv. KdZ 11671;萨姆隆，斯图加特国家美术馆，Inv. C 23/53。见Brigitte Volk-Knüttel， Peter Candid （um 1548-1628）： Gemälde， Zeichnungen， Druckgraphik （柏林： Deutscher Verlag für Kunstwissenschaft， 2010）， pp. 252-64， nos.Z45 和 Z50。
介绍（英）	This double-sided sheet is a preparatory drawing for a monumental canvas depicting Alexander the Great, one of a series of eight paintings of ancient and early Bavarian rulers executed in Candid’s studio between 1601 and 1605 for Maximilian I’s palace (Residenz) in Munich. The painting of Alexander, which survived the partial destruction of the Residenz during World War II and remains in Munich (Residenz mit Innenhöfen, Gemäldedepot), shows the Macedonian leader with the Gordion Knot. According to a Phrygian legend, an oracle had predicted that he who was able to untangle this impossible knot would conquer Asia. Alexander’s solution was to cut it with his sword. One of three known drawings related to this painting (the other two, also on pink-prepared paper, are in Berlin and Stuttgart[1]), the present sheet reveals an early phase of Candid’s meticulous planning of the heroic figure. On the recto, at left, is a study of the entire figure, almost certainly drawn from a live model, in nearly the exact pose he will assume in the final painting, but with only a cursory indication of the legendary knot in the proper left hand. Strokes of lead white gouache accentuate the volumetric forms of the body and capture the gleaming metal of the sword. In the study at right, larger in scale and possibly drawn from a sculptural model, Candid concentrates his attention on the musculature of the torso and proper right thigh, sketched with black and red chalk and worked up in pen and ink. On the verso, he focused on individual parts of the body: the neck, the raised arm, the hand gripping the hilt of the sword, and the right leg, drawn twice with different possibilities for the footwear. The adjustments and refinements represented here (particularly the angle of the neck and raised arm) appear to have informed the Berlin drawing, in which the figure, still nude but wearing a helmet, appears next to studies of the elaborate armor he will wear in the final painting. Finally, in the fully developed modello in Stuttgart, Candid drew the figure in costume and with a detailed rendering of the severed knot in his hand. (JSS, 8/23/2018) [1] Kupferstichkabinett, Staatliche Museen zu Berlin, Inv. KdZ 11671; Graphische Sammlung, Staatsgalerie Stuttgart, Inv. C 23/53. See Brigitte Volk-Knüttel, Peter Candid (um 1548-1628): Gemälde, Zeichnungen, Druckgraphik (Berlin: Deutscher Verlag für Kunstwissenschaft, 2010), pp. 252-64, nos. Z45 and Z50.