一名蓄胡子、带着头巾的男子背着箱子的研究 - 美国大都会艺术博物馆展品查阅

品名（中）	一名蓄胡子、带着头巾的男子背着箱子的研究
品名（英）	Study of a Bearded and Turbaned Man Carrying a Chest
入馆年号	2014年，2014.591
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Pieter Lastman【1583 至 1633】【荷兰人】
创作年份	公元 1625 - 公元 1630
创作地区
分类	图画（Drawings）
尺寸	页: 9 13/16 × 7 7/8 英寸 (25 × 20 厘米)
介绍（中）	阿姆斯特丹历史画家皮特·拉斯特曼（Pieter Lastman）的作品中，现存的画作不超过20幅。其中11项是用红色粉笔在橙色调的纸上进行的人物研究。虽然其中一些似乎是对特定画作的初步研究，但包括本页在内的其他作品可能是拉斯特曼在没有单一目的的情况下创作的，而是作为人物类型、姿势、面部表情、，和服装，他可以从中挑选出任何数量的图片——对于一个倾向于在作品中包括所描绘故事的核心和次要人物的艺术家来说，这是一个有用的资源博物馆画中的留着胡须、戴着头巾的男子准确地出现在未知的绘画作品中，但在1630年拉斯特曼的《朱诺的牺牲》（斯德哥尔摩国家博物馆）和1631年的《塞索斯特利斯的胜利》（旧金山荣誉军团）中，他让人想起了同样肌肉发达的人物，头向左，手臂弯曲。他还回忆起拉斯特曼1625年的画作中奥德修斯的形象，画中主人公拿着一个大型葡萄酒冷却器（伦勃朗故居，阿姆斯特丹）。画中男子所穿的东方头饰和全安蒂卡服装是拉斯特曼重新想象古代和圣经世界的标志该表具有从现场模型中提取的研究的所有特征。快速而生动地处理粉笔可以捕捉到男子抓住和举起胸部时胸部、手臂和腿部肌肉的收缩。身体的建模主要是通过树桩（将粉笔与卷起的纸或布摩擦和混合）来实现的。从生活中绘画的做法虽然在荷兰并非史无前例，但在下一代荷兰艺术家中会越来越普遍，拉斯特曼的作品对他们来说仍然是一个备受钦佩的例子。值得注意的是，1656年，他的前学生伦勃朗的财产清单中出现了一本他的绘画集，很可能是这些红粉笔研究（JSS，2018年7月5日）
介绍（英）	Not more than twenty surviving drawings are accepted as by the hand of the Amsterdam history painter Pieter Lastman. Eleven of them are figure studies executed in red chalk on orange-toned paper. While a few of these appear to be preliminary studies for specific paintings, others, including the present sheet, may have been produced by Lastman without a singular purpose in mind and served instead as a repertory of figure types, poses, facial expressions, and costumes from which he could cull for any number of pictures—a useful resource for an artist inclined to include in his works a preponderance of figures both central and subsidiary to the stories depicted. The bearded and turbaned man in the Museum’s drawing appears precisely in no known painting, but brings to mind similarly muscular figures with heads turned to the left and with bent arms in Lastman’s Sacrifice of Juno of 1630 (Nationalmuseum, Stockholm) and Triumph of Sesostris of 1631 (Legion of Honor, San Francisco). He also recalls the figure of Odysseus in Lastman’s 1625 painting of the hero carrying a large wine cooler (Rembrandt House, Amsterdam). The vaguely eastern headdress and all’antica costume worn by the man in the drawing are hallmarks of Lastman’s reimagination of the ancient and biblical worlds. The sheet has all the characteristics of a study drawn from a live model. A rapid and lively handling of chalk captures the contraction of the muscles in the man’s chest, arm, and leg as he grips and hoists the chest. Modeling of the body is achieved largely through stumping (the rubbing and blending of the chalk with rolled-up paper or cloth). The practice of drawing from life, while not unprecedented in the Netherlands, would become increasingly common amongst the next generation of Dutch artists, for whom Lastman’s work remained a much-admired example. Notably, an album of his drawings—very possibly these red chalk studies—appears in the 1656 inventory of the possessions of his former pupil Rembrandt. (JSS, 7/5/18)