圣巴巴拉，坐在她的塔前 - 美国大都会艺术博物馆展品查阅

品名（中）	圣巴巴拉，坐在她的塔前
品名（英）	Saint Barbara, Seated Before her Tower
入馆年号	2022年，2022.3
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Cornelis van Noorde【1731 至 1795】【荷兰人】
创作年份	公元 1769
创作地区
分类	印刷品（Prints）
尺寸	图像: 12 1/4 英寸 × 7 英寸 (31.1 × 17.8 厘米) 页: 16 英寸 × 11 1/4 英寸 (40.6 × 28.6 厘米)
介绍（中）	扬·凡·艾克（Jan van Eyck）1437年的圣芭芭拉画作现藏于安特卫普美术博物馆，是十五世纪艺术的伟大杰作之一。作品徘徊在素描和绘画之间。1769年，科内利斯·范·努尔德（Cornelis van Noorde）在蚀刻，干点和柔软的地面上蚀刻了这幅画的真人大小的复制品，作为这幅画的传真。这幅版画是由当时住在哈勒姆的约翰内斯·恩舍德（Johannes Enschedé）委托和出版的。这幅版画以细致而富有创意的版画而著称，范·努尔德（Van Noorde）用来接近凡·艾克（Van Eyck）在面板上的精致绘画。艺术家与Jean-Francois Charpentier和Jean Baptiste LePrince同时在法国进行早期实验，用aquatint复制绘画，同时Cornelis Ploos van Amstel也在尝试蚀刻和aquattic以模仿荷兰的绘画。在这里，版画家采用了蚀刻、干点和可能的软地面蚀刻来模拟凡·艾克精致的绘画笔触。在天空中，原作中唯一被绘制的区域，Van Noorde使用轻微的划痕来温和地调节空间。如果不是右上角的阳光，艺术家故意清除这些划痕，并用柔软的地面蚀刻在球体上圈起来，这些划痕很容易被误认为是抛光印版时通常留下的划痕。这表明他打算保留剩余的划痕，以产生浅色，对比鲜明的色调。这种独特的复制作品与该时期的其他生殖版画不同。
介绍（英）	Jan van Eyck's painting of St. Barbara of 1437, now in the Museum of Fine Arts in Antwerp, is one of the great masterpieces of fifteenth-century art. The work hovers somewhere between drawing and painting. In 1769, Cornelis van Noorde etched a life-size reproduction of the painting in etching, drypoint, and soft ground, as a facsimile of the painting. The print was commissioned and published by the painting's owner at the time Johannes Enschedé who lived in Haarlem. The print is remarkable for the careful and inventive printmaking that Van Noorde used to approximate Van Eyck's delicate drawing on panel. The artist was working at the same time as Jean-Francois Charpentier and Jean Baptiste LePrince were making their early experiments to reproduce drawings with aquatint in France and at the same time that Cornelis Ploos van Amstel was also experimenting with etching and aquatint to imitate drawings in The Netherlands. Here, the printmaker employed etching, drypoint, and probably soft-ground etching to simulate Van Eyck's delicate painted strokes. In the sky, the only area in the original that is painted, Van Noorde employed light scratches to gently modulate the space. These scratches could easily be mistaken for the scratches normally left behind in polishing the printing plate were it not for the sun in the upper right corner where the artist has intentionally cleared these scratches away and circled the orb with brief touches of soft-ground etching. This suggests that he intended to keep the remaining scratches that create a light, contrasting tone.This unique work of reproduction is unlike other reproductive prints of the period.