評(píng)論
打印
The first great colourist to set Venetian art on this path
第一位將威尼斯藝術(shù)推上這條色彩之路
and to do it with a dazzling luminousness of oils on wood
并將絢爛多姿的油彩繪上了木頭的色彩畫家
was Giovanni Bellini.
就是喬凡尼.貝利尼
In his masterpiece, The Sacred Conversation,
在貝利尼位于圣匝加利亞教堂的名作
in the church of San Zaccaria,
《神圣的對(duì)話》中
Bellini shows he can do Renaissance perspective to perfection
他完美展現(xiàn)了文藝復(fù)興的藝術(shù)視角
but it's the intensity of the saturated colours
但真正傳達(dá)出貝利尼思想的
that delivers what Bellini really wants,
則是強(qiáng)烈而飽滿的色彩
harmony experienced physically,
所達(dá)到的一種和諧體驗(yàn)
so that the figures, even these very still ones,
即便是這些靜止不動(dòng)的人物
seem naturally alive.
看來也是栩栩如生
Bellini has thought about how different colour tones
貝利尼曾思考過不同的色調(diào)
work with each other.
如何相互輝映
St Peter's golden ochre on the left
左邊圣彼得的金赭石色
balanced with St Jerome's vermilion on the right.
與右邊圣哲羅姆的朱紅色相平衡
St Catherine's rose and green
圣凱瑟琳的玫紅和綠色
with St Lucy's vision of blue and gold.
則與圣露西的藍(lán)色與金色相平衡
And in the centre,
而在畫面中心
the Virgin and Child swathed in ultramarine,
圣母和圣童則被深藍(lán)色所圍繞
a pigment so precious
這種顏料非常珍貴
that it was most often reserved for the Madonna.
通常都會(huì)省下來用于繪制圣母像
If Bellini's colour music pulls you into a devotional trance,
如果說貝利尼的色彩樂章令人不禁心生神往
his pupil Titian would use that same glow of colour to flatter
那他的學(xué)生提香則用同樣的色彩技巧
the self-admiring world of the elite.
來討好自我感覺良好的貴族社會(huì)
Painted when Titian was in his 20s,
此畫創(chuàng)作于提香二十多歲時(shí)
this isn't just a portrait of a Venetian noble,
這不僅僅是一幅威尼斯貴族的肖像畫
but a painterly mission statement.
更是畫家的宗旨宣言
There, outrageously front and centre,
畫面前方正中用色狂放
painted in ultramarine mixed with some rose and white
用混合著些許玫紅和白色的深藍(lán)色
is a waterfall sleeve of Venetian colour
畫就了一只如瀑的袖子
drowning classical stone.
仿若威尼斯碧水下的沉石
Ten years later, Titian would unleash this same colour
十年后 提香又將同樣的顏色
with even fuller force in his stupendous masterpiece
更大膽地用在了他的驚世之作
