藝興藍珊

藝興藍珊

2022/04/17
2022/05/09
<i>-藝術長河中的藍色</i>
展覽頁面呈現形式
縱式
策展者
國立中興大學 文創一 林冠希
國立中興大學 歷史四 魏孝安
國立中興大學 生管四 池昀緻
展覽封面
0eed897bcc23ebe1fb1128b7efb6a206
展覽資料
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Found in a shaft associated with the Upper Egyptian tomb chapel of \"The Steward, Senbi\", in what is now Meir, William dates from c. 1961 BC – c. 1878 BC, during the reigns of Senusret I and Senusret II.[2] This 20 cm (8 in) figurine in Egyptian faience, a clay-less material, has become popular not only for its endearing appearance but also because his defining characteristics illustrate many of the most salient facets of craft production in ancient Egypt during this time.\n\nWilliam is only one of several objects associated with the tomb of \"The Steward, Senbi\", which was acquired by the Metropolitan Museum in 1917. According to the Museum's Bulletin from that year, this hippopotamus is a \"particularly fine example of a type found, in common with various other animal forms, among the funerary furnishings of tombs of the Middle Kingdom\" and also an exemplary piece of Egyptian faience.[3] William may be seen in Gallery 111 at the Metropolitan Museum of Art in New York City.\n\nYear\tc. 1961 BC – c. 1878 BC\nMedium\tEgyptian faience\nDimensions\t11.2 cm × 7.5 cm × 20 cm (4.4 in × 3.0 in × 7.9 in)\nLocation\tMetropolitan Museum of Art, New York City", "primaryObj": { "oid": "69a6288b3551582afba2c35cac59ad7a", "title": "William", "desc": "\"William\", also known as \"William the Hippo\",[1] is an Egyptian faience hippopotamus statuette from the Middle Kingdom, now in the collection of the Metropolitan Museum of Art in New York City, where it serves as an informal mascot of the museum. Found in a shaft associated with the Upper Egyptian tomb chapel of \"The Steward, Senbi\", in what is now Meir, William dates from c. 1961 BC – c. 1878 BC, during the reigns of Senusret I and Senusret II.[2] This 20 cm (8 in) figurine in Egyptian faience, a clay-less material, has become popular not only for its endearing appearance but also because his defining characteristics illustrate many of the most salient facets of craft production in ancient Egypt during this time.\n\nWilliam is only one of several objects associated with the tomb of \"The Steward, Senbi\", which was acquired by the Metropolitan Museum in 1917. According to the Museum's Bulletin from that year, this hippopotamus is a \"particularly fine example of a type found, in common with various other animal forms, among the funerary furnishings of tombs of the Middle Kingdom\" and also an exemplary piece of Egyptian faience.[3] William may be seen in Gallery 111 at the Metropolitan Museum of Art in New York City.\n\nYear\tc. 1961 BC – c. 1878 BC\nMedium\tEgyptian faience\nDimensions\t11.2 cm × 7.5 cm × 20 cm (4.4 in × 3.0 in × 7.9 in)\nLocation\tMetropolitan Museum of Art, New York City", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/ab37a83466ec9562ef5745491341a08c.jpg?itok=NUsKqyvO", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/ab37a83466ec9562ef5745491341a08c.jpg?itok=30FMoi9g", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/ab37a83466ec9562ef5745491341a08c.jpg?itok=53N0Sg__", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/ab37a83466ec9562ef5745491341a08c.jpg?itok=WOU7Ds7B", "mfid": "ab37a83466ec9562ef5745491341a08c", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/ab37a83466ec9562ef5745491341a08c.jpg?itok=zZzcAIIu", "fileType": "image", "fileCreator": "", "rights": "Metropolitan Museum of Art, New York City", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-02.png?itok=fGKM5I0r", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "sortable": true, "type": "imgs-child", "weight": 2 } }, "musicName": "無", "weight": 3, "primaryObj": { "oid": "69a6288b3551582afba2c35cac59ad7a", "title": "William", "desc": "\"William\", also known as \"William the Hippo\",[1] is an Egyptian faience hippopotamus statuette from the Middle Kingdom, now in the collection of the Metropolitan Museum of Art in New York City, where it serves as an informal mascot of the museum. Found in a shaft associated with the Upper Egyptian tomb chapel of \"The Steward, Senbi\", in what is now Meir, William dates from c. 1961 BC – c. 1878 BC, during the reigns of Senusret I and Senusret II.[2] This 20 cm (8 in) figurine in Egyptian faience, a clay-less material, has become popular not only for its endearing appearance but also because his defining characteristics illustrate many of the most salient facets of craft production in ancient Egypt during this time.\n\nWilliam is only one of several objects associated with the tomb of \"The Steward, Senbi\", which was acquired by the Metropolitan Museum in 1917. According to the Museum's Bulletin from that year, this hippopotamus is a \"particularly fine example of a type found, in common with various other animal forms, among the funerary furnishings of tombs of the Middle Kingdom\" and also an exemplary piece of Egyptian faience.[3] William may be seen in Gallery 111 at the Metropolitan Museum of Art in New York City.\n\nYear\tc. 1961 BC – c. 1878 BC\nMedium\tEgyptian faience\nDimensions\t11.2 cm × 7.5 cm × 20 cm (4.4 in × 3.0 in × 7.9 in)\nLocation\tMetropolitan Museum of Art, New York City", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/ab37a83466ec9562ef5745491341a08c.jpg?itok=NUsKqyvO", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/ab37a83466ec9562ef5745491341a08c.jpg?itok=30FMoi9g", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/ab37a83466ec9562ef5745491341a08c.jpg?itok=53N0Sg__", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/ab37a83466ec9562ef5745491341a08c.jpg?itok=WOU7Ds7B", "mfid": "ab37a83466ec9562ef5745491341a08c", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/ab37a83466ec9562ef5745491341a08c.jpg?itok=zZzcAIIu", "fileType": "image", "fileCreator": "", "rights": "Metropolitan Museum of Art, New York City", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-02.png?itok=fGKM5I0r", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "title": "Egyptian Blue 埃及藍", "musicText": "", "musicURL": "", "desc": "<span>​​「埃及藍」,是史上最早出現的藍色合成顏料。古埃及人發現使用硅、黄銅、碱等元素與藍銅礦、孔雀石混合,加熱至攝氏千度左右後生成不透明的藍玻璃,將其粉碎並與增稠劑混合,就能夠變成恆久的藍色釉料。&nbsp;<br>現代科學家在識別古物時發現,埃及藍會發出紅外輻射在螢光燈下發光。<div><br></div></span>" }, "theme-bbaa9cbccz": { "id": "theme-bbaa9cbccz", "type": "theme", "sortable": true, "primaryObj": { "oid": "db7fe22f85efc676d0b6e74d29255dd2", "fileType": "image", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/7f1105ffadb7e3716a404dcb458e8f6f.jpg?itok=ccJd4yrH", "level": "primary", "title": "Louis XII of France Kneeling in Prayer, Accompanied by Saints Michael, Charlemagne, Louis, and Denis", "desc": "This leaf with its stirring portrait of Louis XII would originally have opened a lavish book of hours court artist Jean Bourdichon painted for him. The depiction of the king in his parade armor probably celebrates his recent coronation in 1498 and reflects an official image of the new king. Louis is presented (from left to right) by a number of royal saints: Saint Michael, the patron saint of the royal chivalric order; Saint Charlemagne, from whom the French kings traced their descent; Saint Louis of France, the king's namesake and his forebear on the throne; and Saint-Denis, the patron of the French royal household. The finely observed portrait of Louis XII shows Bourdichon at the height of his artistic powers.\n\nThe Hours of Louis XII was one of the greatest French manuscripts of its time. Only sixteen of the manuscript's original complement of miniatures have come to light, and the Getty has acquired three of them. The other two are an image of the Presentation in the Temple and a depiction of Bathsheba bathing.\n\n這張帶有路易十二肖像的葉子原本會打開一本奢華的書,其中包含宮廷藝術家讓·布爾迪雄為他繪製的時間。國王穿著遊行盔甲的描繪可能是為了慶祝他最近在 1498 年加冕,並反映了新國王的官方形象。聖路易斯被許多皇家聖徒(從左到右)介紹:聖邁克爾,皇家騎士團的守護神;聖查理曼大帝,法國國王的後裔;法國的聖路易斯,國王的同名,他的王位祖先;還有法國王室的守護神聖丹尼斯。精美的路易十二肖像展示了布爾迪雄的藝術力量。\n\n路易十二時代是最偉大的法國人之一當時的手稿。手稿的原始縮微圖只有 16 幅被曝光,蓋蒂獲得了其中的三幅。另外兩個是聖殿中的介紹圖像和拔示巴沐浴的描繪。\n詳細資訊\n\n標題: Louis XII of France Kneeling in Prayer, Accompanied by Saints Michael, Charlemagne, Louis, and Denis\n建立者: Jean Bourdichon\n建立日期: 1498/1499\n實際尺寸: Leaf: 24.3 × 15.7 cm (9 9/16 × 6 3/16 in.)\n類型: Detached leaf\n外部連結: Find out more about this object on the Museum website.\n材質: Tempera and gold on parchment\nTerms of Use: Open Content\nNumber: 2004.1.recto\nCulture: French\nCredit Line: The J. Paul Getty Museum, Los Angeles, Ms. 79a, recto\nCreator Display Name: Jean Bourdichon (French, 1457 - 1521)\nClassification: Manuscripts (Documents)", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/7f1105ffadb7e3716a404dcb458e8f6f.jpg?itok=091mdXCu", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/7f1105ffadb7e3716a404dcb458e8f6f.jpg?itok=uxHSK1U7", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/7f1105ffadb7e3716a404dcb458e8f6f.jpg?itok=6mySX0OA", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/7f1105ffadb7e3716a404dcb458e8f6f.jpg?itok=92krn9w-", "mfid": "7f1105ffadb7e3716a404dcb458e8f6f", "musicURL": "", "musicName": "", "fileCreator": "Jean Bourdichon 吉恩·波迪尚", "rights": "The J. Paul Getty Museum Los Angeles, 美國", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-04.png?itok=gq-PTcKL", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false }, "title": "中世紀", "desc": "光線、藍色、天堂", "musicName": "無", "weight": 4, "musicText": "", "musicURL": "" }, "basic-k06k6iahaf": { "id": "basic-k06k6iahaf", "type": "basic", "sortable": true, "primaryObj": { "oid": "a40935939db0228faa3230fffa3a6781", "fileType": "video", "fileURI": "https://plaza.openmuseum.tw/muse_download/d170cb0da8130f38ccc1ac4edbcb4ffd", "level": "primary", "title": "Giotto, Arena (Scrovegni) Chapel, c. 1305–06, fresco, Padua (part 1 of 4)", "desc": "", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/externals/ffb6b3d0d09ca1ac9b1faeeab1ecae93.jpg?itok=XlgVUucy", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/styles/thumbnail_medium/public/externals/ffb6b3d0d09ca1ac9b1faeeab1ecae93.jpg?itok=spodhuk2", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/styles/thumbnail_big/public/externals/ffb6b3d0d09ca1ac9b1faeeab1ecae93.jpg?itok=mc5EEjgl", "background": "https://plaza.openmuseum.tw/files/muse_plaza/styles/w1920/public/externals/ffb6b3d0d09ca1ac9b1faeeab1ecae93.jpg?itok=0Mwj9VjX", "mfid": "d170cb0da8130f38ccc1ac4edbcb4ffd", "musicURL": "", "musicName": "", "fileCreator": "", "rights": "YOUTUBE 頻道 Smarthistory : https://www.youtube.com/channel/UC3R-xanNgtoa8b7gpVexVlA", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-04.png?itok=gq-PTcKL", "fileLicence": "創用CC 姓名標示-非商業性-禁止改作", "fileDisableLink": "0", "fileOversize": false }, "title": "Giotto, Arena Chapel 喬托 斯科洛文尼教堂 藍色拱頂壁畫", "desc": "&nbsp; &nbsp; &nbsp; &nbsp;中世紀的神學認為,光線是感官世界里唯一一個既是可見的又是非物質的部分。它「讓難以形容之物變得可視」(聖奧古斯丁),從而成為神性的流露。<br>&nbsp; &nbsp; &nbsp; &nbsp;在之後的幾個世紀里,在西方藝術中,光線、金色、藍色幾乎成為神聖的代名詞。代表作品有1303年義大利文藝復興之父喬托在斯科洛文尼教堂的藍色拱頂壁畫,代表天堂意象。", "musicName": "無", "weight": 5, "musicText": "", "musicURL": "" }, "imgs-m57tf0yf99": { "id": "imgs-m57tf0yf99", "type": "imgs", "sortable": true, "multiObjs": [ { "oid": "2daf83c0f42eeaee3b9dbb40868afdfb", "title": "The Virgin and Child with Saints Dominic and Aurea", "desc": "The seven figures in the tympanum above the central panel, are the Old Testament prophets Daniel, Moses, Isaiah, David, Abraham, Jacob, and Jeremiah; on the left-wing, Saint Dominic; on the right-wing, Saint Aurea (probably Aurea of Ostia).\n\nIt may have been made for the private devotion of Cardinal Niccolò da Prato (died 1321), a high-ranking Dominican who was Cardinal of Ostia and would therefore have had reason to venerate Saint Aurea of Ostia, otherwise rarely shown.\n\nThis type of small-scale altarpiece with closing shutters was intended to be portable. The dimensions of this triptych are identical to those of a triptych of 'The Crucifixion with Saints Nicholas and Gregory' on the shutters (Boston, Museum of Fine Arts) which also seems to have been painted in Duccio's workshop. The exterior of the shutters in both triptychs have the same geometric patterns. The geometric patterns painted on the shutters prompt the worshipper as to the correct order of opening.\n\n杜喬是 14 世紀意大利最重要的畫家之一。他經營著一個大型工作室,塑造了幾代錫耶納藝術家。他的學生對佛羅倫薩藝術產生了影響。\n他最偉大的作品是雙面祭壇畫“Maestà”,製作於 1308-11 年間。畫廊的“天使報喜”、“耶穌打開了一個天生盲人的眼睛”和“變形”都是其中的片段。\n杜喬的出生日期不詳,但他於 1278 年活躍於錫耶納,並在那裡度過了大部分的工作生涯。他在中世紀藝術家中是不尋常的,因為他有很好的記錄。杜喬的藝術以拜占庭為基礎來源,但深受皮薩尼雕塑和法國哥特式金屬製品的影響。他的作品在線條、色彩和圖案的運用上兼具裝飾性和極強的表現力。與他年輕的同時代人喬托相比,他對音量不感興趣。\n“The Maestà”是有史以來最大、最複雜的祭壇畫之一。它的影響可以在錫耶納畫家Ugolino的祭壇畫的 predella 面板中看到,它模仿了“Maestà”中對主題的處理。\n詳細資訊\n\n標題: The Virgin and Child with Saints Dominic and Aurea\n建立者: Duccio\n建立日期: about 1312-15 (?)\n實際尺寸: 61.4 x 39.3 cm\n類型: Painting\n材質: Egg tempera on wood\nSchool: Italian (Sienese)\nMore Info: Explore the National Gallery’s paintings online\nInventory number: NG566\nFull Title: The Virgin and Child with Saint Dominic and Saint Aurea, and Patriarchs and Prophets\nArtist Dates: active 1278; died 1319\nArtist Biography: Duccio was one of the most important painters of 14th-century Italy. He ran a large workshop that shaped generations of Sienese artists. His pupils were influential on Florentine art. His greatest work was the double-sided altarpiece, the 'Maestà', made between 1308-and 11. The Gallery's 'The Annunciation, 'Jesus opens the Eyes of a Man born Blind' and 'The Transfiguration' are fragments from it. Duccio's date of birth is not known but he was active in Siena by 1278 and spent most of his working life there. He is unusual among medieval artists for being well documented. Duccio's art is based on Byzantine sources but was deeply influenced by the sculpture of the Pisani and by French Gothic metalwork. His work is both decorative in the use of line, color, and pattern, and highly expressive. He is less interested in volume than his younger contemporary Giotto. 'The Maestà' was one of the largest and most complex altarpieces ever produced. Its influence can be seen in the predella panels for an altarpiece by the Sienese painter Ugolino, which imitates the treatment of subjects in the 'Maestà'.\nAcquisition Credit: Bought, 1857", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/77a69d4e9e699487e2a8c323816a1b1f.jpg?itok=l1x4T0oo", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/77a69d4e9e699487e2a8c323816a1b1f.jpg?itok=FuwKgGSA", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/77a69d4e9e699487e2a8c323816a1b1f.jpg?itok=cJ-82g0S", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/77a69d4e9e699487e2a8c323816a1b1f.jpg?itok=3lWnU2qs", "mfid": "77a69d4e9e699487e2a8c323816a1b1f", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/77a69d4e9e699487e2a8c323816a1b1f.jpg?itok=MoxNVs63", "fileType": "image", "fileCreator": "Duccio 杜喬", "rights": "The National Gallery, London 英國", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-01.png?itok=DszBk5va", "fileLicence": "創用CC 姓名標示-非商業性-禁止改作", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, { "oid": "4ba2cfcffc4ce65b552d236270d2c962", "title": "Madonna and Child with Saints Jerome, John the Baptist, Bernardino and Bartholomew", "desc": "With its gold-ground and tempera technique, this devotional altarpiece is an example of the international Gothic style that survived in Siena well into the fifteenth century. Noted for the richness and variety of his palette, Sano di Pietro was a successful master who ran a busy workshop in that city. He seems to have been familiar with Venetian religious painting, a certain Byzantine preciousness being part of his repertoire. A number of Sano's subjects focused on the life and works of San Bernardino, a controversial local saint the painter had known personally. It was Bernardino who conceived the device of the Holy Name in the Sun, an emblem in which twelve solar rays represented twelve articles of faith promulgated by the Apostles. For this doctrinal innovation, he was charged with heresy. In this panel, Bernardino's participation is restricted to that of an auxiliary figure. Appropriately, it is the blue-mantled Virgin and her delightful infant who hold our attention.\nAGNSW Handbook, 1999.\n\n 憑藉其金底和蛋彩畫技術,這個虔誠的祭壇畫是在錫耶納倖存到 15 世紀的國際哥特式風格的一個例子。Sano di Pietro以其豐富多樣的調色板而著稱,他是一位成功的大師,他在那個城市經營著一家繁忙的工作室。他似乎對威尼斯的宗教繪畫很熟悉,某種拜占庭式的珍貴是他的作品的一部分。薩諾的一些主題集中在聖貝納迪諾的生平和作品上,這位畫家親自認識的有爭議的當地聖人。是伯納迪諾構思了太陽聖名的裝置,這是一個像徵,其中十二條太陽光線代表使徒頒布的十二條信條。對於這一教義創新,他被指控為異端。在這個小組中,貝納迪諾的參與僅限於輔助人物。恰當地,吸引我們注意力的是藍披風的處女和她可愛的嬰兒。\n詳細資訊\n\n標題: Madonna and Child with Saints Jerome, John the Baptist, Bernardino and Bartholomew\n建立者: Sano di Pietro\n建立日期: 1450-1481\n實際尺寸: 60.5 x 43.2 cm panel; 93.5 x 52.2 x 9.0 cm frame\n出處: Sir Thomas Neave, 19th century, Essex/England Joanna Parsons, pre 10 Apr 1970, England, Sold Christie's London, 10 April 1970, lot no. 92 Jocelyn Fielding, 10 Apr 1970-Oct 1970?, England, Purchased Christie's London, 10 April 1970, lot no. 92 Agnew's, London, Oct 1970, London/England, Purchased by John Fairfax and Sons Ltd from the exhibition 'Paintings and drawings from Agnew's London', held at David Jones Art Gallery, Sydney 7-24 October 1970 John Fairfax & Sons, Oct 1970-18 Apr 1971, Australia, Gift of John Fairfax and Sons 1971\n類型: Painting\n權利: Gift of John Fairfax and Sons Ltd. to commemorate the 140th anniversary of the founding of the Sydney Morning Herald 1971\n材質: gold leaf and tempera on panel\nSignature & Date: Not signed. Not dated.\nObject Other Titles: Virgin and Child with Sts Jerome, John the Baptist, Bernard and Bartholomew\nArtist Country: Italy", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/06ac64854b6e25b637f928d664611e95.jpg?itok=z7V2w3hh", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/06ac64854b6e25b637f928d664611e95.jpg?itok=ZJlVjYdw", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/06ac64854b6e25b637f928d664611e95.jpg?itok=BIBw_7kC", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/06ac64854b6e25b637f928d664611e95.jpg?itok=v_XUB0PK", "mfid": "06ac64854b6e25b637f928d664611e95", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/06ac64854b6e25b637f928d664611e95.jpg?itok=CJCjHhAz", "fileType": "image", "fileCreator": "Sano di Pietro", "rights": "Art Gallery of New South Wales Sydney, 澳洲", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-03.png?itok=h0rkcAOw", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, { "oid": "db7fe22f85efc676d0b6e74d29255dd2", "title": "Louis XII of France Kneeling in Prayer, Accompanied by Saints Michael, Charlemagne, Louis, and Denis", "desc": "This leaf with its stirring portrait of Louis XII would originally have opened a lavish book of hours court artist Jean Bourdichon painted for him. The depiction of the king in his parade armor probably celebrates his recent coronation in 1498 and reflects an official image of the new king. Louis is presented (from left to right) by a number of royal saints: Saint Michael, the patron saint of the royal chivalric order; Saint Charlemagne, from whom the French kings traced their descent; Saint Louis of France, the king's namesake and his forebear on the throne; and Saint-Denis, the patron of the French royal household. The finely observed portrait of Louis XII shows Bourdichon at the height of his artistic powers.\n\nThe Hours of Louis XII was one of the greatest French manuscripts of its time. Only sixteen of the manuscript's original complement of miniatures have come to light, and the Getty has acquired three of them. The other two are an image of the Presentation in the Temple and a depiction of Bathsheba bathing.\n\n這張帶有路易十二肖像的葉子原本會打開一本奢華的書,其中包含宮廷藝術家讓·布爾迪雄為他繪製的時間。國王穿著遊行盔甲的描繪可能是為了慶祝他最近在 1498 年加冕,並反映了新國王的官方形象。聖路易斯被許多皇家聖徒(從左到右)介紹:聖邁克爾,皇家騎士團的守護神;聖查理曼大帝,法國國王的後裔;法國的聖路易斯,國王的同名,他的王位祖先;還有法國王室的守護神聖丹尼斯。精美的路易十二肖像展示了布爾迪雄的藝術力量。\n\n路易十二時代是最偉大的法國人之一當時的手稿。手稿的原始縮微圖只有 16 幅被曝光,蓋蒂獲得了其中的三幅。另外兩個是聖殿中的介紹圖像和拔示巴沐浴的描繪。\n詳細資訊\n\n標題: Louis XII of France Kneeling in Prayer, Accompanied by Saints Michael, Charlemagne, Louis, and Denis\n建立者: Jean Bourdichon\n建立日期: 1498/1499\n實際尺寸: Leaf: 24.3 × 15.7 cm (9 9/16 × 6 3/16 in.)\n類型: Detached leaf\n外部連結: Find out more about this object on the Museum website.\n材質: Tempera and gold on parchment\nTerms of Use: Open Content\nNumber: 2004.1.recto\nCulture: French\nCredit Line: The J. Paul Getty Museum, Los Angeles, Ms. 79a, recto\nCreator Display Name: Jean Bourdichon (French, 1457 - 1521)\nClassification: Manuscripts (Documents)", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/7f1105ffadb7e3716a404dcb458e8f6f.jpg?itok=091mdXCu", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/7f1105ffadb7e3716a404dcb458e8f6f.jpg?itok=uxHSK1U7", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/7f1105ffadb7e3716a404dcb458e8f6f.jpg?itok=6mySX0OA", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/7f1105ffadb7e3716a404dcb458e8f6f.jpg?itok=92krn9w-", "mfid": "7f1105ffadb7e3716a404dcb458e8f6f", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/7f1105ffadb7e3716a404dcb458e8f6f.jpg?itok=ccJd4yrH", "fileType": "image", "fileCreator": "Jean Bourdichon 吉恩·波迪尚", "rights": "The J. Paul Getty Museum Los Angeles, 美國", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-05.png?itok=0rVBS4da", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, { "oid": "4ef5409fcfb50b6167f3a29ebd835548", "title": "The Ognissanti Madonna", "desc": "The panel from 1306-10, ca. was originally placed on the old partition wall of the church of Ognissanti, officiated by the Umiliati friars before it was moved to their convent, at least by the end of the 17th century. In 1810, following the French suppression of convents, it was placed in the Accademia. It has been in the Uffizi since 1919.\n約 1306-10 年的面板。最初放置在Ognissanti 教堂的舊隔牆上,由 Umiliati 修道士主持,然後至少在 17 世紀末搬到他們的修道院之前。1810年,在法國鎮壓修道院後,它被安置在學院。自 1919 年以來,它一直在烏菲茲美術館\n\n詳細資訊\n\n標題: The Ognissanti Madonna\n建立者: Giotto\n建立日期: 1306 - 1310\n實際尺寸: w2040 x h3250 mm\nStyle: Gotic/ Altarpiece\nProvenance: Church of Ognissanti in Florence\nOriginal Title: Maestà\n類型: painting\n材質: Tempera on panel", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/41ef4091288b102d137a56115b61466d.jpg?itok=aziM79kD", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/41ef4091288b102d137a56115b61466d.jpg?itok=tZfkYywZ", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/41ef4091288b102d137a56115b61466d.jpg?itok=4nPZgBRA", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/41ef4091288b102d137a56115b61466d.jpg?itok=Z9sS76_i", "mfid": "41ef4091288b102d137a56115b61466d", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/41ef4091288b102d137a56115b61466d.jpg?itok=Kdw8DMyp", "fileType": "image", "fileCreator": "喬托·迪·邦多納 Giotto", "rights": "Uffizi Gallery", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-03.png?itok=h0rkcAOw", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" } ], "items": { "imgs-m57tf0yf99-yppwl3n2j8": { "id": "imgs-m57tf0yf99-yppwl3n2j8", "title": "The Virgin and Child with Saints Dominic and Aurea", "desc": "The seven figures in the tympanum above the central panel, are the Old Testament prophets Daniel, Moses, Isaiah, David, Abraham, Jacob, and Jeremiah; on the left-wing, Saint Dominic; on the right-wing, Saint Aurea (probably Aurea of Ostia).\n\nIt may have been made for the private devotion of Cardinal Niccolò da Prato (died 1321), a high-ranking Dominican who was Cardinal of Ostia and would therefore have had reason to venerate Saint Aurea of Ostia, otherwise rarely shown.\n\nThis type of small-scale altarpiece with closing shutters was intended to be portable. The dimensions of this triptych are identical to those of a triptych of 'The Crucifixion with Saints Nicholas and Gregory' on the shutters (Boston, Museum of Fine Arts) which also seems to have been painted in Duccio's workshop. The exterior of the shutters in both triptychs have the same geometric patterns. The geometric patterns painted on the shutters prompt the worshipper as to the correct order of opening.\n\n杜喬是 14 世紀意大利最重要的畫家之一。他經營著一個大型工作室,塑造了幾代錫耶納藝術家。他的學生對佛羅倫薩藝術產生了影響。\n他最偉大的作品是雙面祭壇畫“Maestà”,製作於 1308-11 年間。畫廊的“天使報喜”、“耶穌打開了一個天生盲人的眼睛”和“變形”都是其中的片段。\n杜喬的出生日期不詳,但他於 1278 年活躍於錫耶納,並在那裡度過了大部分的工作生涯。他在中世紀藝術家中是不尋常的,因為他有很好的記錄。杜喬的藝術以拜占庭為基礎來源,但深受皮薩尼雕塑和法國哥特式金屬製品的影響。他的作品在線條、色彩和圖案的運用上兼具裝飾性和極強的表現力。與他年輕的同時代人喬托相比,他對音量不感興趣。\n“The Maestà”是有史以來最大、最複雜的祭壇畫之一。它的影響可以在錫耶納畫家Ugolino的祭壇畫的 predella 面板中看到,它模仿了“Maestà”中對主題的處理。\n詳細資訊\n\n標題: The Virgin and Child with Saints Dominic and Aurea\n建立者: Duccio\n建立日期: about 1312-15 (?)\n實際尺寸: 61.4 x 39.3 cm\n類型: Painting\n材質: Egg tempera on wood\nSchool: Italian (Sienese)\nMore Info: Explore the National Gallery’s paintings online\nInventory number: NG566\nFull Title: The Virgin and Child with Saint Dominic and Saint Aurea, and Patriarchs and Prophets\nArtist Dates: active 1278; died 1319\nArtist Biography: Duccio was one of the most important painters of 14th-century Italy. He ran a large workshop that shaped generations of Sienese artists. His pupils were influential on Florentine art. His greatest work was the double-sided altarpiece, the 'Maestà', made between 1308-and 11. The Gallery's 'The Annunciation, 'Jesus opens the Eyes of a Man born Blind' and 'The Transfiguration' are fragments from it. Duccio's date of birth is not known but he was active in Siena by 1278 and spent most of his working life there. He is unusual among medieval artists for being well documented. Duccio's art is based on Byzantine sources but was deeply influenced by the sculpture of the Pisani and by French Gothic metalwork. His work is both decorative in the use of line, color, and pattern, and highly expressive. He is less interested in volume than his younger contemporary Giotto. 'The Maestà' was one of the largest and most complex altarpieces ever produced. Its influence can be seen in the predella panels for an altarpiece by the Sienese painter Ugolino, which imitates the treatment of subjects in the 'Maestà'.\nAcquisition Credit: Bought, 1857", "primaryObj": { "oid": "2daf83c0f42eeaee3b9dbb40868afdfb", "title": "The Virgin and Child with Saints Dominic and Aurea", "desc": "The seven figures in the tympanum above the central panel, are the Old Testament prophets Daniel, Moses, Isaiah, David, Abraham, Jacob, and Jeremiah; on the left-wing, Saint Dominic; on the right-wing, Saint Aurea (probably Aurea of Ostia).\n\nIt may have been made for the private devotion of Cardinal Niccolò da Prato (died 1321), a high-ranking Dominican who was Cardinal of Ostia and would therefore have had reason to venerate Saint Aurea of Ostia, otherwise rarely shown.\n\nThis type of small-scale altarpiece with closing shutters was intended to be portable. The dimensions of this triptych are identical to those of a triptych of 'The Crucifixion with Saints Nicholas and Gregory' on the shutters (Boston, Museum of Fine Arts) which also seems to have been painted in Duccio's workshop. The exterior of the shutters in both triptychs have the same geometric patterns. The geometric patterns painted on the shutters prompt the worshipper as to the correct order of opening.\n\n杜喬是 14 世紀意大利最重要的畫家之一。他經營著一個大型工作室,塑造了幾代錫耶納藝術家。他的學生對佛羅倫薩藝術產生了影響。\n他最偉大的作品是雙面祭壇畫“Maestà”,製作於 1308-11 年間。畫廊的“天使報喜”、“耶穌打開了一個天生盲人的眼睛”和“變形”都是其中的片段。\n杜喬的出生日期不詳,但他於 1278 年活躍於錫耶納,並在那裡度過了大部分的工作生涯。他在中世紀藝術家中是不尋常的,因為他有很好的記錄。杜喬的藝術以拜占庭為基礎來源,但深受皮薩尼雕塑和法國哥特式金屬製品的影響。他的作品在線條、色彩和圖案的運用上兼具裝飾性和極強的表現力。與他年輕的同時代人喬托相比,他對音量不感興趣。\n“The Maestà”是有史以來最大、最複雜的祭壇畫之一。它的影響可以在錫耶納畫家Ugolino的祭壇畫的 predella 面板中看到,它模仿了“Maestà”中對主題的處理。\n詳細資訊\n\n標題: The Virgin and Child with Saints Dominic and Aurea\n建立者: Duccio\n建立日期: about 1312-15 (?)\n實際尺寸: 61.4 x 39.3 cm\n類型: Painting\n材質: Egg tempera on wood\nSchool: Italian (Sienese)\nMore Info: Explore the National Gallery’s paintings online\nInventory number: NG566\nFull Title: The Virgin and Child with Saint Dominic and Saint Aurea, and Patriarchs and Prophets\nArtist Dates: active 1278; died 1319\nArtist Biography: Duccio was one of the most important painters of 14th-century Italy. He ran a large workshop that shaped generations of Sienese artists. His pupils were influential on Florentine art. His greatest work was the double-sided altarpiece, the 'Maestà', made between 1308-and 11. The Gallery's 'The Annunciation, 'Jesus opens the Eyes of a Man born Blind' and 'The Transfiguration' are fragments from it. Duccio's date of birth is not known but he was active in Siena by 1278 and spent most of his working life there. He is unusual among medieval artists for being well documented. Duccio's art is based on Byzantine sources but was deeply influenced by the sculpture of the Pisani and by French Gothic metalwork. His work is both decorative in the use of line, color, and pattern, and highly expressive. He is less interested in volume than his younger contemporary Giotto. 'The Maestà' was one of the largest and most complex altarpieces ever produced. Its influence can be seen in the predella panels for an altarpiece by the Sienese painter Ugolino, which imitates the treatment of subjects in the 'Maestà'.\nAcquisition Credit: Bought, 1857", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/77a69d4e9e699487e2a8c323816a1b1f.jpg?itok=l1x4T0oo", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/77a69d4e9e699487e2a8c323816a1b1f.jpg?itok=FuwKgGSA", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/77a69d4e9e699487e2a8c323816a1b1f.jpg?itok=cJ-82g0S", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/77a69d4e9e699487e2a8c323816a1b1f.jpg?itok=3lWnU2qs", "mfid": "77a69d4e9e699487e2a8c323816a1b1f", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/77a69d4e9e699487e2a8c323816a1b1f.jpg?itok=MoxNVs63", "fileType": "image", "fileCreator": "Duccio 杜喬", "rights": "The National Gallery, London 英國", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-01.png?itok=DszBk5va", "fileLicence": "創用CC 姓名標示-非商業性-禁止改作", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "sortable": true, "type": "imgs-child", "weight": 0 }, "imgs-m57tf0yf99-td7dxciuil": { "id": "imgs-m57tf0yf99-td7dxciuil", "title": "Madonna and Child with Saints Jerome, John the Baptist, Bernardino and Bartholomew", "desc": "With its gold-ground and tempera technique, this devotional altarpiece is an example of the international Gothic style that survived in Siena well into the fifteenth century. Noted for the richness and variety of his palette, Sano di Pietro was a successful master who ran a busy workshop in that city. He seems to have been familiar with Venetian religious painting, a certain Byzantine preciousness being part of his repertoire. A number of Sano's subjects focused on the life and works of San Bernardino, a controversial local saint the painter had known personally. It was Bernardino who conceived the device of the Holy Name in the Sun, an emblem in which twelve solar rays represented twelve articles of faith promulgated by the Apostles. For this doctrinal innovation, he was charged with heresy. In this panel, Bernardino's participation is restricted to that of an auxiliary figure. Appropriately, it is the blue-mantled Virgin and her delightful infant who hold our attention.\nAGNSW Handbook, 1999.\n\n 憑藉其金底和蛋彩畫技術,這個虔誠的祭壇畫是在錫耶納倖存到 15 世紀的國際哥特式風格的一個例子。Sano di Pietro以其豐富多樣的調色板而著稱,他是一位成功的大師,他在那個城市經營著一家繁忙的工作室。他似乎對威尼斯的宗教繪畫很熟悉,某種拜占庭式的珍貴是他的作品的一部分。薩諾的一些主題集中在聖貝納迪諾的生平和作品上,這位畫家親自認識的有爭議的當地聖人。是伯納迪諾構思了太陽聖名的裝置,這是一個像徵,其中十二條太陽光線代表使徒頒布的十二條信條。對於這一教義創新,他被指控為異端。在這個小組中,貝納迪諾的參與僅限於輔助人物。恰當地,吸引我們注意力的是藍披風的處女和她可愛的嬰兒。\n詳細資訊\n\n標題: Madonna and Child with Saints Jerome, John the Baptist, Bernardino and Bartholomew\n建立者: Sano di Pietro\n建立日期: 1450-1481\n實際尺寸: 60.5 x 43.2 cm panel; 93.5 x 52.2 x 9.0 cm frame\n出處: Sir Thomas Neave, 19th century, Essex/England Joanna Parsons, pre 10 Apr 1970, England, Sold Christie's London, 10 April 1970, lot no. 92 Jocelyn Fielding, 10 Apr 1970-Oct 1970?, England, Purchased Christie's London, 10 April 1970, lot no. 92 Agnew's, London, Oct 1970, London/England, Purchased by John Fairfax and Sons Ltd from the exhibition 'Paintings and drawings from Agnew's London', held at David Jones Art Gallery, Sydney 7-24 October 1970 John Fairfax & Sons, Oct 1970-18 Apr 1971, Australia, Gift of John Fairfax and Sons 1971\n類型: Painting\n權利: Gift of John Fairfax and Sons Ltd. to commemorate the 140th anniversary of the founding of the Sydney Morning Herald 1971\n材質: gold leaf and tempera on panel\nSignature & Date: Not signed. Not dated.\nObject Other Titles: Virgin and Child with Sts Jerome, John the Baptist, Bernard and Bartholomew\nArtist Country: Italy", "primaryObj": { "oid": "4ba2cfcffc4ce65b552d236270d2c962", "title": "Madonna and Child with Saints Jerome, John the Baptist, Bernardino and Bartholomew", "desc": "With its gold-ground and tempera technique, this devotional altarpiece is an example of the international Gothic style that survived in Siena well into the fifteenth century. Noted for the richness and variety of his palette, Sano di Pietro was a successful master who ran a busy workshop in that city. He seems to have been familiar with Venetian religious painting, a certain Byzantine preciousness being part of his repertoire. A number of Sano's subjects focused on the life and works of San Bernardino, a controversial local saint the painter had known personally. It was Bernardino who conceived the device of the Holy Name in the Sun, an emblem in which twelve solar rays represented twelve articles of faith promulgated by the Apostles. For this doctrinal innovation, he was charged with heresy. In this panel, Bernardino's participation is restricted to that of an auxiliary figure. Appropriately, it is the blue-mantled Virgin and her delightful infant who hold our attention.\nAGNSW Handbook, 1999.\n\n 憑藉其金底和蛋彩畫技術,這個虔誠的祭壇畫是在錫耶納倖存到 15 世紀的國際哥特式風格的一個例子。Sano di Pietro以其豐富多樣的調色板而著稱,他是一位成功的大師,他在那個城市經營著一家繁忙的工作室。他似乎對威尼斯的宗教繪畫很熟悉,某種拜占庭式的珍貴是他的作品的一部分。薩諾的一些主題集中在聖貝納迪諾的生平和作品上,這位畫家親自認識的有爭議的當地聖人。是伯納迪諾構思了太陽聖名的裝置,這是一個像徵,其中十二條太陽光線代表使徒頒布的十二條信條。對於這一教義創新,他被指控為異端。在這個小組中,貝納迪諾的參與僅限於輔助人物。恰當地,吸引我們注意力的是藍披風的處女和她可愛的嬰兒。\n詳細資訊\n\n標題: Madonna and Child with Saints Jerome, John the Baptist, Bernardino and Bartholomew\n建立者: Sano di Pietro\n建立日期: 1450-1481\n實際尺寸: 60.5 x 43.2 cm panel; 93.5 x 52.2 x 9.0 cm frame\n出處: Sir Thomas Neave, 19th century, Essex/England Joanna Parsons, pre 10 Apr 1970, England, Sold Christie's London, 10 April 1970, lot no. 92 Jocelyn Fielding, 10 Apr 1970-Oct 1970?, England, Purchased Christie's London, 10 April 1970, lot no. 92 Agnew's, London, Oct 1970, London/England, Purchased by John Fairfax and Sons Ltd from the exhibition 'Paintings and drawings from Agnew's London', held at David Jones Art Gallery, Sydney 7-24 October 1970 John Fairfax & Sons, Oct 1970-18 Apr 1971, Australia, Gift of John Fairfax and Sons 1971\n類型: Painting\n權利: Gift of John Fairfax and Sons Ltd. to commemorate the 140th anniversary of the founding of the Sydney Morning Herald 1971\n材質: gold leaf and tempera on panel\nSignature & Date: Not signed. Not dated.\nObject Other Titles: Virgin and Child with Sts Jerome, John the Baptist, Bernard and Bartholomew\nArtist Country: Italy", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/06ac64854b6e25b637f928d664611e95.jpg?itok=z7V2w3hh", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/06ac64854b6e25b637f928d664611e95.jpg?itok=ZJlVjYdw", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/06ac64854b6e25b637f928d664611e95.jpg?itok=BIBw_7kC", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/06ac64854b6e25b637f928d664611e95.jpg?itok=v_XUB0PK", "mfid": "06ac64854b6e25b637f928d664611e95", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/06ac64854b6e25b637f928d664611e95.jpg?itok=CJCjHhAz", "fileType": "image", "fileCreator": "Sano di Pietro", "rights": "Art Gallery of New South Wales Sydney, 澳洲", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-03.png?itok=h0rkcAOw", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "sortable": true, "type": "imgs-child", "weight": 1 }, "imgs-m57tf0yf99-k7fj22w4az": { "id": "imgs-m57tf0yf99-k7fj22w4az", "title": "Louis XII of France Kneeling in Prayer, Accompanied by Saints Michael, Charlemagne, Louis, and Denis", "desc": "This leaf with its stirring portrait of Louis XII would originally have opened a lavish book of hours court artist Jean Bourdichon painted for him. The depiction of the king in his parade armor probably celebrates his recent coronation in 1498 and reflects an official image of the new king. Louis is presented (from left to right) by a number of royal saints: Saint Michael, the patron saint of the royal chivalric order; Saint Charlemagne, from whom the French kings traced their descent; Saint Louis of France, the king's namesake and his forebear on the throne; and Saint-Denis, the patron of the French royal household. The finely observed portrait of Louis XII shows Bourdichon at the height of his artistic powers.\n\nThe Hours of Louis XII was one of the greatest French manuscripts of its time. Only sixteen of the manuscript's original complement of miniatures have come to light, and the Getty has acquired three of them. The other two are an image of the Presentation in the Temple and a depiction of Bathsheba bathing.\n\n這張帶有路易十二肖像的葉子原本會打開一本奢華的書,其中包含宮廷藝術家讓·布爾迪雄為他繪製的時間。國王穿著遊行盔甲的描繪可能是為了慶祝他最近在 1498 年加冕,並反映了新國王的官方形象。聖路易斯被許多皇家聖徒(從左到右)介紹:聖邁克爾,皇家騎士團的守護神;聖查理曼大帝,法國國王的後裔;法國的聖路易斯,國王的同名,他的王位祖先;還有法國王室的守護神聖丹尼斯。精美的路易十二肖像展示了布爾迪雄的藝術力量。\n\n路易十二時代是最偉大的法國人之一當時的手稿。手稿的原始縮微圖只有 16 幅被曝光,蓋蒂獲得了其中的三幅。另外兩個是聖殿中的介紹圖像和拔示巴沐浴的描繪。\n詳細資訊\n\n標題: Louis XII of France Kneeling in Prayer, Accompanied by Saints Michael, Charlemagne, Louis, and Denis\n建立者: Jean Bourdichon\n建立日期: 1498/1499\n實際尺寸: Leaf: 24.3 × 15.7 cm (9 9/16 × 6 3/16 in.)\n類型: Detached leaf\n外部連結: Find out more about this object on the Museum website.\n材質: Tempera and gold on parchment\nTerms of Use: Open Content\nNumber: 2004.1.recto\nCulture: French\nCredit Line: The J. Paul Getty Museum, Los Angeles, Ms. 79a, recto\nCreator Display Name: Jean Bourdichon (French, 1457 - 1521)\nClassification: Manuscripts (Documents)", "primaryObj": { "oid": "db7fe22f85efc676d0b6e74d29255dd2", "title": "Louis XII of France Kneeling in Prayer, Accompanied by Saints Michael, Charlemagne, Louis, and Denis", "desc": "This leaf with its stirring portrait of Louis XII would originally have opened a lavish book of hours court artist Jean Bourdichon painted for him. The depiction of the king in his parade armor probably celebrates his recent coronation in 1498 and reflects an official image of the new king. Louis is presented (from left to right) by a number of royal saints: Saint Michael, the patron saint of the royal chivalric order; Saint Charlemagne, from whom the French kings traced their descent; Saint Louis of France, the king's namesake and his forebear on the throne; and Saint-Denis, the patron of the French royal household. The finely observed portrait of Louis XII shows Bourdichon at the height of his artistic powers.\n\nThe Hours of Louis XII was one of the greatest French manuscripts of its time. Only sixteen of the manuscript's original complement of miniatures have come to light, and the Getty has acquired three of them. The other two are an image of the Presentation in the Temple and a depiction of Bathsheba bathing.\n\n這張帶有路易十二肖像的葉子原本會打開一本奢華的書,其中包含宮廷藝術家讓·布爾迪雄為他繪製的時間。國王穿著遊行盔甲的描繪可能是為了慶祝他最近在 1498 年加冕,並反映了新國王的官方形象。聖路易斯被許多皇家聖徒(從左到右)介紹:聖邁克爾,皇家騎士團的守護神;聖查理曼大帝,法國國王的後裔;法國的聖路易斯,國王的同名,他的王位祖先;還有法國王室的守護神聖丹尼斯。精美的路易十二肖像展示了布爾迪雄的藝術力量。\n\n路易十二時代是最偉大的法國人之一當時的手稿。手稿的原始縮微圖只有 16 幅被曝光,蓋蒂獲得了其中的三幅。另外兩個是聖殿中的介紹圖像和拔示巴沐浴的描繪。\n詳細資訊\n\n標題: Louis XII of France Kneeling in Prayer, Accompanied by Saints Michael, Charlemagne, Louis, and Denis\n建立者: Jean Bourdichon\n建立日期: 1498/1499\n實際尺寸: Leaf: 24.3 × 15.7 cm (9 9/16 × 6 3/16 in.)\n類型: Detached leaf\n外部連結: Find out more about this object on the Museum website.\n材質: Tempera and gold on parchment\nTerms of Use: Open Content\nNumber: 2004.1.recto\nCulture: French\nCredit Line: The J. Paul Getty Museum, Los Angeles, Ms. 79a, recto\nCreator Display Name: Jean Bourdichon (French, 1457 - 1521)\nClassification: Manuscripts (Documents)", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/7f1105ffadb7e3716a404dcb458e8f6f.jpg?itok=091mdXCu", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/7f1105ffadb7e3716a404dcb458e8f6f.jpg?itok=uxHSK1U7", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/7f1105ffadb7e3716a404dcb458e8f6f.jpg?itok=6mySX0OA", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/7f1105ffadb7e3716a404dcb458e8f6f.jpg?itok=92krn9w-", "mfid": "7f1105ffadb7e3716a404dcb458e8f6f", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/7f1105ffadb7e3716a404dcb458e8f6f.jpg?itok=ccJd4yrH", "fileType": "image", "fileCreator": "Jean Bourdichon 吉恩·波迪尚", "rights": "The J. Paul Getty Museum Los Angeles, 美國", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-05.png?itok=0rVBS4da", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "sortable": true, "type": "imgs-child", "weight": 2 }, "imgs-m57tf0yf99-xh7n1lefli": { "id": "imgs-m57tf0yf99-xh7n1lefli", "title": "The Ognissanti Madonna", "desc": "The panel from 1306-10, ca. was originally placed on the old partition wall of the church of Ognissanti, officiated by the Umiliati friars before it was moved to their convent, at least by the end of the 17th century. In 1810, following the French suppression of convents, it was placed in the Accademia. It has been in the Uffizi since 1919.\n約 1306-10 年的面板。最初放置在Ognissanti 教堂的舊隔牆上,由 Umiliati 修道士主持,然後至少在 17 世紀末搬到他們的修道院之前。1810年,在法國鎮壓修道院後,它被安置在學院。自 1919 年以來,它一直在烏菲茲美術館\n\n詳細資訊\n\n標題: The Ognissanti Madonna\n建立者: Giotto\n建立日期: 1306 - 1310\n實際尺寸: w2040 x h3250 mm\nStyle: Gotic/ Altarpiece\nProvenance: Church of Ognissanti in Florence\nOriginal Title: Maestà\n類型: painting\n材質: Tempera on panel", "primaryObj": { "oid": "4ef5409fcfb50b6167f3a29ebd835548", "title": "The Ognissanti Madonna", "desc": "The panel from 1306-10, ca. was originally placed on the old partition wall of the church of Ognissanti, officiated by the Umiliati friars before it was moved to their convent, at least by the end of the 17th century. In 1810, following the French suppression of convents, it was placed in the Accademia. It has been in the Uffizi since 1919.\n約 1306-10 年的面板。最初放置在Ognissanti 教堂的舊隔牆上,由 Umiliati 修道士主持,然後至少在 17 世紀末搬到他們的修道院之前。1810年,在法國鎮壓修道院後,它被安置在學院。自 1919 年以來,它一直在烏菲茲美術館\n\n詳細資訊\n\n標題: The Ognissanti Madonna\n建立者: Giotto\n建立日期: 1306 - 1310\n實際尺寸: w2040 x h3250 mm\nStyle: Gotic/ Altarpiece\nProvenance: Church of Ognissanti in Florence\nOriginal Title: Maestà\n類型: painting\n材質: Tempera on panel", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/41ef4091288b102d137a56115b61466d.jpg?itok=aziM79kD", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/41ef4091288b102d137a56115b61466d.jpg?itok=tZfkYywZ", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/41ef4091288b102d137a56115b61466d.jpg?itok=4nPZgBRA", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/41ef4091288b102d137a56115b61466d.jpg?itok=Z9sS76_i", "mfid": "41ef4091288b102d137a56115b61466d", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/41ef4091288b102d137a56115b61466d.jpg?itok=Kdw8DMyp", "fileType": "image", "fileCreator": "喬托·迪·邦多納 Giotto", "rights": "Uffizi Gallery", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-03.png?itok=h0rkcAOw", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "sortable": true, "type": "imgs-child", "weight": 3 } }, "musicName": "無", "weight": 6, "primaryObj": { "oid": "4ef5409fcfb50b6167f3a29ebd835548", "title": "The Ognissanti Madonna", "desc": "The panel from 1306-10, ca. was originally placed on the old partition wall of the church of Ognissanti, officiated by the Umiliati friars before it was moved to their convent, at least by the end of the 17th century. In 1810, following the French suppression of convents, it was placed in the Accademia. It has been in the Uffizi since 1919.\n約 1306-10 年的面板。最初放置在Ognissanti 教堂的舊隔牆上,由 Umiliati 修道士主持,然後至少在 17 世紀末搬到他們的修道院之前。1810年,在法國鎮壓修道院後,它被安置在學院。自 1919 年以來,它一直在烏菲茲美術館\n\n詳細資訊\n\n標題: The Ognissanti Madonna\n建立者: Giotto\n建立日期: 1306 - 1310\n實際尺寸: w2040 x h3250 mm\nStyle: Gotic/ Altarpiece\nProvenance: Church of Ognissanti in Florence\nOriginal Title: Maestà\n類型: painting\n材質: Tempera on panel", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/41ef4091288b102d137a56115b61466d.jpg?itok=aziM79kD", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/41ef4091288b102d137a56115b61466d.jpg?itok=tZfkYywZ", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/41ef4091288b102d137a56115b61466d.jpg?itok=4nPZgBRA", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/41ef4091288b102d137a56115b61466d.jpg?itok=Z9sS76_i", "mfid": "41ef4091288b102d137a56115b61466d", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/41ef4091288b102d137a56115b61466d.jpg?itok=Kdw8DMyp", "fileType": "image", "fileCreator": "喬托·迪·邦多納 Giotto", "rights": "Uffizi Gallery", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-03.png?itok=h0rkcAOw", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "desc": "<span>&nbsp; &nbsp; &nbsp; &nbsp;以12世紀為分水嶺,12世紀前的聖母瑪利亞多穿著較為深沉的色彩,如黑灰色、褐色、深綠色。<br>&nbsp; &nbsp; &nbsp; &nbsp;但在12世紀後,聖母瑪利亞肖像的衣裳,已成了藍色也就是當時的群青,群青的原產地為阿富汗,由青金石這種半寶石提煉而成,由於產量缺稀使的群青價格不菲。</span>\n\n<br>&nbsp; &nbsp; &nbsp; &nbsp;這是法國王室的代表色,象徵皇室的威嚴,同時也代表愛戀、忠誠、歡樂、平和,使得藍色在中世紀末,成了藝術家意識中最美好、尊貴的色彩。", "musicText": "", "musicURL": "" }, "theme-nw8j71m1re": { "id": "theme-nw8j71m1re", "type": "theme", "sortable": true, "primaryObj": { "oid": "d2e691d62a822653b94d3670eb98387d", "fileType": "image", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/1fca4f12e4450f51bb59def05fafbb82.jpg?itok=hL4O1Jo0", "level": "primary", "title": "The Aldobrandini Madonna", "desc": "The Virgin and Child with the young Saint John the Baptist was a common subject from the 15th century onwards. John the Baptist is identified by his camel skin and reed cross. The kneeling woman has often been identified as Saint Catherine but she is shown without her usual attribute of the wheel on which she was tortured. Shepherds can be seen in the background; they - and the angel in the sky - might allude to the Annunciation to the Shepherds (New Testament, Luke 2: 8-17).\nIn the 19th century, this painting was said to have been signed and dated 1533.\n\nAldobrandini Madonna是意大利文藝復興時期藝術家拉斐爾創作於 1509-1510 年的油畫。這張照片是聖母、基督孩子和嬰兒施洗約翰,這是拉斐爾與這三人組的眾多畫作之一。這是在他的第三個時期或羅馬時期的早期,從他的翁布里亞時期或佛羅倫薩時期開始,在風格、色彩的使用以及更自然的主題和環境的引入方面出現了明顯的變化。\n\n幾個世紀以來,它由貴族羅馬阿爾多布蘭迪尼家族擁有,自 1865 年以來一直是倫敦國家美術館收藏的一部分。在加瓦勳爵和夫人擁有大約 5 年之後,它於 1865 年被出售給國家美術館,是有時仍被稱為Garvagh Madonna。\nAldobrandini Madonna是意大利文藝復興時期藝術家拉斐爾創作於 1509-1510 年的油畫。這張照片是聖母、基督孩子和嬰兒施洗約翰,這是拉斐爾與這三人組的眾多畫作之一。這是在他的第三個時期或羅馬時期的早期,從他的翁布里亞時期或佛羅倫薩時期開始,在風格、色彩的使用以及更自然的主題和環境的引入方面出現了明顯的變化。\n\n幾個世紀以來,它由貴族羅馬阿爾多布蘭迪尼家族擁有,自 1865 年以來一直是倫敦國家美術館收藏的一部分。在加瓦勳爵和夫人擁有大約 5 年之後,它於 1865 年被出售給國家美術館,是有時仍被稱為Garvagh Madonna。\n\n詳細資訊\n\nSchool: Italian (Venetian)\nMore Info: Explore the National Gallery’s paintings online\nInventory number: NG635\nFull Title: The Virgin and Child with the Infant Saint John and a Female Saint or Donor ('The Aldobrandini Madonna')\nArtist Dates: active about 1506; died 1576\nArtist Biography: Titian was the greatest painter of 16th-century Venice, and the first painter to have a mainly international clientele. During his long career, he experimented with many different styles of painting which embody the development of art during his epoch. Youth and debut Titian (Tiziano Vecellio) was born in Pieve di Cadore, a small town at the foot of the Dolomites on the Venetian side of the Alps. The Vecellios had been based in Cadore since the 14th century. Titian’s father, Gregorio, was a military man. His older brother Francesco was also a painter. There is still no documentary evidence of Titian’s exact date of birth, but contemporary sources and his early stylistic development suggest that he was born around 1490. When he was about 10 years old, Titian arrived in Venice, then one of the wealthiest and most cosmopolitan cities in the world. Titian started his artistic training in the workshop of the mosaicist Sebastiano Zuccato. He later briefly joined Gentile Bellini’s workshop. After Gentile’s death in 1507, Titian joined the workshop of Gentile's brother, Giovanni Bellini, which at that time was the most important in Venice. However, it was through contact with Giorgione, who had also previously trained in Giovanni Bellini’s workshop, that he mainly developed his early style. The Giorgionesque appearance of Titian’s early work, which is characterised by a pastoral mood, is proof of their closeness. In 1508-9 they worked together on the decoration of the external walls of the ‘Fondaco dei Tedeschi’ in Venice. The parts executed by Titian were greatly praised by contemporaries, much to the annoyance of Giorgione. After Giorgione’s death in 1510, and Sebastiano del Piombo’s departure to Rome in 1511, Titian launched his independent career in Venice. He was now left without rivals among his generation who could compete at his level. Early local success In 1511 Titian painted his celebrated frescoes in the ‘Scuola del Santo’ in Padua. His style had now reached maturity, marked by fullness of forms, compositional confidence and chromatic balance. These features made his work fundamental to the development of Venetian – and also European – painting. He became famous as a portraitist (examples in the National Gallery are La Schiavona and Portrait of Gerolamo (?) Barbarigo). He was also known as a painter of various profane subjects. These skills drew the attention of intellectually ambitious Italian dukes and aristocrats. Titian was also commissioned to paint prestigious public religious paintings. His Venetian success was sealed by the execution of the altarpiece for the high altar of the important Franciscan church of Santa Maria Gloriosa dei Frari in Venice. The so-called ‘Assunta’ (Assumption of the Virgin Mary), which is nearly seven metres high, was displayed in 1518, creating a revolutionary watershed in Venetian altarpiece design. Between 1519 and 1526, he painted the celebrated ‘Pala Pesaro’ for the same church. This asymmetrical composition strongly influenced Venetian altarpiece painting right up until the 18th century. North Italian courts Early in 1516 Titian started his professional relationship with Alfonso I d’Este, Duke of Ferrara and spent time in Alfonso’s castle. The duke wanted to create a private cabinet, which would be known as the ‘camerino d’alabastro’ (the alabaster cabinet), with mythological scenes derived from classical poetry. The duke employed the painters he considered to be the best at the time. Apart from Titian, the other artists were Raphael, Fra Bartolomeo and Dosso Dossi. Following the deaths of Raphael and Fra Bartolomeo Titian’s involvement in the project increased. He then executed his two famous Bacchanals for Alfonso I, today in the Prado, Madrid, along with Bacchus and Ariadne, now in the National Gallery. Titian also worked for the court of Mantua. In 1523 he began painting for the future Duke of Mantua, Federico II Gonzaga the son of Isabella d’Este (who was the sister of Titian’s earlier patron Alfonso I). Titian mainly painted portraits for the Mantuan court. In 1532 Titian started to work for the Duke of Urbino, Francesco Maria della Rovere. He would also work for his successor, Guidobaldo II. In the 1530s, he was also in touch with the court of Pope Paolo III Farnese. Worldwide success, family and friends The 1520s were hugely significant for Titian’s private life. In 1525 he married Cecilia (who tragically died in 1530). Titian and Cecilia had three children, who were all given the names of famous figures from ancient Rome: Pompeo, Orazio and Lavinia. Titian’s meeting with the Holy Roman Emperor Charles V in Bologna in 1530 would be a determining event in his life. On this occasion Titian executed a (now lost) full-length, life-size portrait of the Emperor - an early example of what was still an extremely innovative genre at that time. He rapidly became the principal painter to the imperial court, which gave him immense privileges, honours and even titles. From this moment he was the painter most in demand at courts across Europe. Titian also became the official painter of Charles V’s son, Philip II of Spain. Starting in about 1551, he painted the celebrated mythological series of pictures for Philip, which he referred to as ‘poesie’. The 'poesie' included Diana and Actaeon and Diana and Callisto, which are now part of the National Gallery's collection, along with The Death of Actaeon, which was originally conceived as part of the series, but in fact remained unfinished in the artist's studio at his death. In 1527 the Florentine sculptor and architect Jacopo Sansovino and the Tuscan man of letters Pietro Aretino arrived in Venice. They became inseparable friends with Titian, stimulating his interest in Mannerism, a style first seen in his paintings from that period. Mannerist aspects in his art increased after his only trip to Rome in 1545-6, where he finally got the opportunity to meet Michelangelo. Late years The last phase of Titian’s life coincided with a radical revision of his own style and painting technique. Starting from the late 1550s, Titian developed a much freer use of the brush and a less descriptive representation of reality. In the late 1560s and early 1570s, when Titian was already extremely old, he pushed his art to the edge of abstraction. This later style has been defined as ‘magic impressionism’. All of this is well represented by two of his latest works, The Death of Actaeon at the National Gallery, and the ‘Pietà’, now in the Gallerie dell’Accademia in Venice. The ‘Pietà’ was originally destined for his own tomb in the church of Santa Maria Gloriosa dei Frari, where Titian was buried after dying of the plague on 27 August 1576.\nAcquisition Credit: Bought, 1860", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/1fca4f12e4450f51bb59def05fafbb82.jpg?itok=gkUPfmeN", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/1fca4f12e4450f51bb59def05fafbb82.jpg?itok=p7Tf7NUI", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/1fca4f12e4450f51bb59def05fafbb82.jpg?itok=Tmk3Aeoi", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/1fca4f12e4450f51bb59def05fafbb82.jpg?itok=aXsKrqaC", "mfid": "1fca4f12e4450f51bb59def05fafbb82", "musicURL": "", "musicName": "", "fileCreator": "提齊安諾·維伽略 Titian", "rights": "The National Gallery, London", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-05.png?itok=0rVBS4da", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false }, "title": "文藝復興", "desc": "&nbsp; &nbsp; &nbsp; &nbsp;&nbsp;天然群青的價格高昂,耐久性及顏色質感皆極為優良。義大利文藝復興時期最為卓越的成就,就是發掘運用青金石來製做色粉,並將其混入媒介劑-亞麻仁油中的方式製成顏料。群青於14、15世紀時,從阿富汗由意大利威尼斯商人進口到歐洲時,與黃金同等寶貴,作為往後數世紀,藝術家們心馳神往的顏色。", "musicName": "無", "weight": 7, "musicText": "", "musicURL": "" }, "imgs-qww7z0z3zf": { "id": "imgs-qww7z0z3zf", "type": "imgs", "sortable": true, "multiObjs": [ { "oid": "fea8ef787cbd5b39dfcff8295f2d1c3a", "title": "Mary with the Child, Venerated by Two Evangelists", "desc": "This altarpiece dating from c. 1570/75 was painted by Tintoretto alone, without assistance from his studio. The depiction of Mary with a crown of stars above the sickle moon as the Woman of the Apocalypse and Immaculata, appearing to the Evangelists as if in a vision, is typical of Counter-Reformation veneration of Mary.\n這個祭壇可以追溯到 c.1570/75 是由丁托列托獨自繪製的,沒有得到他工作室的幫助。瑪麗在鐮刀月亮上方的星冠上被描繪成天啟和無染原罪的女人,在福音傳道者面前彷彿出現在異像中,是典型的反宗教改革對瑪麗的崇拜。\n\n詳細資訊\n\n標題: Mary with the Child, Venerated by Two Evangelists\n建立者: Tintoretto\n建立日期: before 1570\n實際尺寸: w160.0 x h228.0 cm\n類型: Painting\n外部連結: Gemäldegalerie, Staatliche Museen zu Berlin\n材質: Canvas\nStyle: Italian\nCopyright Text: Text: © http://www.prestel.com, Prestel Verlag / Gemäldegalerie, Staatliche Museen zu Berlin / Stefan Moret // Photo: © http://www.bpk-images.de, b p k - Photo Agency / Gemäldegalerie, Staatliche Museen zu Berlin / Jörg P. Anders\nCollection: Gemäldegalerie, Staatliche Museen zu Berlin\nArtist information: Tintoretto was an Italian artist and remarkable representative of the Venetian Renaissance school. He was a pupil of Titian—even if not for a long period—whose colorism had a profound influence on his work. His manner did not, however, purely confine itself to Titian's but also drew from Michelangelo. Tintoretto felt very connected to Venice and created various artworks in Saint Mark's Basilica. In 1548 he was commissioned to create four pictures in the Scuola Grande di San Marco. Another enormous task he completed was the decoration of the walls and ceilings of the Scuola Grande di San Rocco. Around 1560 he began several paintings for the Doge's Palace, one of these, Paradise, is considered the world's biggest painting on canvas. He stands as a precursor of the Baroque due to his use of special effects of light and perspective to create dynamism. He was fascinated by lights and their impact on his compositions which explains why some subjects appear in several works, illuminated differently each time.\nArtist Place of Death: Venice, Italy\nArtist Place of Birth: Venice, Italy\nArtist Gender: male\nArtist Dates: 1518-09-29/1594-05-31", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/de9f9a2240dafde1dea8c938912b8b4b.jpg?itok=LSQ0dBVo", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/de9f9a2240dafde1dea8c938912b8b4b.jpg?itok=LsQZCmt9", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/de9f9a2240dafde1dea8c938912b8b4b.jpg?itok=NOlc8-qR", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/de9f9a2240dafde1dea8c938912b8b4b.jpg?itok=WWPPMOAN", "mfid": "de9f9a2240dafde1dea8c938912b8b4b", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/de9f9a2240dafde1dea8c938912b8b4b.jpg?itok=fwDPWXS8", "fileType": "image", "fileCreator": "丁托列托 Tintoretto", "rights": "Gemäldegalerie, Staatliche Museen zu Berlin", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-04.png?itok=gq-PTcKL", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, { "oid": "d2e691d62a822653b94d3670eb98387d", "title": "The Aldobrandini Madonna", "desc": "The Virgin and Child with the young Saint John the Baptist was a common subject from the 15th century onwards. John the Baptist is identified by his camel skin and reed cross. The kneeling woman has often been identified as Saint Catherine but she is shown without her usual attribute of the wheel on which she was tortured. Shepherds can be seen in the background; they - and the angel in the sky - might allude to the Annunciation to the Shepherds (New Testament, Luke 2: 8-17).\nIn the 19th century, this painting was said to have been signed and dated 1533.\n\nAldobrandini Madonna是意大利文藝復興時期藝術家拉斐爾創作於 1509-1510 年的油畫。這張照片是聖母、基督孩子和嬰兒施洗約翰,這是拉斐爾與這三人組的眾多畫作之一。這是在他的第三個時期或羅馬時期的早期,從他的翁布里亞時期或佛羅倫薩時期開始,在風格、色彩的使用以及更自然的主題和環境的引入方面出現了明顯的變化。\n\n幾個世紀以來,它由貴族羅馬阿爾多布蘭迪尼家族擁有,自 1865 年以來一直是倫敦國家美術館收藏的一部分。在加瓦勳爵和夫人擁有大約 5 年之後,它於 1865 年被出售給國家美術館,是有時仍被稱為Garvagh Madonna。\nAldobrandini Madonna是意大利文藝復興時期藝術家拉斐爾創作於 1509-1510 年的油畫。這張照片是聖母、基督孩子和嬰兒施洗約翰,這是拉斐爾與這三人組的眾多畫作之一。這是在他的第三個時期或羅馬時期的早期,從他的翁布里亞時期或佛羅倫薩時期開始,在風格、色彩的使用以及更自然的主題和環境的引入方面出現了明顯的變化。\n\n幾個世紀以來,它由貴族羅馬阿爾多布蘭迪尼家族擁有,自 1865 年以來一直是倫敦國家美術館收藏的一部分。在加瓦勳爵和夫人擁有大約 5 年之後,它於 1865 年被出售給國家美術館,是有時仍被稱為Garvagh Madonna。\n\n詳細資訊\n\nSchool: Italian (Venetian)\nMore Info: Explore the National Gallery’s paintings online\nInventory number: NG635\nFull Title: The Virgin and Child with the Infant Saint John and a Female Saint or Donor ('The Aldobrandini Madonna')\nArtist Dates: active about 1506; died 1576\nArtist Biography: Titian was the greatest painter of 16th-century Venice, and the first painter to have a mainly international clientele. During his long career, he experimented with many different styles of painting which embody the development of art during his epoch. Youth and debut Titian (Tiziano Vecellio) was born in Pieve di Cadore, a small town at the foot of the Dolomites on the Venetian side of the Alps. The Vecellios had been based in Cadore since the 14th century. Titian’s father, Gregorio, was a military man. His older brother Francesco was also a painter. There is still no documentary evidence of Titian’s exact date of birth, but contemporary sources and his early stylistic development suggest that he was born around 1490. When he was about 10 years old, Titian arrived in Venice, then one of the wealthiest and most cosmopolitan cities in the world. Titian started his artistic training in the workshop of the mosaicist Sebastiano Zuccato. He later briefly joined Gentile Bellini’s workshop. After Gentile’s death in 1507, Titian joined the workshop of Gentile's brother, Giovanni Bellini, which at that time was the most important in Venice. However, it was through contact with Giorgione, who had also previously trained in Giovanni Bellini’s workshop, that he mainly developed his early style. The Giorgionesque appearance of Titian’s early work, which is characterised by a pastoral mood, is proof of their closeness. In 1508-9 they worked together on the decoration of the external walls of the ‘Fondaco dei Tedeschi’ in Venice. The parts executed by Titian were greatly praised by contemporaries, much to the annoyance of Giorgione. After Giorgione’s death in 1510, and Sebastiano del Piombo’s departure to Rome in 1511, Titian launched his independent career in Venice. He was now left without rivals among his generation who could compete at his level. Early local success In 1511 Titian painted his celebrated frescoes in the ‘Scuola del Santo’ in Padua. His style had now reached maturity, marked by fullness of forms, compositional confidence and chromatic balance. These features made his work fundamental to the development of Venetian – and also European – painting. He became famous as a portraitist (examples in the National Gallery are La Schiavona and Portrait of Gerolamo (?) Barbarigo). He was also known as a painter of various profane subjects. These skills drew the attention of intellectually ambitious Italian dukes and aristocrats. Titian was also commissioned to paint prestigious public religious paintings. His Venetian success was sealed by the execution of the altarpiece for the high altar of the important Franciscan church of Santa Maria Gloriosa dei Frari in Venice. The so-called ‘Assunta’ (Assumption of the Virgin Mary), which is nearly seven metres high, was displayed in 1518, creating a revolutionary watershed in Venetian altarpiece design. Between 1519 and 1526, he painted the celebrated ‘Pala Pesaro’ for the same church. This asymmetrical composition strongly influenced Venetian altarpiece painting right up until the 18th century. North Italian courts Early in 1516 Titian started his professional relationship with Alfonso I d’Este, Duke of Ferrara and spent time in Alfonso’s castle. The duke wanted to create a private cabinet, which would be known as the ‘camerino d’alabastro’ (the alabaster cabinet), with mythological scenes derived from classical poetry. The duke employed the painters he considered to be the best at the time. Apart from Titian, the other artists were Raphael, Fra Bartolomeo and Dosso Dossi. Following the deaths of Raphael and Fra Bartolomeo Titian’s involvement in the project increased. He then executed his two famous Bacchanals for Alfonso I, today in the Prado, Madrid, along with Bacchus and Ariadne, now in the National Gallery. Titian also worked for the court of Mantua. In 1523 he began painting for the future Duke of Mantua, Federico II Gonzaga the son of Isabella d’Este (who was the sister of Titian’s earlier patron Alfonso I). Titian mainly painted portraits for the Mantuan court. In 1532 Titian started to work for the Duke of Urbino, Francesco Maria della Rovere. He would also work for his successor, Guidobaldo II. In the 1530s, he was also in touch with the court of Pope Paolo III Farnese. Worldwide success, family and friends The 1520s were hugely significant for Titian’s private life. In 1525 he married Cecilia (who tragically died in 1530). Titian and Cecilia had three children, who were all given the names of famous figures from ancient Rome: Pompeo, Orazio and Lavinia. Titian’s meeting with the Holy Roman Emperor Charles V in Bologna in 1530 would be a determining event in his life. On this occasion Titian executed a (now lost) full-length, life-size portrait of the Emperor - an early example of what was still an extremely innovative genre at that time. He rapidly became the principal painter to the imperial court, which gave him immense privileges, honours and even titles. From this moment he was the painter most in demand at courts across Europe. Titian also became the official painter of Charles V’s son, Philip II of Spain. Starting in about 1551, he painted the celebrated mythological series of pictures for Philip, which he referred to as ‘poesie’. The 'poesie' included Diana and Actaeon and Diana and Callisto, which are now part of the National Gallery's collection, along with The Death of Actaeon, which was originally conceived as part of the series, but in fact remained unfinished in the artist's studio at his death. In 1527 the Florentine sculptor and architect Jacopo Sansovino and the Tuscan man of letters Pietro Aretino arrived in Venice. They became inseparable friends with Titian, stimulating his interest in Mannerism, a style first seen in his paintings from that period. Mannerist aspects in his art increased after his only trip to Rome in 1545-6, where he finally got the opportunity to meet Michelangelo. Late years The last phase of Titian’s life coincided with a radical revision of his own style and painting technique. Starting from the late 1550s, Titian developed a much freer use of the brush and a less descriptive representation of reality. In the late 1560s and early 1570s, when Titian was already extremely old, he pushed his art to the edge of abstraction. This later style has been defined as ‘magic impressionism’. All of this is well represented by two of his latest works, The Death of Actaeon at the National Gallery, and the ‘Pietà’, now in the Gallerie dell’Accademia in Venice. The ‘Pietà’ was originally destined for his own tomb in the church of Santa Maria Gloriosa dei Frari, where Titian was buried after dying of the plague on 27 August 1576.\nAcquisition Credit: Bought, 1860", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/1fca4f12e4450f51bb59def05fafbb82.jpg?itok=gkUPfmeN", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/1fca4f12e4450f51bb59def05fafbb82.jpg?itok=p7Tf7NUI", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/1fca4f12e4450f51bb59def05fafbb82.jpg?itok=Tmk3Aeoi", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/1fca4f12e4450f51bb59def05fafbb82.jpg?itok=aXsKrqaC", "mfid": "1fca4f12e4450f51bb59def05fafbb82", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/1fca4f12e4450f51bb59def05fafbb82.jpg?itok=hL4O1Jo0", "fileType": "image", "fileCreator": "提齊安諾·維伽略 Titian", "rights": "The National Gallery, London", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-04.png?itok=gq-PTcKL", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, { "oid": "5564fcb69a2c7788e9db266f8863971c", "title": "Virgin and Child with the Young Saint John the Baptist (The Esterházy Madonna)", "desc": "Right up to the end of the last century Raphael was honored as the unsurpassable peak of painting: the master who recreated the spirit of classical antiquity and transcended its achievements. The timeless harmony, serene palette, and peerless grace of his pictures served as a model for centuries. And if since then the public has come to feel closer to tortured geniuses wrestling with themselves, if the struggling torso pleases more than final perfection, the fact remains: every idea and aspiration of the Italian Renaissance reached its culmination and attained perfect synthesis in the art of Raphael.\nIn spite of being left unfinished (the Virgin's face and the figures of the children remain in the underpainting phase), the Esterházy Madonna represents the most perfect moment even of this absolute art: the end of the Florentine years, before Raphael, moved to Rome where he would move on and begin to deconstruct the harmony. It is still the season of synthesis, and as if the express intention was to pay homage to his predecessors, the posture of the Madonna was developed from Leonardo's paraphrase of an admired classical statue (the Crouching Venus). The pyramidal geometric structure, which masterfully directs the viewer's attention to the scroll held by Saint John the Baptist, also derives from Leonardo's ideas. If the picture reached completion, this scroll would bear John's prophecy on Jesus's role as redeemer: 'Behold, the Lamb of God, who takes away the sin of the world!'\nAxel Vécsey \n一直到上世紀末,拉斐爾都被譽為繪畫的無上巔峰:再現古典古典精神並超越其成就的大師。幾個世紀以來,他的照片中永恆的和諧、寧靜的色調和無與倫比的優雅一直是典範。如果從那時起,公眾越來越接近與自己搏鬥的受折磨的天才,如果掙扎的軀干比最終的完美更令人愉悅,那麼事實仍然存在:意大利文藝復興時期的每一個想法和願望都達到了頂峰,並在藝術中達到了完美的結合拉斐爾的。\n儘管未完成(聖母的臉和孩子們的形象仍處於底漆階段),但埃斯特哈齊麥當娜代表了這種絕對藝術中最完美的時刻:佛羅倫薩時代的結束,拉斐爾之前搬到羅馬,他將繼續前進並開始解構和諧。現在仍然是合成的季節,彷彿表達的意圖是向他的前輩致敬,麥當娜的姿勢是從列奧納多對一尊受人尊敬的古典雕像(蹲伏的維納斯)的釋義發展而來的。金字塔的幾何結構巧妙地將觀眾的注意力引導到施洗者聖約翰手中的捲軸上,這也源於達芬奇的想法。如果這幅畫完成,這捲軸上將載有約翰關於耶穌作為救贖者角色的預言:“看哪,上帝的羔羊,除去世人罪孽的!”\n詳細資訊\n\n標題: Virgin and Child with the Young Saint John the Baptist (The Esterházy Madonna)\n建立者: Raphael\n建立日期: ca. 1508\n實際尺寸: 28.5 x 21.5 cm\n類型: paintings\n發布者: Museum of Fine Arts Budapest\n權利: http://www.szepmuveszeti.hu/rights_and_reproductions\n外部連結: http://www.szepmuveszeti.hu/adatlap_eng/8911\n材質: tempera and oil on wood\nInventory Number: 71", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/410d8261c641f9d688263f87ea7010be.jpg?itok=p5pXRcHX", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/410d8261c641f9d688263f87ea7010be.jpg?itok=o0a5HNyL", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/410d8261c641f9d688263f87ea7010be.jpg?itok=4P02KSLP", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/410d8261c641f9d688263f87ea7010be.jpg?itok=gk8ro0zU", "mfid": "410d8261c641f9d688263f87ea7010be", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/410d8261c641f9d688263f87ea7010be.jpg?itok=TDHamL8W", "fileType": "image", "fileCreator": "Raphael 拉斐爾", "rights": "Museum of Fine Arts Budapest", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-02.png?itok=fGKM5I0r", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" } ], "items": { "imgs-qww7z0z3zf-n1x2xdek5j": { "id": "imgs-qww7z0z3zf-n1x2xdek5j", "title": "Mary with the Child, Venerated by Two Evangelists", "desc": "This altarpiece dating from c. 1570/75 was painted by Tintoretto alone, without assistance from his studio. The depiction of Mary with a crown of stars above the sickle moon as the Woman of the Apocalypse and Immaculata, appearing to the Evangelists as if in a vision, is typical of Counter-Reformation veneration of Mary.\n這個祭壇可以追溯到 c.1570/75 是由丁托列托獨自繪製的,沒有得到他工作室的幫助。瑪麗在鐮刀月亮上方的星冠上被描繪成天啟和無染原罪的女人,在福音傳道者面前彷彿出現在異像中,是典型的反宗教改革對瑪麗的崇拜。\n\n詳細資訊\n\n標題: Mary with the Child, Venerated by Two Evangelists\n建立者: Tintoretto\n建立日期: before 1570\n實際尺寸: w160.0 x h228.0 cm\n類型: Painting\n外部連結: Gemäldegalerie, Staatliche Museen zu Berlin\n材質: Canvas\nStyle: Italian\nCopyright Text: Text: © http://www.prestel.com, Prestel Verlag / Gemäldegalerie, Staatliche Museen zu Berlin / Stefan Moret // Photo: © http://www.bpk-images.de, b p k - Photo Agency / Gemäldegalerie, Staatliche Museen zu Berlin / Jörg P. Anders\nCollection: Gemäldegalerie, Staatliche Museen zu Berlin\nArtist information: Tintoretto was an Italian artist and remarkable representative of the Venetian Renaissance school. He was a pupil of Titian—even if not for a long period—whose colorism had a profound influence on his work. His manner did not, however, purely confine itself to Titian's but also drew from Michelangelo. Tintoretto felt very connected to Venice and created various artworks in Saint Mark's Basilica. In 1548 he was commissioned to create four pictures in the Scuola Grande di San Marco. Another enormous task he completed was the decoration of the walls and ceilings of the Scuola Grande di San Rocco. Around 1560 he began several paintings for the Doge's Palace, one of these, Paradise, is considered the world's biggest painting on canvas. He stands as a precursor of the Baroque due to his use of special effects of light and perspective to create dynamism. He was fascinated by lights and their impact on his compositions which explains why some subjects appear in several works, illuminated differently each time.\nArtist Place of Death: Venice, Italy\nArtist Place of Birth: Venice, Italy\nArtist Gender: male\nArtist Dates: 1518-09-29/1594-05-31", "primaryObj": { "oid": "fea8ef787cbd5b39dfcff8295f2d1c3a", "title": "Mary with the Child, Venerated by Two Evangelists", "desc": "This altarpiece dating from c. 1570/75 was painted by Tintoretto alone, without assistance from his studio. The depiction of Mary with a crown of stars above the sickle moon as the Woman of the Apocalypse and Immaculata, appearing to the Evangelists as if in a vision, is typical of Counter-Reformation veneration of Mary.\n這個祭壇可以追溯到 c.1570/75 是由丁托列托獨自繪製的,沒有得到他工作室的幫助。瑪麗在鐮刀月亮上方的星冠上被描繪成天啟和無染原罪的女人,在福音傳道者面前彷彿出現在異像中,是典型的反宗教改革對瑪麗的崇拜。\n\n詳細資訊\n\n標題: Mary with the Child, Venerated by Two Evangelists\n建立者: Tintoretto\n建立日期: before 1570\n實際尺寸: w160.0 x h228.0 cm\n類型: Painting\n外部連結: Gemäldegalerie, Staatliche Museen zu Berlin\n材質: Canvas\nStyle: Italian\nCopyright Text: Text: © http://www.prestel.com, Prestel Verlag / Gemäldegalerie, Staatliche Museen zu Berlin / Stefan Moret // Photo: © http://www.bpk-images.de, b p k - Photo Agency / Gemäldegalerie, Staatliche Museen zu Berlin / Jörg P. Anders\nCollection: Gemäldegalerie, Staatliche Museen zu Berlin\nArtist information: Tintoretto was an Italian artist and remarkable representative of the Venetian Renaissance school. He was a pupil of Titian—even if not for a long period—whose colorism had a profound influence on his work. His manner did not, however, purely confine itself to Titian's but also drew from Michelangelo. Tintoretto felt very connected to Venice and created various artworks in Saint Mark's Basilica. In 1548 he was commissioned to create four pictures in the Scuola Grande di San Marco. Another enormous task he completed was the decoration of the walls and ceilings of the Scuola Grande di San Rocco. Around 1560 he began several paintings for the Doge's Palace, one of these, Paradise, is considered the world's biggest painting on canvas. He stands as a precursor of the Baroque due to his use of special effects of light and perspective to create dynamism. He was fascinated by lights and their impact on his compositions which explains why some subjects appear in several works, illuminated differently each time.\nArtist Place of Death: Venice, Italy\nArtist Place of Birth: Venice, Italy\nArtist Gender: male\nArtist Dates: 1518-09-29/1594-05-31", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/de9f9a2240dafde1dea8c938912b8b4b.jpg?itok=LSQ0dBVo", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/de9f9a2240dafde1dea8c938912b8b4b.jpg?itok=LsQZCmt9", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/de9f9a2240dafde1dea8c938912b8b4b.jpg?itok=NOlc8-qR", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/de9f9a2240dafde1dea8c938912b8b4b.jpg?itok=WWPPMOAN", "mfid": "de9f9a2240dafde1dea8c938912b8b4b", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/de9f9a2240dafde1dea8c938912b8b4b.jpg?itok=fwDPWXS8", "fileType": "image", "fileCreator": "丁托列托 Tintoretto", "rights": "Gemäldegalerie, Staatliche Museen zu Berlin", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-04.png?itok=gq-PTcKL", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "sortable": true, "type": "imgs-child", "weight": 0 }, "imgs-qww7z0z3zf-qvbeixp0bn": { "id": "imgs-qww7z0z3zf-qvbeixp0bn", "title": "The Aldobrandini Madonna", "desc": "The Virgin and Child with the young Saint John the Baptist was a common subject from the 15th century onwards. John the Baptist is identified by his camel skin and reed cross. The kneeling woman has often been identified as Saint Catherine but she is shown without her usual attribute of the wheel on which she was tortured. Shepherds can be seen in the background; they - and the angel in the sky - might allude to the Annunciation to the Shepherds (New Testament, Luke 2: 8-17).\nIn the 19th century, this painting was said to have been signed and dated 1533.\n\nAldobrandini Madonna是意大利文藝復興時期藝術家拉斐爾創作於 1509-1510 年的油畫。這張照片是聖母、基督孩子和嬰兒施洗約翰,這是拉斐爾與這三人組的眾多畫作之一。這是在他的第三個時期或羅馬時期的早期,從他的翁布里亞時期或佛羅倫薩時期開始,在風格、色彩的使用以及更自然的主題和環境的引入方面出現了明顯的變化。\n\n幾個世紀以來,它由貴族羅馬阿爾多布蘭迪尼家族擁有,自 1865 年以來一直是倫敦國家美術館收藏的一部分。在加瓦勳爵和夫人擁有大約 5 年之後,它於 1865 年被出售給國家美術館,是有時仍被稱為Garvagh Madonna。\nAldobrandini Madonna是意大利文藝復興時期藝術家拉斐爾創作於 1509-1510 年的油畫。這張照片是聖母、基督孩子和嬰兒施洗約翰,這是拉斐爾與這三人組的眾多畫作之一。這是在他的第三個時期或羅馬時期的早期,從他的翁布里亞時期或佛羅倫薩時期開始,在風格、色彩的使用以及更自然的主題和環境的引入方面出現了明顯的變化。\n\n幾個世紀以來,它由貴族羅馬阿爾多布蘭迪尼家族擁有,自 1865 年以來一直是倫敦國家美術館收藏的一部分。在加瓦勳爵和夫人擁有大約 5 年之後,它於 1865 年被出售給國家美術館,是有時仍被稱為Garvagh Madonna。\n\n詳細資訊\n\nSchool: Italian (Venetian)\nMore Info: Explore the National Gallery’s paintings online\nInventory number: NG635\nFull Title: The Virgin and Child with the Infant Saint John and a Female Saint or Donor ('The Aldobrandini Madonna')\nArtist Dates: active about 1506; died 1576\nArtist Biography: Titian was the greatest painter of 16th-century Venice, and the first painter to have a mainly international clientele. During his long career, he experimented with many different styles of painting which embody the development of art during his epoch. Youth and debut Titian (Tiziano Vecellio) was born in Pieve di Cadore, a small town at the foot of the Dolomites on the Venetian side of the Alps. The Vecellios had been based in Cadore since the 14th century. Titian’s father, Gregorio, was a military man. His older brother Francesco was also a painter. There is still no documentary evidence of Titian’s exact date of birth, but contemporary sources and his early stylistic development suggest that he was born around 1490. When he was about 10 years old, Titian arrived in Venice, then one of the wealthiest and most cosmopolitan cities in the world. Titian started his artistic training in the workshop of the mosaicist Sebastiano Zuccato. He later briefly joined Gentile Bellini’s workshop. After Gentile’s death in 1507, Titian joined the workshop of Gentile's brother, Giovanni Bellini, which at that time was the most important in Venice. However, it was through contact with Giorgione, who had also previously trained in Giovanni Bellini’s workshop, that he mainly developed his early style. The Giorgionesque appearance of Titian’s early work, which is characterised by a pastoral mood, is proof of their closeness. In 1508-9 they worked together on the decoration of the external walls of the ‘Fondaco dei Tedeschi’ in Venice. The parts executed by Titian were greatly praised by contemporaries, much to the annoyance of Giorgione. After Giorgione’s death in 1510, and Sebastiano del Piombo’s departure to Rome in 1511, Titian launched his independent career in Venice. He was now left without rivals among his generation who could compete at his level. Early local success In 1511 Titian painted his celebrated frescoes in the ‘Scuola del Santo’ in Padua. His style had now reached maturity, marked by fullness of forms, compositional confidence and chromatic balance. These features made his work fundamental to the development of Venetian – and also European – painting. He became famous as a portraitist (examples in the National Gallery are La Schiavona and Portrait of Gerolamo (?) Barbarigo). He was also known as a painter of various profane subjects. These skills drew the attention of intellectually ambitious Italian dukes and aristocrats. Titian was also commissioned to paint prestigious public religious paintings. His Venetian success was sealed by the execution of the altarpiece for the high altar of the important Franciscan church of Santa Maria Gloriosa dei Frari in Venice. The so-called ‘Assunta’ (Assumption of the Virgin Mary), which is nearly seven metres high, was displayed in 1518, creating a revolutionary watershed in Venetian altarpiece design. Between 1519 and 1526, he painted the celebrated ‘Pala Pesaro’ for the same church. This asymmetrical composition strongly influenced Venetian altarpiece painting right up until the 18th century. North Italian courts Early in 1516 Titian started his professional relationship with Alfonso I d’Este, Duke of Ferrara and spent time in Alfonso’s castle. The duke wanted to create a private cabinet, which would be known as the ‘camerino d’alabastro’ (the alabaster cabinet), with mythological scenes derived from classical poetry. The duke employed the painters he considered to be the best at the time. Apart from Titian, the other artists were Raphael, Fra Bartolomeo and Dosso Dossi. Following the deaths of Raphael and Fra Bartolomeo Titian’s involvement in the project increased. He then executed his two famous Bacchanals for Alfonso I, today in the Prado, Madrid, along with Bacchus and Ariadne, now in the National Gallery. Titian also worked for the court of Mantua. In 1523 he began painting for the future Duke of Mantua, Federico II Gonzaga the son of Isabella d’Este (who was the sister of Titian’s earlier patron Alfonso I). Titian mainly painted portraits for the Mantuan court. In 1532 Titian started to work for the Duke of Urbino, Francesco Maria della Rovere. He would also work for his successor, Guidobaldo II. In the 1530s, he was also in touch with the court of Pope Paolo III Farnese. Worldwide success, family and friends The 1520s were hugely significant for Titian’s private life. In 1525 he married Cecilia (who tragically died in 1530). Titian and Cecilia had three children, who were all given the names of famous figures from ancient Rome: Pompeo, Orazio and Lavinia. Titian’s meeting with the Holy Roman Emperor Charles V in Bologna in 1530 would be a determining event in his life. On this occasion Titian executed a (now lost) full-length, life-size portrait of the Emperor - an early example of what was still an extremely innovative genre at that time. He rapidly became the principal painter to the imperial court, which gave him immense privileges, honours and even titles. From this moment he was the painter most in demand at courts across Europe. Titian also became the official painter of Charles V’s son, Philip II of Spain. Starting in about 1551, he painted the celebrated mythological series of pictures for Philip, which he referred to as ‘poesie’. The 'poesie' included Diana and Actaeon and Diana and Callisto, which are now part of the National Gallery's collection, along with The Death of Actaeon, which was originally conceived as part of the series, but in fact remained unfinished in the artist's studio at his death. In 1527 the Florentine sculptor and architect Jacopo Sansovino and the Tuscan man of letters Pietro Aretino arrived in Venice. They became inseparable friends with Titian, stimulating his interest in Mannerism, a style first seen in his paintings from that period. Mannerist aspects in his art increased after his only trip to Rome in 1545-6, where he finally got the opportunity to meet Michelangelo. Late years The last phase of Titian’s life coincided with a radical revision of his own style and painting technique. Starting from the late 1550s, Titian developed a much freer use of the brush and a less descriptive representation of reality. In the late 1560s and early 1570s, when Titian was already extremely old, he pushed his art to the edge of abstraction. This later style has been defined as ‘magic impressionism’. All of this is well represented by two of his latest works, The Death of Actaeon at the National Gallery, and the ‘Pietà’, now in the Gallerie dell’Accademia in Venice. The ‘Pietà’ was originally destined for his own tomb in the church of Santa Maria Gloriosa dei Frari, where Titian was buried after dying of the plague on 27 August 1576.\nAcquisition Credit: Bought, 1860", "primaryObj": { "oid": "d2e691d62a822653b94d3670eb98387d", "title": "The Aldobrandini Madonna", "desc": "The Virgin and Child with the young Saint John the Baptist was a common subject from the 15th century onwards. John the Baptist is identified by his camel skin and reed cross. The kneeling woman has often been identified as Saint Catherine but she is shown without her usual attribute of the wheel on which she was tortured. Shepherds can be seen in the background; they - and the angel in the sky - might allude to the Annunciation to the Shepherds (New Testament, Luke 2: 8-17).\nIn the 19th century, this painting was said to have been signed and dated 1533.\n\nAldobrandini Madonna是意大利文藝復興時期藝術家拉斐爾創作於 1509-1510 年的油畫。這張照片是聖母、基督孩子和嬰兒施洗約翰,這是拉斐爾與這三人組的眾多畫作之一。這是在他的第三個時期或羅馬時期的早期,從他的翁布里亞時期或佛羅倫薩時期開始,在風格、色彩的使用以及更自然的主題和環境的引入方面出現了明顯的變化。\n\n幾個世紀以來,它由貴族羅馬阿爾多布蘭迪尼家族擁有,自 1865 年以來一直是倫敦國家美術館收藏的一部分。在加瓦勳爵和夫人擁有大約 5 年之後,它於 1865 年被出售給國家美術館,是有時仍被稱為Garvagh Madonna。\nAldobrandini Madonna是意大利文藝復興時期藝術家拉斐爾創作於 1509-1510 年的油畫。這張照片是聖母、基督孩子和嬰兒施洗約翰,這是拉斐爾與這三人組的眾多畫作之一。這是在他的第三個時期或羅馬時期的早期,從他的翁布里亞時期或佛羅倫薩時期開始,在風格、色彩的使用以及更自然的主題和環境的引入方面出現了明顯的變化。\n\n幾個世紀以來,它由貴族羅馬阿爾多布蘭迪尼家族擁有,自 1865 年以來一直是倫敦國家美術館收藏的一部分。在加瓦勳爵和夫人擁有大約 5 年之後,它於 1865 年被出售給國家美術館,是有時仍被稱為Garvagh Madonna。\n\n詳細資訊\n\nSchool: Italian (Venetian)\nMore Info: Explore the National Gallery’s paintings online\nInventory number: NG635\nFull Title: The Virgin and Child with the Infant Saint John and a Female Saint or Donor ('The Aldobrandini Madonna')\nArtist Dates: active about 1506; died 1576\nArtist Biography: Titian was the greatest painter of 16th-century Venice, and the first painter to have a mainly international clientele. During his long career, he experimented with many different styles of painting which embody the development of art during his epoch. Youth and debut Titian (Tiziano Vecellio) was born in Pieve di Cadore, a small town at the foot of the Dolomites on the Venetian side of the Alps. The Vecellios had been based in Cadore since the 14th century. Titian’s father, Gregorio, was a military man. His older brother Francesco was also a painter. There is still no documentary evidence of Titian’s exact date of birth, but contemporary sources and his early stylistic development suggest that he was born around 1490. When he was about 10 years old, Titian arrived in Venice, then one of the wealthiest and most cosmopolitan cities in the world. Titian started his artistic training in the workshop of the mosaicist Sebastiano Zuccato. He later briefly joined Gentile Bellini’s workshop. After Gentile’s death in 1507, Titian joined the workshop of Gentile's brother, Giovanni Bellini, which at that time was the most important in Venice. However, it was through contact with Giorgione, who had also previously trained in Giovanni Bellini’s workshop, that he mainly developed his early style. The Giorgionesque appearance of Titian’s early work, which is characterised by a pastoral mood, is proof of their closeness. In 1508-9 they worked together on the decoration of the external walls of the ‘Fondaco dei Tedeschi’ in Venice. The parts executed by Titian were greatly praised by contemporaries, much to the annoyance of Giorgione. After Giorgione’s death in 1510, and Sebastiano del Piombo’s departure to Rome in 1511, Titian launched his independent career in Venice. He was now left without rivals among his generation who could compete at his level. Early local success In 1511 Titian painted his celebrated frescoes in the ‘Scuola del Santo’ in Padua. His style had now reached maturity, marked by fullness of forms, compositional confidence and chromatic balance. These features made his work fundamental to the development of Venetian – and also European – painting. He became famous as a portraitist (examples in the National Gallery are La Schiavona and Portrait of Gerolamo (?) Barbarigo). He was also known as a painter of various profane subjects. These skills drew the attention of intellectually ambitious Italian dukes and aristocrats. Titian was also commissioned to paint prestigious public religious paintings. His Venetian success was sealed by the execution of the altarpiece for the high altar of the important Franciscan church of Santa Maria Gloriosa dei Frari in Venice. The so-called ‘Assunta’ (Assumption of the Virgin Mary), which is nearly seven metres high, was displayed in 1518, creating a revolutionary watershed in Venetian altarpiece design. Between 1519 and 1526, he painted the celebrated ‘Pala Pesaro’ for the same church. This asymmetrical composition strongly influenced Venetian altarpiece painting right up until the 18th century. North Italian courts Early in 1516 Titian started his professional relationship with Alfonso I d’Este, Duke of Ferrara and spent time in Alfonso’s castle. The duke wanted to create a private cabinet, which would be known as the ‘camerino d’alabastro’ (the alabaster cabinet), with mythological scenes derived from classical poetry. The duke employed the painters he considered to be the best at the time. Apart from Titian, the other artists were Raphael, Fra Bartolomeo and Dosso Dossi. Following the deaths of Raphael and Fra Bartolomeo Titian’s involvement in the project increased. He then executed his two famous Bacchanals for Alfonso I, today in the Prado, Madrid, along with Bacchus and Ariadne, now in the National Gallery. Titian also worked for the court of Mantua. In 1523 he began painting for the future Duke of Mantua, Federico II Gonzaga the son of Isabella d’Este (who was the sister of Titian’s earlier patron Alfonso I). Titian mainly painted portraits for the Mantuan court. In 1532 Titian started to work for the Duke of Urbino, Francesco Maria della Rovere. He would also work for his successor, Guidobaldo II. In the 1530s, he was also in touch with the court of Pope Paolo III Farnese. Worldwide success, family and friends The 1520s were hugely significant for Titian’s private life. In 1525 he married Cecilia (who tragically died in 1530). Titian and Cecilia had three children, who were all given the names of famous figures from ancient Rome: Pompeo, Orazio and Lavinia. Titian’s meeting with the Holy Roman Emperor Charles V in Bologna in 1530 would be a determining event in his life. On this occasion Titian executed a (now lost) full-length, life-size portrait of the Emperor - an early example of what was still an extremely innovative genre at that time. He rapidly became the principal painter to the imperial court, which gave him immense privileges, honours and even titles. From this moment he was the painter most in demand at courts across Europe. Titian also became the official painter of Charles V’s son, Philip II of Spain. Starting in about 1551, he painted the celebrated mythological series of pictures for Philip, which he referred to as ‘poesie’. The 'poesie' included Diana and Actaeon and Diana and Callisto, which are now part of the National Gallery's collection, along with The Death of Actaeon, which was originally conceived as part of the series, but in fact remained unfinished in the artist's studio at his death. In 1527 the Florentine sculptor and architect Jacopo Sansovino and the Tuscan man of letters Pietro Aretino arrived in Venice. They became inseparable friends with Titian, stimulating his interest in Mannerism, a style first seen in his paintings from that period. Mannerist aspects in his art increased after his only trip to Rome in 1545-6, where he finally got the opportunity to meet Michelangelo. Late years The last phase of Titian’s life coincided with a radical revision of his own style and painting technique. Starting from the late 1550s, Titian developed a much freer use of the brush and a less descriptive representation of reality. In the late 1560s and early 1570s, when Titian was already extremely old, he pushed his art to the edge of abstraction. This later style has been defined as ‘magic impressionism’. All of this is well represented by two of his latest works, The Death of Actaeon at the National Gallery, and the ‘Pietà’, now in the Gallerie dell’Accademia in Venice. The ‘Pietà’ was originally destined for his own tomb in the church of Santa Maria Gloriosa dei Frari, where Titian was buried after dying of the plague on 27 August 1576.\nAcquisition Credit: Bought, 1860", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/1fca4f12e4450f51bb59def05fafbb82.jpg?itok=gkUPfmeN", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/1fca4f12e4450f51bb59def05fafbb82.jpg?itok=p7Tf7NUI", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/1fca4f12e4450f51bb59def05fafbb82.jpg?itok=Tmk3Aeoi", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/1fca4f12e4450f51bb59def05fafbb82.jpg?itok=aXsKrqaC", "mfid": "1fca4f12e4450f51bb59def05fafbb82", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/1fca4f12e4450f51bb59def05fafbb82.jpg?itok=hL4O1Jo0", "fileType": "image", "fileCreator": "提齊安諾·維伽略 Titian", "rights": "The National Gallery, London", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-04.png?itok=gq-PTcKL", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "sortable": true, "type": "imgs-child", "weight": 1 }, "imgs-qww7z0z3zf-jzq7jq2mpb": { "id": "imgs-qww7z0z3zf-jzq7jq2mpb", "title": "Virgin and Child with the Young Saint John the Baptist (The Esterházy Madonna)", "desc": "Right up to the end of the last century Raphael was honored as the unsurpassable peak of painting: the master who recreated the spirit of classical antiquity and transcended its achievements. The timeless harmony, serene palette, and peerless grace of his pictures served as a model for centuries. And if since then the public has come to feel closer to tortured geniuses wrestling with themselves, if the struggling torso pleases more than final perfection, the fact remains: every idea and aspiration of the Italian Renaissance reached its culmination and attained perfect synthesis in the art of Raphael.\nIn spite of being left unfinished (the Virgin's face and the figures of the children remain in the underpainting phase), the Esterházy Madonna represents the most perfect moment even of this absolute art: the end of the Florentine years, before Raphael, moved to Rome where he would move on and begin to deconstruct the harmony. It is still the season of synthesis, and as if the express intention was to pay homage to his predecessors, the posture of the Madonna was developed from Leonardo's paraphrase of an admired classical statue (the Crouching Venus). The pyramidal geometric structure, which masterfully directs the viewer's attention to the scroll held by Saint John the Baptist, also derives from Leonardo's ideas. If the picture reached completion, this scroll would bear John's prophecy on Jesus's role as redeemer: 'Behold, the Lamb of God, who takes away the sin of the world!'\nAxel Vécsey \n一直到上世紀末,拉斐爾都被譽為繪畫的無上巔峰:再現古典古典精神並超越其成就的大師。幾個世紀以來,他的照片中永恆的和諧、寧靜的色調和無與倫比的優雅一直是典範。如果從那時起,公眾越來越接近與自己搏鬥的受折磨的天才,如果掙扎的軀干比最終的完美更令人愉悅,那麼事實仍然存在:意大利文藝復興時期的每一個想法和願望都達到了頂峰,並在藝術中達到了完美的結合拉斐爾的。\n儘管未完成(聖母的臉和孩子們的形象仍處於底漆階段),但埃斯特哈齊麥當娜代表了這種絕對藝術中最完美的時刻:佛羅倫薩時代的結束,拉斐爾之前搬到羅馬,他將繼續前進並開始解構和諧。現在仍然是合成的季節,彷彿表達的意圖是向他的前輩致敬,麥當娜的姿勢是從列奧納多對一尊受人尊敬的古典雕像(蹲伏的維納斯)的釋義發展而來的。金字塔的幾何結構巧妙地將觀眾的注意力引導到施洗者聖約翰手中的捲軸上,這也源於達芬奇的想法。如果這幅畫完成,這捲軸上將載有約翰關於耶穌作為救贖者角色的預言:“看哪,上帝的羔羊,除去世人罪孽的!”\n詳細資訊\n\n標題: Virgin and Child with the Young Saint John the Baptist (The Esterházy Madonna)\n建立者: Raphael\n建立日期: ca. 1508\n實際尺寸: 28.5 x 21.5 cm\n類型: paintings\n發布者: Museum of Fine Arts Budapest\n權利: http://www.szepmuveszeti.hu/rights_and_reproductions\n外部連結: http://www.szepmuveszeti.hu/adatlap_eng/8911\n材質: tempera and oil on wood\nInventory Number: 71", "primaryObj": { "oid": "5564fcb69a2c7788e9db266f8863971c", "title": "Virgin and Child with the Young Saint John the Baptist (The Esterházy Madonna)", "desc": "Right up to the end of the last century Raphael was honored as the unsurpassable peak of painting: the master who recreated the spirit of classical antiquity and transcended its achievements. The timeless harmony, serene palette, and peerless grace of his pictures served as a model for centuries. And if since then the public has come to feel closer to tortured geniuses wrestling with themselves, if the struggling torso pleases more than final perfection, the fact remains: every idea and aspiration of the Italian Renaissance reached its culmination and attained perfect synthesis in the art of Raphael.\nIn spite of being left unfinished (the Virgin's face and the figures of the children remain in the underpainting phase), the Esterházy Madonna represents the most perfect moment even of this absolute art: the end of the Florentine years, before Raphael, moved to Rome where he would move on and begin to deconstruct the harmony. It is still the season of synthesis, and as if the express intention was to pay homage to his predecessors, the posture of the Madonna was developed from Leonardo's paraphrase of an admired classical statue (the Crouching Venus). The pyramidal geometric structure, which masterfully directs the viewer's attention to the scroll held by Saint John the Baptist, also derives from Leonardo's ideas. If the picture reached completion, this scroll would bear John's prophecy on Jesus's role as redeemer: 'Behold, the Lamb of God, who takes away the sin of the world!'\nAxel Vécsey \n一直到上世紀末,拉斐爾都被譽為繪畫的無上巔峰:再現古典古典精神並超越其成就的大師。幾個世紀以來,他的照片中永恆的和諧、寧靜的色調和無與倫比的優雅一直是典範。如果從那時起,公眾越來越接近與自己搏鬥的受折磨的天才,如果掙扎的軀干比最終的完美更令人愉悅,那麼事實仍然存在:意大利文藝復興時期的每一個想法和願望都達到了頂峰,並在藝術中達到了完美的結合拉斐爾的。\n儘管未完成(聖母的臉和孩子們的形象仍處於底漆階段),但埃斯特哈齊麥當娜代表了這種絕對藝術中最完美的時刻:佛羅倫薩時代的結束,拉斐爾之前搬到羅馬,他將繼續前進並開始解構和諧。現在仍然是合成的季節,彷彿表達的意圖是向他的前輩致敬,麥當娜的姿勢是從列奧納多對一尊受人尊敬的古典雕像(蹲伏的維納斯)的釋義發展而來的。金字塔的幾何結構巧妙地將觀眾的注意力引導到施洗者聖約翰手中的捲軸上,這也源於達芬奇的想法。如果這幅畫完成,這捲軸上將載有約翰關於耶穌作為救贖者角色的預言:“看哪,上帝的羔羊,除去世人罪孽的!”\n詳細資訊\n\n標題: Virgin and Child with the Young Saint John the Baptist (The Esterházy Madonna)\n建立者: Raphael\n建立日期: ca. 1508\n實際尺寸: 28.5 x 21.5 cm\n類型: paintings\n發布者: Museum of Fine Arts Budapest\n權利: http://www.szepmuveszeti.hu/rights_and_reproductions\n外部連結: http://www.szepmuveszeti.hu/adatlap_eng/8911\n材質: tempera and oil on wood\nInventory Number: 71", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/410d8261c641f9d688263f87ea7010be.jpg?itok=p5pXRcHX", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/410d8261c641f9d688263f87ea7010be.jpg?itok=o0a5HNyL", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/410d8261c641f9d688263f87ea7010be.jpg?itok=4P02KSLP", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/410d8261c641f9d688263f87ea7010be.jpg?itok=gk8ro0zU", "mfid": "410d8261c641f9d688263f87ea7010be", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/410d8261c641f9d688263f87ea7010be.jpg?itok=TDHamL8W", "fileType": "image", "fileCreator": "Raphael 拉斐爾", "rights": "Museum of Fine Arts Budapest", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-02.png?itok=fGKM5I0r", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "sortable": true, "type": "imgs-child", "weight": 2 } }, "musicName": "無", "weight": 8, "primaryObj": { "oid": "5564fcb69a2c7788e9db266f8863971c", "title": "Virgin and Child with the Young Saint John the Baptist (The Esterházy Madonna)", "desc": "Right up to the end of the last century Raphael was honored as the unsurpassable peak of painting: the master who recreated the spirit of classical antiquity and transcended its achievements. The timeless harmony, serene palette, and peerless grace of his pictures served as a model for centuries. And if since then the public has come to feel closer to tortured geniuses wrestling with themselves, if the struggling torso pleases more than final perfection, the fact remains: every idea and aspiration of the Italian Renaissance reached its culmination and attained perfect synthesis in the art of Raphael.\nIn spite of being left unfinished (the Virgin's face and the figures of the children remain in the underpainting phase), the Esterházy Madonna represents the most perfect moment even of this absolute art: the end of the Florentine years, before Raphael, moved to Rome where he would move on and begin to deconstruct the harmony. It is still the season of synthesis, and as if the express intention was to pay homage to his predecessors, the posture of the Madonna was developed from Leonardo's paraphrase of an admired classical statue (the Crouching Venus). The pyramidal geometric structure, which masterfully directs the viewer's attention to the scroll held by Saint John the Baptist, also derives from Leonardo's ideas. If the picture reached completion, this scroll would bear John's prophecy on Jesus's role as redeemer: 'Behold, the Lamb of God, who takes away the sin of the world!'\nAxel Vécsey \n一直到上世紀末,拉斐爾都被譽為繪畫的無上巔峰:再現古典古典精神並超越其成就的大師。幾個世紀以來,他的照片中永恆的和諧、寧靜的色調和無與倫比的優雅一直是典範。如果從那時起,公眾越來越接近與自己搏鬥的受折磨的天才,如果掙扎的軀干比最終的完美更令人愉悅,那麼事實仍然存在:意大利文藝復興時期的每一個想法和願望都達到了頂峰,並在藝術中達到了完美的結合拉斐爾的。\n儘管未完成(聖母的臉和孩子們的形象仍處於底漆階段),但埃斯特哈齊麥當娜代表了這種絕對藝術中最完美的時刻:佛羅倫薩時代的結束,拉斐爾之前搬到羅馬,他將繼續前進並開始解構和諧。現在仍然是合成的季節,彷彿表達的意圖是向他的前輩致敬,麥當娜的姿勢是從列奧納多對一尊受人尊敬的古典雕像(蹲伏的維納斯)的釋義發展而來的。金字塔的幾何結構巧妙地將觀眾的注意力引導到施洗者聖約翰手中的捲軸上,這也源於達芬奇的想法。如果這幅畫完成,這捲軸上將載有約翰關於耶穌作為救贖者角色的預言:“看哪,上帝的羔羊,除去世人罪孽的!”\n詳細資訊\n\n標題: Virgin and Child with the Young Saint John the Baptist (The Esterházy Madonna)\n建立者: Raphael\n建立日期: ca. 1508\n實際尺寸: 28.5 x 21.5 cm\n類型: paintings\n發布者: Museum of Fine Arts Budapest\n權利: http://www.szepmuveszeti.hu/rights_and_reproductions\n外部連結: http://www.szepmuveszeti.hu/adatlap_eng/8911\n材質: tempera and oil on wood\nInventory Number: 71", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/410d8261c641f9d688263f87ea7010be.jpg?itok=p5pXRcHX", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/410d8261c641f9d688263f87ea7010be.jpg?itok=o0a5HNyL", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/410d8261c641f9d688263f87ea7010be.jpg?itok=4P02KSLP", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/410d8261c641f9d688263f87ea7010be.jpg?itok=gk8ro0zU", "mfid": "410d8261c641f9d688263f87ea7010be", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/410d8261c641f9d688263f87ea7010be.jpg?itok=TDHamL8W", "fileType": "image", "fileCreator": "Raphael 拉斐爾", "rights": "Museum of Fine Arts Budapest", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-02.png?itok=fGKM5I0r", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "musicText": "", "musicURL": "" }, "basic-rwo3xn8047": { "id": "basic-rwo3xn8047", "type": "basic", "sortable": true, "primaryObj": { "oid": "0d0a7077f6880d33b44441047d9d569b", "fileType": "image", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/0c3fcef93edc086e8c50e670bf85bebc.jpg?itok=C63MiJId", "level": "primary", "title": "Bacchus and Ariadne", "desc": "Bacchus, god of wine, emerges with his followers from the landscape to the right. Falling in love with Ariadne on sight, he leaps from his chariot, drawn by two cheetahs, towards her. Ariadne had been abandoned on the Greek island of Naxos by Theseus, whose ship is shown in the distance. The picture shows her initial fear of Bacchus, but he raised her to heaven and turned her into a constellation, represented by the stars above her head.\n\nThe programme for the series was probably devised by a humanist scholar in the service of Alfonso d'Este. The subject of Bacchus and Ariadne is derived from the classical authors Ovid and Catullus.\n\nThe painting is one of a famous series by Bellini, Titian and the Ferrarese artist Dosso Dossi, commissioned for the Camerino d'Alabastro, (Alabaster Room) in the Ducal Palace, Ferrara, by Alfonso d'Este, Duke of Ferrara, who in around 1510 tried to include Michelangelo and Raphael among the contributors. Titian's painting was in fact a substitute for one with a similar subject which the Duke had commissioned from Raphael. Bellini's 'Feast of the Gods' for this room is dated 1514, and the three works by Titian were painted 1518-25.\n\n詳細資訊\n\n標題: Bacchus and Ariadne\n建立者: Titian\n建立日期: 1520-3\n實際尺寸: 176.5 x 191 cm\n類型: Painting\n材質: Oil on canvas\nSchool: Italian (Venetian)\nMore Info: Explore the National Gallery’s paintings online\nInventory number: NG35\nArtist Dates: active about 1506; died 1576\nArtist Biography: Titian was the greatest painter of 16th-century Venice, and the first painter to have a mainly international clientele. During his long career, he experimented with many different styles of painting which embody the development of art during his epoch. Youth and debut Titian (Tiziano Vecellio) was born in Pieve di Cadore, a small town at the foot of the Dolomites on the Venetian side of the Alps. The Vecellios had been based in Cadore since the 14th century. Titian’s father, Gregorio, was a military man. His older brother Francesco was also a painter. There is still no documentary evidence of Titian’s exact date of birth, but contemporary sources and his early stylistic development suggest that he was born around 1490. When he was about 10 years old, Titian arrived in Venice, then one of the wealthiest and most cosmopolitan cities in the world. Titian started his artistic training in the workshop of the mosaicist Sebastiano Zuccato. He later briefly joined Gentile Bellini’s workshop. After Gentile’s death in 1507, Titian joined the workshop of Gentile's brother, Giovanni Bellini, which at that time was the most important in Venice. However, it was through contact with Giorgione, who had also previously trained in Giovanni Bellini’s workshop, that he mainly developed his early style. The Giorgionesque appearance of Titian’s early work, which is characterised by a pastoral mood, is proof of their closeness. In 1508-9 they worked together on the decoration of the external walls of the ‘Fondaco dei Tedeschi’ in Venice. The parts executed by Titian were greatly praised by contemporaries, much to the annoyance of Giorgione. After Giorgione’s death in 1510, and Sebastiano del Piombo’s departure to Rome in 1511, Titian launched his independent career in Venice. He was now left without rivals among his generation who could compete at his level. Early local success In 1511 Titian painted his celebrated frescoes in the ‘Scuola del Santo’ in Padua. His style had now reached maturity, marked by fullness of forms, compositional confidence and chromatic balance. These features made his work fundamental to the development of Venetian – and also European – painting. He became famous as a portraitist (examples in the National Gallery are La Schiavona and Portrait of Gerolamo (?) Barbarigo). He was also known as a painter of various profane subjects. These skills drew the attention of intellectually ambitious Italian dukes and aristocrats. Titian was also commissioned to paint prestigious public religious paintings. His Venetian success was sealed by the execution of the altarpiece for the high altar of the important Franciscan church of Santa Maria Gloriosa dei Frari in Venice. The so-called ‘Assunta’ (Assumption of the Virgin Mary), which is nearly seven metres high, was displayed in 1518, creating a revolutionary watershed in Venetian altarpiece design. Between 1519 and 1526, he painted the celebrated ‘Pala Pesaro’ for the same church. This asymmetrical composition strongly influenced Venetian altarpiece painting right up until the 18th century. North Italian courts Early in 1516 Titian started his professional relationship with Alfonso I d’Este, Duke of Ferrara and spent time in Alfonso’s castle. The duke wanted to create a private cabinet, which would be known as the ‘camerino d’alabastro’ (the alabaster cabinet), with mythological scenes derived from classical poetry. The duke employed the painters he considered to be the best at the time. Apart from Titian, the other artists were Raphael, Fra Bartolomeo and Dosso Dossi. Following the deaths of Raphael and Fra Bartolomeo Titian’s involvement in the project increased. He then executed his two famous Bacchanals for Alfonso I, today in the Prado, Madrid, along with Bacchus and Ariadne, now in the National Gallery. Titian also worked for the court of Mantua. In 1523 he began painting for the future Duke of Mantua, Federico II Gonzaga the son of Isabella d’Este (who was the sister of Titian’s earlier patron Alfonso I). Titian mainly painted portraits for the Mantuan court. In 1532 Titian started to work for the Duke of Urbino, Francesco Maria della Rovere. He would also work for his successor, Guidobaldo II. In the 1530s, he was also in touch with the court of Pope Paolo III Farnese. Worldwide success, family and friends The 1520s were hugely significant for Titian’s private life. In 1525 he married Cecilia (who tragically died in 1530). Titian and Cecilia had three children, who were all given the names of famous figures from ancient Rome: Pompeo, Orazio and Lavinia. Titian’s meeting with the Holy Roman Emperor Charles V in Bologna in 1530 would be a determining event in his life. On this occasion Titian executed a (now lost) full-length, life-size portrait of the Emperor - an early example of what was still an extremely innovative genre at that time. He rapidly became the principal painter to the imperial court, which gave him immense privileges, honours and even titles. From this moment he was the painter most in demand at courts across Europe. Titian also became the official painter of Charles V’s son, Philip II of Spain. Starting in about 1551, he painted the celebrated mythological series of pictures for Philip, which he referred to as ‘poesie’. The 'poesie' included Diana and Actaeon and Diana and Callisto, which are now part of the National Gallery's collection, along with The Death of Actaeon, which was originally conceived as part of the series, but in fact remained unfinished in the artist's studio at his death. In 1527 the Florentine sculptor and architect Jacopo Sansovino and the Tuscan man of letters Pietro Aretino arrived in Venice. They became inseparable friends with Titian, stimulating his interest in Mannerism, a style first seen in his paintings from that period. Mannerist aspects in his art increased after his only trip to Rome in 1545-6, where he finally got the opportunity to meet Michelangelo. Late years The last phase of Titian’s life coincided with a radical revision of his own style and painting technique. Starting from the late 1550s, Titian developed a much freer use of the brush and a less descriptive representation of reality. In the late 1560s and early 1570s, when Titian was already extremely old, he pushed his art to the edge of abstraction. This later style has been defined as ‘magic impressionism’. All of this is well represented by two of his latest works, The Death of Actaeon at the National Gallery, and the ‘Pietà’, now in the Gallerie dell’Accademia in Venice. The ‘Pietà’ was originally destined for his own tomb in the church of Santa Maria Gloriosa dei Frari, where Titian was buried after dying of the plague on 27 August 1576.\nAcquisition Credit: Bought, 1826", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/0c3fcef93edc086e8c50e670bf85bebc.jpg?itok=D84rLr8t", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/0c3fcef93edc086e8c50e670bf85bebc.jpg?itok=OZD_vgRo", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/0c3fcef93edc086e8c50e670bf85bebc.jpg?itok=a79QCIA_", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/0c3fcef93edc086e8c50e670bf85bebc.jpg?itok=yAdZ9vw9", "mfid": "0c3fcef93edc086e8c50e670bf85bebc", "musicURL": "", "musicName": "", "fileCreator": "提齊安諾·維伽略 Titian", "rights": "The National Gallery, London", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-05.png?itok=0rVBS4da", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false }, "title": "Titian 提香 ", "desc": "<span>&nbsp; &nbsp; &nbsp; &nbsp;酒神與阿利阿德內是羅馬神話中的著名場景,描述酒神遇見被情人拋棄的少女阿利雅德內的一段浪漫情史,畫面中央從凱旋車飛奔而下的是酒神,他被少女阿利雅德內的美貌吸引,酒神巴科斯扭曲著身子,情不自禁的從凱旋車跳下,他的頭上帶著葡萄葉編織的頭冠,半裸著身子,披著漩渦狀的粉色衣服,面向左方的少女阿利雅德內,少女被酒神的熱情舉動有點驚嚇而閃躲,但是酒神為了追求還保證少女阿利雅德內不死,把她的頭冠拋向天際,變成星座成了左上方的星星。<br><br>&nbsp; &nbsp; &nbsp; &nbsp;如果畫一個對角線幾乎有一半的畫面都是藍色的,阿利雅德內的披風、仕女的裙子、地平線之處的山都是藍色。在這個時期藍色受到宗教條款的管制用量和用途都受到限制,但在這幅畫中提香打破限制,與當時主流不同的是藍色通常用來畫聖母瑪麗亞的披風,此畫中最純淨的藍色被用在了這位歡慶的仕女披風上與聖母形象反差極大的袒露胸部沒有用衣服蓋住,象徵著藍色擺脫傳統雅俗的等級觀念中的束縛,從宗教的枷鎖中解放出來。<div><br></div></span>", "musicName": "無", "weight": 9, "musicText": "", "musicURL": "" }, "imgs-9e3cun1lp7": { "id": "imgs-9e3cun1lp7", "type": "imgs", "sortable": true, "multiObjs": [ { "oid": "1d6a3b514d90b11f88b9c24164f4c29c", "title": "戴珍珠耳環的少女", "desc": "《戴珍珠耳環的少女》是維梅爾最為著名的畫作。這不是一幅肖像畫,而是頭像 (Tronie),即想像中的人物畫作。頭像通常會描畫某種類型或特徵;這幅畫是一位穿著異國服飾的女孩、頭戴東方頭巾,耳環則鑲有大到不真實的珍珠。\n維梅爾是光影大師。這可透過女孩彷彿擁有柔軟的臉蛋、泛著微光的溼潤雙唇看出端倪。當然,還有十分耀眼的珍珠。\n詳細資訊\n標題: 戴珍珠耳環的少女\n建立者: 揚·維梅爾\n建立日期: c. 1665 (digitized by Madpixel)\n實際尺寸: 44.5 x 39 cm\n出處: (?) 1674 年之前,台夫特,Pieter Claesz van Ruijven;(?) 1674-1681 年台夫特,他的遺孀 Maria de Knuijt;(?) 1681-1682 年台夫特,他們的女兒 Magdalena van Ruijven 和 Jacob Dissius;(?) 1682-1695 年台夫特,Jacob Dissius (與他的父親 Abraham Dissius 1685-1694 年);1696 年 5 月 16 日阿姆斯特丹 Dissius 拍賣,第 38 (f36,-)、39 (f17,-) 或 40 (f17,-) 號拍賣品;1881 年海牙 Braams 拍賣 (月份與日期未知) (f2,30 to Des Tombe);1881-1902 年海牙,A.A. des Tombe (1881 年出借給莫瑞泰斯皇家美術館);1903 年海牙,Arnoldus Andries des Tombe 的遺產\n類型: 畫作\n外部連結: \n由Madpixel數字化的千兆像素圖像\n材質: 油彩\n更多的信息: \nThis image is part of Second Canvas Mauritshuis app", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/7fdc09512d6e0131ad31d3c05cb4e66b.jpg?itok=v4vlC6__", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/7fdc09512d6e0131ad31d3c05cb4e66b.jpg?itok=zdXE6BBk", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/7fdc09512d6e0131ad31d3c05cb4e66b.jpg?itok=1Jl2vzvP", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/7fdc09512d6e0131ad31d3c05cb4e66b.jpg?itok=JONPfkWE", "mfid": "7fdc09512d6e0131ad31d3c05cb4e66b", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/7fdc09512d6e0131ad31d3c05cb4e66b.jpg?itok=JNqh0Npj", "fileType": "image", "fileCreator": "揚·維梅爾", "rights": "莫瑞泰斯皇家美術館 荷蘭", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-01.png?itok=DszBk5va", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, { "oid": "016a9540e78ed33ff60e4407ffc25bd7", "title": "倒牛奶的女僕", "desc": "廚房女僕專注在她的工作,從壺裡倒出牛奶。這幅畫彌漫著沉靜的氛圍,只有倒入碗中的牛奶汨汨流動著。其中最突出的特點是光的呈現。維梅爾利用微小圓點代表光線反射,就像在桌上麵包看到的一樣,這是他的典型技巧。這幅畫是維梅爾作品中的巔峰之作。在他完成的約莫三十多幅畫作中,有四幅收藏在荷蘭國立博物館。這幅畫的歷來收藏者包括 J. Dissius (台夫特)、P. 和 L. van Winter 與 J. Six (阿姆斯特丹) 等人。在 1908 年由 Vereniging Rembrandt (林布蘭協會) 資助,從 J.H. Six van Vromade 的繼承者手中購入。\n\n詳細資訊\n\n標題: 倒牛奶的女僕\n建立者: 揚·維梅爾\n建立日期: Around 1660\n實際尺寸: 寬 410 x 高 455 mm\nStyle: 北荷蘭畫派\nProvenance: 在 1908 年由 Vereniging Rembrandt (林布蘭協會) 資助,於阿姆斯特丹從 Jonkheer P.H. Six van Vromade 的繼承者手中購入\nOriginal Title: Het melkmeisje\n類型: 畫作\n外部連結: 荷蘭國立博物館\n材質: 布面油畫", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/b5b7837e2bdd92cc5346043e0604e8be.jpg?itok=HhuujFkY", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/b5b7837e2bdd92cc5346043e0604e8be.jpg?itok=EG25VvGk", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/b5b7837e2bdd92cc5346043e0604e8be.jpg?itok=f6SF60oG", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/b5b7837e2bdd92cc5346043e0604e8be.jpg?itok=byh32sc8", "mfid": "b5b7837e2bdd92cc5346043e0604e8be", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/b5b7837e2bdd92cc5346043e0604e8be.jpg?itok=5sKxvImn", "fileType": "image", "fileCreator": "楊·維梅爾", "rights": "Rijksmuseum Amsterdam 荷蘭國立博物館 , 荷蘭", "rightsLogo": 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"科學的重要性在十七世紀急劇攀升,在荷蘭尤其明顯。時勢所趨,也有越來越多畫作爭相以科學家和學者為主題。舉例來說,作品不多的台夫特「傑出畫家」約翰內斯維梅爾 (Johannes Vermeer),描繪了一名地理學家在書房工作台前彎著腰的模樣,周圍都是製圖用具。他獨自一人,也不像是在等人造訪,地板上散落的文件和他身上的家居服也顯示出他與世隔離埋首工作的狀態。整個場景彌漫著寂靜的氣氛,主角的右手則懸於空中。\n\n這幅畫中唯一的「動作」出現在地理學家的眉頭後面。他完全沐浴在光線中;維梅爾將整體氛圍聚焦在此處。雖然地理學家的身體斜傾向圖紙、手握指南針,他的視線卻抬向了穿透窗戶流淌而入的光線,仿佛困擾著他的難題終於迎來最完美的解答。另一方面,這幅畫並未透露地理學家在思索什麼,留下無盡懸念。\n\n詳細資訊\n\n標題: 地理學家\n建立者: 揚·維梅爾\n建立日期: 1669\n實際尺寸: 寬45.4 x 高51.6 cm\n類型: 畫作\n權利: 施泰德藝術館、 Städel Museum – Artothek\n外部連結: 德國施泰德藝術館\n材質: 布面油畫", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/395b4d946fe9432061f6db5a39fb85bf.jpg?itok=N_5ahv6v", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/395b4d946fe9432061f6db5a39fb85bf.jpg?itok=TpbFkMo6", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/395b4d946fe9432061f6db5a39fb85bf.jpg?itok=2m7H-bAh", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/395b4d946fe9432061f6db5a39fb85bf.jpg?itok=1yJkwUVz", "mfid": "395b4d946fe9432061f6db5a39fb85bf", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/395b4d946fe9432061f6db5a39fb85bf.jpg?itok=AZx4MwMp", "fileType": "image", "fileCreator": "楊·維梅爾", "rights": "Städel Museum Frankfurt am Main 德國施泰德藝術館 , 德國", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-03.png?itok=h0rkcAOw", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "sortable": true, "type": "imgs-child", "weight": 2 } }, "musicName": "無", "weight": 10, "primaryObj": { "level": "primary", "oid": "1d6a3b514d90b11f88b9c24164f4c29c", "title": "戴珍珠耳環的少女", "desc": "《戴珍珠耳環的少女》是維梅爾最為著名的畫作。這不是一幅肖像畫,而是頭像 (Tronie),即想像中的人物畫作。頭像通常會描畫某種類型或特徵;這幅畫是一位穿著異國服飾的女孩、頭戴東方頭巾,耳環則鑲有大到不真實的珍珠。\n維梅爾是光影大師。這可透過女孩彷彿擁有柔軟的臉蛋、泛著微光的溼潤雙唇看出端倪。當然,還有十分耀眼的珍珠。\n詳細資訊\n標題: 戴珍珠耳環的少女\n建立者: 揚·維梅爾\n建立日期: c. 1665 (digitized by Madpixel)\n實際尺寸: 44.5 x 39 cm\n出處: (?) 1674 年之前,台夫特,Pieter Claesz van Ruijven;(?) 1674-1681 年台夫特,他的遺孀 Maria de Knuijt;(?) 1681-1682 年台夫特,他們的女兒 Magdalena van Ruijven 和 Jacob Dissius;(?) 1682-1695 年台夫特,Jacob Dissius (與他的父親 Abraham Dissius 1685-1694 年);1696 年 5 月 16 日阿姆斯特丹 Dissius 拍賣,第 38 (f36,-)、39 (f17,-) 或 40 (f17,-) 號拍賣品;1881 年海牙 Braams 拍賣 (月份與日期未知) (f2,30 to Des Tombe);1881-1902 年海牙,A.A. des Tombe (1881 年出借給莫瑞泰斯皇家美術館);1903 年海牙,Arnoldus Andries des Tombe 的遺產\n類型: 畫作\n外部連結: \n由Madpixel數字化的千兆像素圖像\n材質: 油彩\n更多的信息: \nThis image is part of Second Canvas Mauritshuis app", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/7fdc09512d6e0131ad31d3c05cb4e66b.jpg?itok=v4vlC6__", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/7fdc09512d6e0131ad31d3c05cb4e66b.jpg?itok=zdXE6BBk", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/7fdc09512d6e0131ad31d3c05cb4e66b.jpg?itok=1Jl2vzvP", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/7fdc09512d6e0131ad31d3c05cb4e66b.jpg?itok=JONPfkWE", "mfid": "7fdc09512d6e0131ad31d3c05cb4e66b", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/7fdc09512d6e0131ad31d3c05cb4e66b.jpg?itok=JNqh0Npj", "fileType": "image", "fileCreator": "揚·維梅爾", "rights": "莫瑞泰斯皇家美術館 荷蘭", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-02.png?itok=fGKM5I0r", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false }, "desc": "<b>&nbsp; &nbsp; &nbsp; &nbsp;此期間代表有北方文藝復興荷蘭畫家維梅爾的作品《戴珍珠耳環的少女》,畫中少女披戴著藍色頭巾,加深神秘幽微的神情,也因為他</b><b>使用的群青顏料太多了,以至把家庭拖入了債務危機中。</b>", "musicText": "", "musicURL": "" }, "theme-elltfxpk4x": { "id": "theme-elltfxpk4x", "type": "theme", "sortable": true, "primaryObj": { "level": "primary", "oid": "6f0eef05d1528c012b8d066215f6ce9d", "title": "Wisteria", "desc": "Claude Monet was indirectly responsible for the term ‘Impressionism’ since it was in relation to his harbor scene Impression. Soleil levant that an art critic sneeringly coined the term. The adverse criticism did not stop him from ending his days as a celebrated artist, living at his rural retreat in Giverny. There, in his luxuriant garden, he could paint blossoming trees reflected in ponds and channels crossed by Japanese-style footbridges to his heart’s content.\nThis almost abstract painting of wisteria in Monet’s garden at Giverny is dominated by its blue background, along the top edge of which curling brushstrokes form an arch of what appears from the colors to be tangled blossoms. The paint is applied in superimposed layers and the individual brushstrokes are recognizable only in the top layer. At the bottom right, the arch shape is repeated upside-down. The variation in sharpness or focus creates a sense of depth despite the virtually abstract nature of the image.\nSource: J. Sillevis, ‘De tijd van het impressionisme’, in T.M. Eliëns, J. van Es (eds.), Kunst is keuze, Den Haag, Zwolle 2007.\n詳細資訊\n標題: Wisteria\n建立者: Claude Monet\n建立日期: circa 1925\n建立位置: Giverny, France\n實際尺寸: w2035 x h1536 cm (framed)\nframing: Semi-circular, gold-coloured frame\nPlace Part Of: France\n類型: paintings\n權利: Gemeentemuseum Den Haag, purchased 1961\n材質: Oil on canvas", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/74deb8f19ae0226edb8d86e3a0e70d03.jpg?itok=aX6xbGOp", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/74deb8f19ae0226edb8d86e3a0e70d03.jpg?itok=OV1aEFa2", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/74deb8f19ae0226edb8d86e3a0e70d03.jpg?itok=TsSbiFYc", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/74deb8f19ae0226edb8d86e3a0e70d03.jpg?itok=5rJhiglE", "mfid": "74deb8f19ae0226edb8d86e3a0e70d03", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/74deb8f19ae0226edb8d86e3a0e70d03.jpg?itok=gYE6y9pl", "fileType": "image", "fileCreator": "Claude Monet 克洛德·莫內", "rights": "Kunstmuseum 海牙美術館 荷蘭", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-05.png?itok=0rVBS4da", "fileLicence": "創用CC 姓名標示-非商業性-禁止改作", "fileDisableLink": "0", "fileOversize": false }, "title": "印象派", "desc": "&nbsp; &nbsp; &nbsp; &nbsp;<span>印象派畫家皆不謀而合的喜歡使用「藍紫色」,近乎偏執的熱愛。長時間在陽光下作畫印象派畫家們,由於天空光線反射眼睛在視覺疲勞下所產生的負像,導致往暗處看時都是藍紫色的,進而反映在畫作上。除此之外,此現象也可以解釋為對透納畫派的理念的承襲,在畫作陰影中大量的使用藍色以及紫色。<div><br></div></span>", "musicName": "無", "weight": 11, "musicText": "", "musicURL": "" }, "imgs-0mylt9buqp": { "id": "imgs-0mylt9buqp", "type": "imgs", "sortable": true, "multiObjs": [ { "oid": "6f0eef05d1528c012b8d066215f6ce9d", "title": "Wisteria", "desc": "Claude Monet was indirectly responsible for the term ‘Impressionism’ since it was in relation to his harbor scene Impression. Soleil levant that an art critic sneeringly coined the term. The adverse criticism did not stop him from ending his days as a celebrated artist, living at his rural retreat in Giverny. There, in his luxuriant garden, he could paint blossoming trees reflected in ponds and channels crossed by Japanese-style footbridges to his heart’s content.\nThis almost abstract painting of wisteria in Monet’s garden at Giverny is dominated by its blue background, along the top edge of which curling brushstrokes form an arch of what appears from the colors to be tangled blossoms. The paint is applied in superimposed layers and the individual brushstrokes are recognizable only in the top layer. At the bottom right, the arch shape is repeated upside-down. The variation in sharpness or focus creates a sense of depth despite the virtually abstract nature of the image.\nSource: J. Sillevis, ‘De tijd van het impressionisme’, in T.M. Eliëns, J. van Es (eds.), Kunst is keuze, Den Haag, Zwolle 2007.\n詳細資訊\n標題: Wisteria\n建立者: Claude Monet\n建立日期: circa 1925\n建立位置: Giverny, France\n實際尺寸: w2035 x h1536 cm (framed)\nframing: Semi-circular, gold-coloured frame\nPlace Part Of: France\n類型: paintings\n權利: Gemeentemuseum Den Haag, purchased 1961\n材質: Oil on canvas", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/74deb8f19ae0226edb8d86e3a0e70d03.jpg?itok=aX6xbGOp", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/74deb8f19ae0226edb8d86e3a0e70d03.jpg?itok=OV1aEFa2", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/74deb8f19ae0226edb8d86e3a0e70d03.jpg?itok=TsSbiFYc", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/74deb8f19ae0226edb8d86e3a0e70d03.jpg?itok=5rJhiglE", "mfid": "74deb8f19ae0226edb8d86e3a0e70d03", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/74deb8f19ae0226edb8d86e3a0e70d03.jpg?itok=gYE6y9pl", "fileType": "image", "fileCreator": "Claude Monet 克洛德·莫內", "rights": "Kunstmuseum 海牙美術館 荷蘭", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-01.png?itok=DszBk5va", "fileLicence": "創用CC 姓名標示-非商業性-禁止改作", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, { "oid": "d0e3621950557659b9624c34e437e49c", "title": "Waterloo Bridge", "desc": "標題: Waterloo Bridge\n建立者: Claude Monet\n日期: 1899 - 1903\n建立日期: 1899/1903\n實際尺寸: w31 15/16 x h25 3/4 in (complete)\n出處: Davis Museum at Wellesley College, Wellesley, MA. Bequest of the Estate of Marion L. and Gustave Ring, parents of Carlyn Ring (Class of 1951) and grandparents of Vivian Lorn Farmery (Class of 1985).\n類型: Painting\n權利: Courtesy of the Davis Museum at Wellesley College\n外部連結: \nDavis Museum at Wellesley College\n材質: Oil on Canvas", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/abb8931e15b7f3a633b874cd8630c975.jpg?itok=hdlnZpdY", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/abb8931e15b7f3a633b874cd8630c975.jpg?itok=4GcHjZWk", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/abb8931e15b7f3a633b874cd8630c975.jpg?itok=ycA4wyTp", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/abb8931e15b7f3a633b874cd8630c975.jpg?itok=lN_JsNnP", "mfid": "abb8931e15b7f3a633b874cd8630c975", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/abb8931e15b7f3a633b874cd8630c975.jpg?itok=k3K553Jj", "fileType": "image", "fileCreator": "Claude Monet 克洛德·莫內", "rights": "The Davis Museum at Wellesley College", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-04.png?itok=gq-PTcKL", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, { "oid": "f2be436e011827bbde4c7bb6e3b6399e", "title": "Waterloo Bridge: Effect of Sunlight in the Fog", "desc": "Category: \nEuropean and American Painting, Sculpture, and Decorative Arts\nMonet began this painting on one of his trips to London between 1899 and 1901, later revisiting it in his Giverny studio. X-radiography shows he initially included towers and smokestacks on the far bank. Ultimately, the artist focused on the “ghostly magnificence of London” through memory and imagination. 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Yet some traces of urban life remain: traffic bustles atop the bridge while two scullers in the foreground float along the water in the fog-cloaked glow of the sun.\nArtist\nClaude Monet\n \nTitle\nWaterloo Bridge: Effect of Sunlight in the Fog\n \nDate\n1903\n \nMedium\nPainting\nMaterials\noil on canvas\nDimensions\n73.7 x 100.3 cm\nNationality\nFrench\nCredit line\nPurchased 1914\nAccession number\n817", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/10cab3dfe283bd751579e2896ea11f96.jpg?itok=QisOeJY8", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/10cab3dfe283bd751579e2896ea11f96.jpg?itok=oSnFs55w", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/10cab3dfe283bd751579e2896ea11f96.jpg?itok=fRTGG2NL", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/10cab3dfe283bd751579e2896ea11f96.jpg?itok=B8roefue", "mfid": "10cab3dfe283bd751579e2896ea11f96", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/10cab3dfe283bd751579e2896ea11f96.jpg?itok=opiFmP-P", "fileType": "image", "fileCreator": "Monet, Claude", "rights": "National Gallery of Canada", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-05.png?itok=0rVBS4da", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "sortable": true, "type": "imgs-child", "weight": 2 }, "imgs-0mylt9buqp-pskxfyivzk": { "id": "imgs-0mylt9buqp-pskxfyivzk", "title": "Rainy Midnight", "desc": "詳細資訊\n\n標題: Rainy Midnight\n建立者: Childe Hassam\n日期: late 1890s\n實際尺寸: w46.4 x h54 cm (without frame)\n類型: Painting\n材質: Oil on canvas\nCredit Line: The Museum of Fine Arts, Houston, gift of Mrs. Langdon Dearborn", "primaryObj": { "oid": "d0473f0683be13e115bef3b51b8bd641", "title": "Rainy Midnight", "desc": "詳細資訊\n\n標題: Rainy Midnight\n建立者: Childe Hassam\n日期: late 1890s\n實際尺寸: w46.4 x h54 cm (without frame)\n類型: Painting\n材質: Oil on canvas\nCredit Line: The Museum of Fine Arts, Houston, gift of Mrs. Langdon Dearborn", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/302701d5c92500801634ee817b31679d.jpg?itok=pv1W4UrW", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/302701d5c92500801634ee817b31679d.jpg?itok=mBTa4qRj", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/302701d5c92500801634ee817b31679d.jpg?itok=mdzhFTRX", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/302701d5c92500801634ee817b31679d.jpg?itok=RLezfrBa", "mfid": "302701d5c92500801634ee817b31679d", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/302701d5c92500801634ee817b31679d.jpg?itok=I2P21yb9", "fileType": "image", "fileCreator": "Childe Hassam 蔡爾德·哈薩姆", "rights": "The Museum of Fine Arts, Houston, gift of Mrs. Langdon Dearborn", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-05.png?itok=0rVBS4da", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "sortable": true, "type": "imgs-child", "weight": 3 } }, "musicName": "無", "weight": 12, "primaryObj": { "oid": "f2be436e011827bbde4c7bb6e3b6399e", "title": "Waterloo Bridge: Effect of Sunlight in the Fog", "desc": "Category: \nEuropean and American Painting, Sculpture, and Decorative Arts\nMonet began this painting on one of his trips to London between 1899 and 1901, later revisiting it in his Giverny studio. X-radiography shows he initially included towers and smokestacks on the far bank. Ultimately, the artist focused on the “ghostly magnificence of London” through memory and imagination. Yet some traces of urban life remain: traffic bustles atop the bridge while two scullers in the foreground float along the water in the fog-cloaked glow of the sun.\nArtist\nClaude Monet\n \nTitle\nWaterloo Bridge: Effect of Sunlight in the Fog\n \nDate\n1903\n \nMedium\nPainting\nMaterials\noil on canvas\nDimensions\n73.7 x 100.3 cm\nNationality\nFrench\nCredit line\nPurchased 1914\nAccession number\n817", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/10cab3dfe283bd751579e2896ea11f96.jpg?itok=QisOeJY8", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/10cab3dfe283bd751579e2896ea11f96.jpg?itok=oSnFs55w", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/10cab3dfe283bd751579e2896ea11f96.jpg?itok=fRTGG2NL", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/10cab3dfe283bd751579e2896ea11f96.jpg?itok=B8roefue", "mfid": "10cab3dfe283bd751579e2896ea11f96", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/10cab3dfe283bd751579e2896ea11f96.jpg?itok=opiFmP-P", "fileType": "image", "fileCreator": "Monet, Claude", "rights": "National Gallery of Canada", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-05.png?itok=0rVBS4da", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "desc": "&nbsp; &nbsp; &nbsp; &nbsp;<span>印象派畫家習慣對空氣、土地、陽光用色彩理論分析與觀察入微來進行創作,故採用戶外寫生的作畫模式,引進室外光源打破了文藝復興以來所使用之固有色的觀念。畫家們自然環境的寫生中就把一切現象都還原,都是畫家眼中客觀所見,繪製波光粼粼的華麗風景畫,故與以前對風景畫的古典表現模式有所區隔,即為印象主義的精神。<div><br></div></span>", "musicText": "", "musicURL": "" }, "basic-1hvgv2qdmr": { "id": "basic-1hvgv2qdmr", "type": "basic", "sortable": true, "primaryObj": { "oid": "413635eaa1a3af7c42079a32093f36e6", "fileType": "image", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/d7edf37c8c14d3b2e85d66459370817d.jpg?itok=jt7gI8sL", "level": "primary", "title": "The Gare Saint-Lazare: Arrival of a Train", "desc": "諾曼底火車的到來,Gare Saint-Lazare,也被稱為巴黎的聖拉扎爾火車站。克勞德·莫奈1877 年的畫作。它被芝加哥藝術學院永久收藏。\n這幅印象派繪畫描繪了一輛從諾曼底出發的蒸汽火車抵達巴黎圣拉扎爾火車站,車站火車棚的拱形鐵和玻璃拱頂下,人群在蒸汽和煙霧中等候。\n詳細資訊\n\n標題: The Gare Saint-Lazare: Arrival of a Train\n日期: 1877\n實際尺寸: w101.3 x h83.0 x d0.0 cm\nCredit Line: Harvard Art Museums/Fogg Museum, Bequest from the Collection of Maurice Wertheim, Class of 1906\nArtist: Claude Monet\n類型: Paintings\n外部連結: Harvard Art Museums\n材質: Oil on canvas", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/d7edf37c8c14d3b2e85d66459370817d.jpg?itok=jzWD60wm", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/d7edf37c8c14d3b2e85d66459370817d.jpg?itok=bsBBnXoE", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/d7edf37c8c14d3b2e85d66459370817d.jpg?itok=RwA7EJq3", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/d7edf37c8c14d3b2e85d66459370817d.jpg?itok=DNtKNTCy", "mfid": "d7edf37c8c14d3b2e85d66459370817d", "musicURL": "", "musicName": "", "fileCreator": "Oscar-Claude Monet 克勞德·莫奈", "rights": "芝加哥藝術學院 Harvard Art Museums Cambridge, 美國", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-01.png?itok=DszBk5va", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false }, "title": "cobalt blue 鈷藍", "desc": "&nbsp; &nbsp; &nbsp; &nbsp;鈷藍色於十九世紀初誕生,為當時最頂級的顏料,高純度的藍色使它與尊貴、神秘聯想在一起,從此受到藝術家們的熱愛,取代了當時聖母瑪利亞衣裳的常用色群青。十九世紀的印象派畫家,雷諾瓦、莫內的畫作將鈷藍詮釋的淋漓盡致。", "musicName": "無", "weight": 13, "musicText": "", "musicURL": "" }, "theme-3vhgeafwmw": { "id": "theme-3vhgeafwmw", "type": "theme", "sortable": true, "primaryObj": { "oid": "f871790458b0ccd4f0d533046229591a", "fileType": "image", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/94910bba2511725c9a8eb66806ba12a3.jpg?itok=mRLreQeD", "level": "primary", "title": "Peasant Woman Binding Sheaves (after Millet)", "desc": "This is one of twenty copies that Vincent van Gogh painted of prints by Jean-François Millet (1814-1875). Van Gogh made them while he stayed in the psychiatric hospital in Saint-Rémy. Being ill had seriously damaged his self-confidence. Van Gogh tried to rebuild that by studying the work of Millet and other artists he admired. This way, Van Gogh could also practice figure painting even though he had no models.\n詳細資訊\n標題: Peasant Woman Binding Sheaves (after Millet)\n建立者: Vincent van Gogh\n建立日期: September 1889 - 1889\n建立位置: Saint-Rémy-de-Provence, France\nPlace Part Of: France\n類型: Painting\n權利: Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)、 Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/94910bba2511725c9a8eb66806ba12a3.jpg?itok=LgzWpD0E", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/94910bba2511725c9a8eb66806ba12a3.jpg?itok=KgzldUqT", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/94910bba2511725c9a8eb66806ba12a3.jpg?itok=o9VItJ6V", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/94910bba2511725c9a8eb66806ba12a3.jpg?itok=_gkPotRq", "mfid": "94910bba2511725c9a8eb66806ba12a3", "musicURL": "", "musicName": "", "fileCreator": "Vincent van Gogh", "rights": "Van Gogh Museum 梵谷美術館 荷蘭", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-03.png?itok=h0rkcAOw", "fileLicence": "創用CC 姓名標示-非商業性-禁止改作", "fileDisableLink": "0", "fileOversize": false }, "title": "後印象派", "desc": "線條、自我感受、主觀化的客觀", "musicName": "無", "weight": 14, "musicText": "", "musicURL": "" }, "basic-fmv31ltl5r": { "id": "basic-fmv31ltl5r", "type": "basic", "sortable": true, "primaryObj": { "oid": "069e90b9952fa4c9a9ff9dcaea493fc4", "fileType": "image", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/fa08441db8f4cae23437fa97531f099b.jpg?itok=gx-cRIZt", "level": "primary", "title": "Thirty-Six Views of Mount Fuji: The Great Wave Off the Coast of Kanagawa", "desc": "Thirty-Six Views of Mount Fuji is a series of 46 prints depicting various features of Mount Fuji, the highest mountain in Japan. In this print, indigo blue, a very popular color at the time, was used for the main outlines to produce a sharp effect. The giant wave with its crest reaching over to Mount Fuji lends the work great depth and creates a sense of drama.\n\n標題: Thirty-Six Views of Mount Fuji: The Great Wave Off the Coast of Kanagawa\n建立者: Katsushika Hokusai\n建立日期: Edo period, 19th century\nObject Title: 冨嶽三十六景・神奈川沖浪裏\nObject Date: 江戸時代・19世紀\nMedium(Japanese): 横大判 錦絵\nArtist Name: 葛飾北斎筆\n類型: Painting", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/fa08441db8f4cae23437fa97531f099b.jpg?itok=GyDUuoCg", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/fa08441db8f4cae23437fa97531f099b.jpg?itok=58krcS3P", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/fa08441db8f4cae23437fa97531f099b.jpg?itok=ky1KTjZj", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/fa08441db8f4cae23437fa97531f099b.jpg?itok=JLLi-xLk", "mfid": "fa08441db8f4cae23437fa97531f099b", "musicURL": "", "musicName": "", "fileCreator": "葛飾北齋", "rights": "東京國立博物館 日本", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-05.png?itok=0rVBS4da", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false }, "title": "Prussian blue 普魯士藍", "desc": "&nbsp; &nbsp; &nbsp; &nbsp;普魯士藍,同時在德語中也被稱之為「Preußisch Blau 或 Berliner Blau」,因德國的染料製造商在無意間把鉀肥與動物血液接觸後,激發出令人驚歎的化學反應後產生的絢麗藍色。<span><br>&nbsp; &nbsp; &nbsp; &nbsp;日本浮世繪木刻版畫家-葛飾北齋</span>Katsushika Hokusai,運用普魯士藍來創作他關於神奈川的標誌性傑作<span>〈The Great Wave〉。<br>&nbsp; &nbsp; &nbsp; &nbsp;時間推進到1842年,英國天文學家約翰弗</span>⋅雷德里克⋅威廉⋅赫歇爾 爵士<span>察覺普魯士藍對於「光線」獨有的高敏感度,是繪製圖紙副本的絕佳色彩,現今在建築等領域被稱作「藍圖」。<div><br></div></span>", "musicName": "無", "weight": 15, "musicText": "", "musicURL": "" }, "imgs-0z5vf64gg1": { "id": "imgs-0z5vf64gg1", "type": "imgs", "sortable": true, "multiObjs": [ { "oid": "7649c4dd7d39dbf837602ee65d3259da", "title": "Starry Night", "desc": "Van Gogh's night sky is a field of roiling energy. Below the exploding stars, a village is a place of quiet order. Connecting earth and sky is the flamelike cypress, a tree traditionally associated with graveyards and mourning. But death was not ominous for van Gogh. \"Looking at the stars always makes me dream,\" he said, \"Why I ask myself, shouldn't the shining dots of the sky be as accessible as the black dots on the map of France? Just as we take the train to get to Tarascon or Rouen, we take death to reach a star.\"\n\nThe artist wrote of his experience to his brother Theo: \"This morning I saw the country from my window a long time before sunrise, with nothing but the morning star, which looked very big.\" This morning star, or Venus, maybe the large white star just left of center in The Starry Night. The hamlet, on the other hand, is invented, and the church spire evokes van Gogh's native land, the Netherlands. The painting, like its daytime companion, The Olive Trees, is rooted in imagination and memory. Leaving behind the Impressionist doctrine of truth to nature in favor of restless feeling and intense color, as in this highly charged picture, van Gogh made his work a touchstone for all subsequent Expressionist paintings.\n\nThe Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 35\n\nFind out more about The Starry Night at: mo.ma/starry night\n\n此作品為表現性的後印象主義畫家梵谷的作品,這幅畫有很強的筆觸。油畫中的主色調藍色代表不開心、陰沉的感覺。很粗的筆觸代表憂愁。畫中景象是一個望出窗外的景象。畫中的樹是柏樹,但畫得像黑色火舌一般,直上雲端,令人有不安之感。天空的紋理像渦狀星系,並伴隨眾多星點,而月亮則是以昏黃的月蝕形式出現。整幅畫中,底部的村落是以平直、粗短的線條繪畫,表現出一種寧靜;但與上部粗獷彎曲的線條卻產生強烈的對比,在這種高度誇張變形和強烈視覺對比中體現出了畫家躁動不安的情感和迷幻的意象世界。[1]梵谷生前非常欣賞日本浮世繪《冨嶽三十六景》中的《神奈川沖浪裏》,而《星夜》中天空的渦狀星雲畫風被認為參考並融入了《神奈川沖浪裏》的元素。\n詳細資訊\n\n標題: The Starry Night\n建立者: Vincent van Gogh\n建立日期: 1889\n建立位置: Saint-Rémy-de-Provence\n實際尺寸: w921 x h737 mm\nStyle: Post-Impressionism\nProvenance: Acquired through the Lillie P.Bliss Bequest\nOriginal Title: La nuit étoilée\nMore Info: View more works by Vincent van Gogh on MoMA.org\n類型: Painting\n外部連結: View MoMA's collection online\n材質: Oil on canvas", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/3acfbe84beb8e16f4f6571b70bb51273.jpg?itok=B_2xiR_7", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/3acfbe84beb8e16f4f6571b70bb51273.jpg?itok=uOtEGU45", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/3acfbe84beb8e16f4f6571b70bb51273.jpg?itok=TwTlAvUI", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/3acfbe84beb8e16f4f6571b70bb51273.jpg?itok=RXY4jNcI", "mfid": "3acfbe84beb8e16f4f6571b70bb51273", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/3acfbe84beb8e16f4f6571b70bb51273.jpg?itok=XLmHDzEW", "fileType": "image", "fileCreator": "Van Gogh 文森·梵谷", "rights": "MoMA The Museum of Modern Art New York, 美國", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-04.png?itok=gq-PTcKL", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, { "oid": "bf705384ac70421573226c435744034c", "title": "Postman Joseph Roulin", "desc": "One of van Gogh’s closest friends and favorite sitters in Arles was the local postman, Joseph Roulin. While painting this work, van Gogh wrote to his brother, “I am now at work with another model, a postman in blue uniform, trimmed with gold, a big bearded face, very like Socrates.” Indeed, the modest postman has all the authority of an admiral. Van Gogh also painted several portraits of Madame Roulin (for example, MFA object no. 48.548), as well as images of their children, delighted, as he wrote, to depict “a whole family.”\n詳細資訊\n\n標題: Postman Joseph Roulin\n建立者: Vincent van Gogh\n建立日期: 1888\n實際尺寸: 81.3 x 65.4 cm (32 x 25 3/4 in.)\n出處: 1889, given or left by the artist to Joseph and Marie Ginoux, Arles; July 9, 1897, sold by the Ginoux, through Henri Laget, to Ambroise Vollard (b. 1867 - d. 1939), Paris [see note 1]; probably September 1, 1897, sold by Vollard to Cornelis Hoogendijk (b. 1866 - d. 1911), The Hague [see note 2]; May 21-22, 1912, posthumous Hoogendijk sale, Frederik Muller, Amsterdam, lot 26, to Galerie Bernheim-Jeune, Paris (stock no. 19248) and Paul Cassirer, Inc., Berlin; 1916, sold by Cassirer to Carl Sternheim (b. 1878 - d. 1942) and Théa Sternheim (b. 1883 - d. 1971), La Hulpe, Belgium [see note 3]; February 11, 1919, Théa Sternheim sale, Frederik Muller, Amsterdam, lot 8, not sold [see note 4]; until 1928, in the Sternheim collection [see note 5]; 1928, sold by Théa Sternheim, through Alfred Flechtheim, to the Galerie Étienne Bignou, Paris [see note 6]; 1928, sold by Bignou to M. Knoedler and Co., New York (stock no. A289) and Alex Reid and Lefèvre, Ltd., London [see note 7]; 1928, sold by Knoedler to Robert Treat Paine, 2nd (b. 1861 - d. 1943), Boston; 1935, gift of Robert Treat Paine, 2nd, to the MFA. (Accession Date: December 5, 1935)\n材質: Oil on canvas", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/c3fffb9b99cd6cf0edd10a706e648d6c.jpg?itok=kPnSTmbk", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/c3fffb9b99cd6cf0edd10a706e648d6c.jpg?itok=LFtBEqLu", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/c3fffb9b99cd6cf0edd10a706e648d6c.jpg?itok=inHzAXFE", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/c3fffb9b99cd6cf0edd10a706e648d6c.jpg?itok=7d82cqHz", "mfid": "c3fffb9b99cd6cf0edd10a706e648d6c", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/c3fffb9b99cd6cf0edd10a706e648d6c.jpg?itok=eQ9Y6dYA", "fileType": "image", "fileCreator": "Vincent van Gogh文森·梵谷", "rights": "Museum of Fine Arts, Boston , 美國", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-05.png?itok=0rVBS4da", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, { "oid": "e7634e86362d1bf193a66170007664a2", "title": "The Church in Auvers-sur-Oise, View from the Chevet", "desc": "After staying in the south of France, in Arles, and then at the psychiatric hospital in Saint-Rémy de Provence, Vincent Van Gogh settled in Auvers-Sur-Oise, a village on the outskirts of Paris.\n\nHis brother Théo, concerned with his health, incited him to see Doctor Gachet, himself a painter and a friend of numerous artists, who accepted to treat him. During the two months separating his arrival, on May 21, 1890, and his death on July 29, the artist made about seventy paintings, over one per day, not to mention a large number of drawings.\n\nThis is the only painting representing in full the church in Auvers that may sometimes be distinguished in the background of views of the whole village. This church, built in the 13th century in the early Gothic style, flanked by two Romanesque chapels, became under the painter's brush a flamboyant monument on the verge of dislocating itself from the ground and from the two paths that seem to be clasping it like torrents of lava or mud.\n\nIf one compares this painting with Claude Monet's paintings of the cathedral in Rouen, painted shortly afterward, one can measure how different Van Gogh's approach was from that of the impressionists. Unlike Monet, he did not try to render the impression of the play of light on the monument. Even though the church remains recognizable, the painting does not so much offer the spectator a faithful image of reality as a form of \"expression\" of a church.\n\nThe artistic means used by Van Gogh anticipate the work of the fauvists and expressionist painters. 在法國南部、阿爾勒、聖雷米普羅旺斯的精神病院逗留後,文森特梵高定居在巴黎郊區的奧維爾村。\n 他的兄弟泰奧擔心他的健康,慫恿他去看加歇醫生,他本人是一位畫家,也是眾多藝術家的朋友,他接受了治療。在他於 1890 年 5 月 21 日和他於 7 月 29 日去世之間的兩個月裡,這位藝術家創作了大約 70 幅畫,每天一幅以上,更不用說大量的繪畫了。\n 這是唯一一幅完整地代表奧維爾教堂的畫作,有時可以在整個村莊的景色中脫穎而出。這座教堂建於 13 世紀,採用早期哥特式風格,兩側是兩座羅馬式小教堂,在畫家筆下變成了一座華麗的紀念碑,瀕臨從地面和兩條似乎像激流一樣緊緊抓住它的小徑脫臼熔岩或泥漿。\n如果將這幅畫與克勞德·莫奈不久之後繪製的魯昂大教堂畫作進行比較,可以看出梵高的方法與印象派的方法有多麼不同。與莫奈不同,他並沒有試圖在紀念碑上呈現光影的印象。儘管教堂仍然可以辨認,但這幅畫並沒有為觀眾提供真實的真實形象,而是教堂的一種“表達”形式。\n梵高使用的藝術手段預示著野獸派和表現主義畫家的作品。\n詳細資訊\n\n標題: The Church in Auvers-sur-Oise, View from the Chevet\n建立日期: 1890\n實際尺寸: w740 x h940 mm\nProvenance: Acquired with the participation of Paul Gachet and of an anonymous Canadian donation, 1951\nPainter: Vincent van Gogh\nOriginal Title: L'Eglise d'Auvers-sur-Oise, vue du chevet\nCredit Line: © Musée d'Orsay, dist. RMN\n類型: Oil on canvas\n權利: Musee d'Orsay, dist. RMN\n外部連結: http://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire_id/the-church-in-auvers-sur-oise-7170.html?tx_commentaire_pi1%5BpidLi%5D=509&tx_commentaire_pi1%5Bfrom%5D=841&cHash=41a41feee6", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/1ca5ca103e4fe6b0e14ed8c38ace434d.jpg?itok=dsoSDWYD", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/1ca5ca103e4fe6b0e14ed8c38ace434d.jpg?itok=HHgeaEr6", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/1ca5ca103e4fe6b0e14ed8c38ace434d.jpg?itok=iC3lY7oi", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/1ca5ca103e4fe6b0e14ed8c38ace434d.jpg?itok=Qz05dHX2", "mfid": "1ca5ca103e4fe6b0e14ed8c38ace434d", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/1ca5ca103e4fe6b0e14ed8c38ace434d.jpg?itok=8WYf50nF", "fileType": "image", "fileCreator": "Vincent van Gogh 文森·梵谷", "rights": "Musee d'Orsay, dist. RMN", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-02.png?itok=fGKM5I0r", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, { "oid": "eb31ae8ea2e51855785da26f69d44ba3", "title": "Dr Paul Gachet", "desc": "內容描述\n與文森特梵高在奧維爾的最後一段生活密不可分,加歇博士是一個原創角色。他是一位順勢療法醫生,對手相術感興趣,但他真正的熱情在於藝術。他本人是一位出色的雕刻師,與許多不同的藝術家保持聯繫,包括馬奈、莫奈、雷諾阿和塞尚。因此,當梵高從聖雷米普羅旺斯的醫院出院時,在他兄弟西奧的建議下,梵高去找他是合乎邏輯的。\n這位專攻精神病學的醫生盡最大努力幫助文森特克服痛苦,同時為他提供有利於他幸福的物質安慰。\n醫生的肖像是在這個特別激烈的創作階段畫出來的。正如梵高所寫,他不是普通的模特,被描繪成一個憂鬱的姿勢,反映了“我們這個時代的荒涼表情”。在這幅用冷色刷過的嚴肅肖像中,唯一的希望是毛地黃,它通過其治療特性帶來一點安慰和緩解。儘管他很投入,加歇博士還是無法阻止梵高不可挽回的姿態。不久之後,這位藝術家自殺了。\nInseparably entwined with the last period of Vincent van Gogh's life in Auvers, Dr Gachet was an original character. He was a homoeopathic doctor interested in chiromancy but his real passion lay with the arts. An accomplished engraver himself, he kept in touch with many different artists including Manet, Monet, Renoir and Cézanne. It was therefore logical for Van Gogh to go to him, on the advice of his brother Theo, when he was discharged from hospital in Saint-Rémy-de-Provence.\n\nSpecialised in psychiatry, the doctor did his best to help Vincent overcome his anguish while affording him the material comfort conducive to his well-being.\n\nThe portrait of the doctor was painted during this particularly intense creative phase. He was no ordinary model and is portrayed in a melancholy pose reflecting \"the desolate expression of our time,\" as Van Gogh wrote. The only touch of hope in this severe portrait brushed in cold colours is the foxglove which brings a little comfort and relief through its curative properties.\n\nDespite his devotion, Dr Gachet was unable to prevent Van Gogh's irremediable gesture; the artist committed suicide shortly afterwards.\n詳細資訊\n\n標題: Dr Paul Gachet\n建立日期: 1890\n實際尺寸: w570 x h680 cm\nProvenance: Gift of Paul and Marguerite Gachet, children of the model, 1949\nPainter: Vincent van Gogh\nOriginal Title: Le docteur Paul Gachet\nCredit Line: © Musée d'Orsay, dist. RMN / Patrice Schmidt\n類型: Oil on canvas\n權利: © Musée d'Orsay, dist. RMN / Patrice Schmidt\n外部連結: http://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire_id/dr-paul-gachet-2988.html?tx_commentaire_pi1%5BpidLi%5D=509&tx_commentaire_pi1%5Bfrom%5D=841&cHash=e80caf8200", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/11d91aff6cf7ebbbb8162d9bbbf775a2.jpg?itok=vjMqExUj", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/11d91aff6cf7ebbbb8162d9bbbf775a2.jpg?itok=kvsO4Gvh", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/11d91aff6cf7ebbbb8162d9bbbf775a2.jpg?itok=-DcmnT4X", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/11d91aff6cf7ebbbb8162d9bbbf775a2.jpg?itok=hq9EkZFZ", "mfid": "11d91aff6cf7ebbbb8162d9bbbf775a2", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/11d91aff6cf7ebbbb8162d9bbbf775a2.jpg?itok=DmnKnjKS", "fileType": "image", "fileCreator": "Vincent van Gogh 文森·梵谷", "rights": "Musée d'Orsay, dist. RMN / Patrice Schmidt", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-01.png?itok=DszBk5va", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, { "oid": "4b0df89eadca3dbe0ac07636d1e1a857", "title": "Self-Portrait", "desc": "Although his career was brief, lasting a mere 10 years, Vincent van Gogh proved to be an exceptionally prolific and innovative artist. While he experimented with a variety of subjects—landscape, still life, portraiture—it is his self–portraits that have come to define him as an artist. Like his predecessor, Rembrandt van Rijn, Van Gogh was a devoted and probing practitioner of the art of self–portraiture. He painted no fewer than 36 self–portraits, undertaking his first forays just after his arrival in Paris in March 1886 and executing his last, culminant works during his stay at the asylum of Saint–Paul–de–Mausole in Saint–Rémy. The Washington canvas is one of the very last self–portraits Van Gogh painted.\n\nDuring the first months of his voluntary internment at the asylum, the artist showed little interest in figure painting and concentrated instead upon the surrounding landscape. But in early July 1889 while painting in the fields near the asylum, Van Gogh suffered a severe breakdown that could have been a symptom of epilepsy. Incapacitated for five weeks and greatly unnerved by the experience, the artist retreated to his studio, refusing to go out even to the garden. This painting is the first work he produced after recovering from that episode. In a letter to his brother Theo written in early September 1889, he observed:\n\nThey say—and I am very willing to believe it—that it is difficult to know yourself—but it isn't easy to paint yourself either. So I am working on two portraits of myself at this moment—for want of another model—because it is more than time I did a little figure work. One I began the day I got up; I was thin and pale as a ghost. It is dark violet–blue and the head whitish with yellow hair, so it has a color effect. But since then I have begun another one, three quarter length on a light background.\n\nThis self–portrait is a particularly bold painting, apparently executed in a single sitting without later retouching. Here Van Gogh portrayed himself at work, dressed in his artist's smock with his palette and brushes in hand, a guise he had already adopted in two earlier self–portraits. While the pose itself and the intense scrutiny of the artist's gaze are hardly unique—one need but think of the occasionally uncompromising self–portraits of Rembrandt—the haunting and haunted quality of the image is distinct. The dark blue–violet of the smock and ground, the vivid orange of his hair and beard, create a startling contrast to the yellow and green of his face and heighten the gauntness of his features in a sallow complexion. The dynamic, even frenzied brushwork lends an uncommon immediacy and expressiveness to his portrayal. In its sheer intensity, it stands in sharp contrast to the other self–portrait he painted at the same time (Musée d'Orsay, Paris) in which the artist appears calmer and more self–possessed. Nevertheless, Van Gogh preferred the Washington painting as the one that captured his \"true character.\"\n詳細資訊\n\n標題: Self-Portrait\n建立者: Vincent van Gogh\n建立日期: 1889\n實際尺寸: w438.2 x h571.5 cm (overall)\n類型: Painting\n外部連結: National Gallery of Art, Washington, DC\n材質: oil on canvas\npainter: Vincent van Gogh\nTheme: portrait, self\nSchool: Dutch\nObject Credit: Collection of Mr. and Mrs. John Hay Whitneyhttps://www.nga.gov/collection/highlights/van-gogh-self-portrait.html\nhttps://www.nga.gov/audio-video/audio/self-portrait-van-gogh-kids.html\nhttps://www.nga.gov/audio-video/video/self-portrait-vangogh.html", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/18ade47329f7df01a8cec2d93a078795.jpg?itok=wc1PDF88", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/18ade47329f7df01a8cec2d93a078795.jpg?itok=LMuanou7", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/18ade47329f7df01a8cec2d93a078795.jpg?itok=aTJusNde", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/18ade47329f7df01a8cec2d93a078795.jpg?itok=-V7ZZ3UP", "mfid": "18ade47329f7df01a8cec2d93a078795", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/18ade47329f7df01a8cec2d93a078795.jpg?itok=resbcbwJ", "fileType": "image", "fileCreator": "Vincent van Gogh 文森·梵谷", "rights": "National Gallery of Art, Washington DC", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-01.png?itok=DszBk5va", "fileLicence": "創用CC 姓名標示-非商業性-禁止改作", "fileDisableLink": "0", "fileOversize": false, "level": "primary" } ], "items": { "imgs-0z5vf64gg1-6sgo861f5a": { "id": "imgs-0z5vf64gg1-6sgo861f5a", "title": "Starry Night", "desc": "Van Gogh's night sky is a field of roiling energy. Below the exploding stars, a village is a place of quiet order. Connecting earth and sky is the flamelike cypress, a tree traditionally associated with graveyards and mourning. But death was not ominous for van Gogh. \"Looking at the stars always makes me dream,\" he said, \"Why I ask myself, shouldn't the shining dots of the sky be as accessible as the black dots on the map of France? Just as we take the train to get to Tarascon or Rouen, we take death to reach a star.\"\n\nThe artist wrote of his experience to his brother Theo: \"This morning I saw the country from my window a long time before sunrise, with nothing but the morning star, which looked very big.\" This morning star, or Venus, maybe the large white star just left of center in The Starry Night. The hamlet, on the other hand, is invented, and the church spire evokes van Gogh's native land, the Netherlands. The painting, like its daytime companion, The Olive Trees, is rooted in imagination and memory. Leaving behind the Impressionist doctrine of truth to nature in favor of restless feeling and intense color, as in this highly charged picture, van Gogh made his work a touchstone for all subsequent Expressionist paintings.\n\nThe Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 35\n\nFind out more about The Starry Night at: mo.ma/starry night\n\n此作品為表現性的後印象主義畫家梵谷的作品,這幅畫有很強的筆觸。油畫中的主色調藍色代表不開心、陰沉的感覺。很粗的筆觸代表憂愁。畫中景象是一個望出窗外的景象。畫中的樹是柏樹,但畫得像黑色火舌一般,直上雲端,令人有不安之感。天空的紋理像渦狀星系,並伴隨眾多星點,而月亮則是以昏黃的月蝕形式出現。整幅畫中,底部的村落是以平直、粗短的線條繪畫,表現出一種寧靜;但與上部粗獷彎曲的線條卻產生強烈的對比,在這種高度誇張變形和強烈視覺對比中體現出了畫家躁動不安的情感和迷幻的意象世界。[1]梵谷生前非常欣賞日本浮世繪《冨嶽三十六景》中的《神奈川沖浪裏》,而《星夜》中天空的渦狀星雲畫風被認為參考並融入了《神奈川沖浪裏》的元素。\n詳細資訊\n\n標題: The Starry Night\n建立者: Vincent van Gogh\n建立日期: 1889\n建立位置: Saint-Rémy-de-Provence\n實際尺寸: w921 x h737 mm\nStyle: Post-Impressionism\nProvenance: Acquired through the Lillie P.Bliss Bequest\nOriginal Title: La nuit étoilée\nMore Info: View more works by Vincent van Gogh on MoMA.org\n類型: Painting\n外部連結: View MoMA's collection online\n材質: Oil on canvas", "primaryObj": { "oid": "7649c4dd7d39dbf837602ee65d3259da", "title": "Starry Night", "desc": "Van Gogh's night sky is a field of roiling energy. Below the exploding stars, a village is a place of quiet order. Connecting earth and sky is the flamelike cypress, a tree traditionally associated with graveyards and mourning. But death was not ominous for van Gogh. \"Looking at the stars always makes me dream,\" he said, \"Why I ask myself, shouldn't the shining dots of the sky be as accessible as the black dots on the map of France? Just as we take the train to get to Tarascon or Rouen, we take death to reach a star.\"\n\nThe artist wrote of his experience to his brother Theo: \"This morning I saw the country from my window a long time before sunrise, with nothing but the morning star, which looked very big.\" This morning star, or Venus, maybe the large white star just left of center in The Starry Night. The hamlet, on the other hand, is invented, and the church spire evokes van Gogh's native land, the Netherlands. The painting, like its daytime companion, The Olive Trees, is rooted in imagination and memory. Leaving behind the Impressionist doctrine of truth to nature in favor of restless feeling and intense color, as in this highly charged picture, van Gogh made his work a touchstone for all subsequent Expressionist paintings.\n\nThe Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 35\n\nFind out more about The Starry Night at: mo.ma/starry night\n\n此作品為表現性的後印象主義畫家梵谷的作品,這幅畫有很強的筆觸。油畫中的主色調藍色代表不開心、陰沉的感覺。很粗的筆觸代表憂愁。畫中景象是一個望出窗外的景象。畫中的樹是柏樹,但畫得像黑色火舌一般,直上雲端,令人有不安之感。天空的紋理像渦狀星系,並伴隨眾多星點,而月亮則是以昏黃的月蝕形式出現。整幅畫中,底部的村落是以平直、粗短的線條繪畫,表現出一種寧靜;但與上部粗獷彎曲的線條卻產生強烈的對比,在這種高度誇張變形和強烈視覺對比中體現出了畫家躁動不安的情感和迷幻的意象世界。[1]梵谷生前非常欣賞日本浮世繪《冨嶽三十六景》中的《神奈川沖浪裏》,而《星夜》中天空的渦狀星雲畫風被認為參考並融入了《神奈川沖浪裏》的元素。\n詳細資訊\n\n標題: The Starry Night\n建立者: Vincent van Gogh\n建立日期: 1889\n建立位置: Saint-Rémy-de-Provence\n實際尺寸: w921 x h737 mm\nStyle: Post-Impressionism\nProvenance: Acquired through the Lillie P.Bliss Bequest\nOriginal Title: La nuit étoilée\nMore Info: View more works by Vincent van Gogh on MoMA.org\n類型: Painting\n外部連結: View MoMA's collection online\n材質: Oil on canvas", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/3acfbe84beb8e16f4f6571b70bb51273.jpg?itok=B_2xiR_7", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/3acfbe84beb8e16f4f6571b70bb51273.jpg?itok=uOtEGU45", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/3acfbe84beb8e16f4f6571b70bb51273.jpg?itok=TwTlAvUI", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/3acfbe84beb8e16f4f6571b70bb51273.jpg?itok=RXY4jNcI", "mfid": "3acfbe84beb8e16f4f6571b70bb51273", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/3acfbe84beb8e16f4f6571b70bb51273.jpg?itok=XLmHDzEW", "fileType": "image", "fileCreator": "Van Gogh 文森·梵谷", "rights": "MoMA The Museum of Modern Art New York, 美國", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-04.png?itok=gq-PTcKL", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "sortable": true, "type": "imgs-child", "weight": 0 }, "imgs-0z5vf64gg1-v09y46vh2k": { "id": "imgs-0z5vf64gg1-v09y46vh2k", "title": "Self-Portrait", "desc": "Although his career was brief, lasting a mere 10 years, Vincent van Gogh proved to be an exceptionally prolific and innovative artist. While he experimented with a variety of subjects—landscape, still life, portraiture—it is his self–portraits that have come to define him as an artist. Like his predecessor, Rembrandt van Rijn, Van Gogh was a devoted and probing practitioner of the art of self–portraiture. He painted no fewer than 36 self–portraits, undertaking his first forays just after his arrival in Paris in March 1886 and executing his last, culminant works during his stay at the asylum of Saint–Paul–de–Mausole in Saint–Rémy. The Washington canvas is one of the very last self–portraits Van Gogh painted.\n\nDuring the first months of his voluntary internment at the asylum, the artist showed little interest in figure painting and concentrated instead upon the surrounding landscape. But in early July 1889 while painting in the fields near the asylum, Van Gogh suffered a severe breakdown that could have been a symptom of epilepsy. Incapacitated for five weeks and greatly unnerved by the experience, the artist retreated to his studio, refusing to go out even to the garden. This painting is the first work he produced after recovering from that episode. In a letter to his brother Theo written in early September 1889, he observed:\n\nThey say—and I am very willing to believe it—that it is difficult to know yourself—but it isn't easy to paint yourself either. So I am working on two portraits of myself at this moment—for want of another model—because it is more than time I did a little figure work. One I began the day I got up; I was thin and pale as a ghost. It is dark violet–blue and the head whitish with yellow hair, so it has a color effect. But since then I have begun another one, three quarter length on a light background.\n\nThis self–portrait is a particularly bold painting, apparently executed in a single sitting without later retouching. Here Van Gogh portrayed himself at work, dressed in his artist's smock with his palette and brushes in hand, a guise he had already adopted in two earlier self–portraits. While the pose itself and the intense scrutiny of the artist's gaze are hardly unique—one need but think of the occasionally uncompromising self–portraits of Rembrandt—the haunting and haunted quality of the image is distinct. The dark blue–violet of the smock and ground, the vivid orange of his hair and beard, create a startling contrast to the yellow and green of his face and heighten the gauntness of his features in a sallow complexion. The dynamic, even frenzied brushwork lends an uncommon immediacy and expressiveness to his portrayal. In its sheer intensity, it stands in sharp contrast to the other self–portrait he painted at the same time (Musée d'Orsay, Paris) in which the artist appears calmer and more self–possessed. Nevertheless, Van Gogh preferred the Washington painting as the one that captured his \"true character.\"\n詳細資訊\n\n標題: Self-Portrait\n建立者: Vincent van Gogh\n建立日期: 1889\n實際尺寸: w438.2 x h571.5 cm (overall)\n類型: Painting\n外部連結: National Gallery of Art, Washington, DC\n材質: oil on canvas\npainter: Vincent van Gogh\nTheme: portrait, self\nSchool: Dutch\nObject Credit: Collection of Mr. and Mrs. John Hay Whitneyhttps://www.nga.gov/collection/highlights/van-gogh-self-portrait.html\nhttps://www.nga.gov/audio-video/audio/self-portrait-van-gogh-kids.html\nhttps://www.nga.gov/audio-video/video/self-portrait-vangogh.html", "primaryObj": { "oid": "4b0df89eadca3dbe0ac07636d1e1a857", "title": "Self-Portrait", "desc": "Although his career was brief, lasting a mere 10 years, Vincent van Gogh proved to be an exceptionally prolific and innovative artist. While he experimented with a variety of subjects—landscape, still life, portraiture—it is his self–portraits that have come to define him as an artist. Like his predecessor, Rembrandt van Rijn, Van Gogh was a devoted and probing practitioner of the art of self–portraiture. He painted no fewer than 36 self–portraits, undertaking his first forays just after his arrival in Paris in March 1886 and executing his last, culminant works during his stay at the asylum of Saint–Paul–de–Mausole in Saint–Rémy. The Washington canvas is one of the very last self–portraits Van Gogh painted.\n\nDuring the first months of his voluntary internment at the asylum, the artist showed little interest in figure painting and concentrated instead upon the surrounding landscape. But in early July 1889 while painting in the fields near the asylum, Van Gogh suffered a severe breakdown that could have been a symptom of epilepsy. Incapacitated for five weeks and greatly unnerved by the experience, the artist retreated to his studio, refusing to go out even to the garden. This painting is the first work he produced after recovering from that episode. In a letter to his brother Theo written in early September 1889, he observed:\n\nThey say—and I am very willing to believe it—that it is difficult to know yourself—but it isn't easy to paint yourself either. So I am working on two portraits of myself at this moment—for want of another model—because it is more than time I did a little figure work. One I began the day I got up; I was thin and pale as a ghost. It is dark violet–blue and the head whitish with yellow hair, so it has a color effect. But since then I have begun another one, three quarter length on a light background.\n\nThis self–portrait is a particularly bold painting, apparently executed in a single sitting without later retouching. Here Van Gogh portrayed himself at work, dressed in his artist's smock with his palette and brushes in hand, a guise he had already adopted in two earlier self–portraits. While the pose itself and the intense scrutiny of the artist's gaze are hardly unique—one need but think of the occasionally uncompromising self–portraits of Rembrandt—the haunting and haunted quality of the image is distinct. The dark blue–violet of the smock and ground, the vivid orange of his hair and beard, create a startling contrast to the yellow and green of his face and heighten the gauntness of his features in a sallow complexion. The dynamic, even frenzied brushwork lends an uncommon immediacy and expressiveness to his portrayal. In its sheer intensity, it stands in sharp contrast to the other self–portrait he painted at the same time (Musée d'Orsay, Paris) in which the artist appears calmer and more self–possessed. Nevertheless, Van Gogh preferred the Washington painting as the one that captured his \"true character.\"\n詳細資訊\n\n標題: Self-Portrait\n建立者: Vincent van Gogh\n建立日期: 1889\n實際尺寸: w438.2 x h571.5 cm (overall)\n類型: Painting\n外部連結: National Gallery of Art, Washington, DC\n材質: oil on canvas\npainter: Vincent van Gogh\nTheme: portrait, self\nSchool: Dutch\nObject Credit: Collection of Mr. and Mrs. John Hay Whitneyhttps://www.nga.gov/collection/highlights/van-gogh-self-portrait.html\nhttps://www.nga.gov/audio-video/audio/self-portrait-van-gogh-kids.html\nhttps://www.nga.gov/audio-video/video/self-portrait-vangogh.html", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/18ade47329f7df01a8cec2d93a078795.jpg?itok=wc1PDF88", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/18ade47329f7df01a8cec2d93a078795.jpg?itok=LMuanou7", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/18ade47329f7df01a8cec2d93a078795.jpg?itok=aTJusNde", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/18ade47329f7df01a8cec2d93a078795.jpg?itok=-V7ZZ3UP", "mfid": "18ade47329f7df01a8cec2d93a078795", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/18ade47329f7df01a8cec2d93a078795.jpg?itok=resbcbwJ", "fileType": "image", "fileCreator": "Vincent van Gogh 文森·梵谷", "rights": "National Gallery of Art, Washington DC", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-01.png?itok=DszBk5va", "fileLicence": "創用CC 姓名標示-非商業性-禁止改作", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "sortable": true, "type": "imgs-child", "weight": 1 }, "imgs-0z5vf64gg1-id6d2huatl": { "id": "imgs-0z5vf64gg1-id6d2huatl", "title": "Postman Joseph Roulin", "desc": "One of van Gogh’s closest friends and favorite sitters in Arles was the local postman, Joseph Roulin. While painting this work, van Gogh wrote to his brother, “I am now at work with another model, a postman in blue uniform, trimmed with gold, a big bearded face, very like Socrates.” Indeed, the modest postman has all the authority of an admiral. Van Gogh also painted several portraits of Madame Roulin (for example, MFA object no. 48.548), as well as images of their children, delighted, as he wrote, to depict “a whole family.”\n詳細資訊\n\n標題: Postman Joseph Roulin\n建立者: Vincent van Gogh\n建立日期: 1888\n實際尺寸: 81.3 x 65.4 cm (32 x 25 3/4 in.)\n出處: 1889, given or left by the artist to Joseph and Marie Ginoux, Arles; July 9, 1897, sold by the Ginoux, through Henri Laget, to Ambroise Vollard (b. 1867 - d. 1939), Paris [see note 1]; probably September 1, 1897, sold by Vollard to Cornelis Hoogendijk (b. 1866 - d. 1911), The Hague [see note 2]; May 21-22, 1912, posthumous Hoogendijk sale, Frederik Muller, Amsterdam, lot 26, to Galerie Bernheim-Jeune, Paris (stock no. 19248) and Paul Cassirer, Inc., Berlin; 1916, sold by Cassirer to Carl Sternheim (b. 1878 - d. 1942) and Théa Sternheim (b. 1883 - d. 1971), La Hulpe, Belgium [see note 3]; February 11, 1919, Théa Sternheim sale, Frederik Muller, Amsterdam, lot 8, not sold [see note 4]; until 1928, in the Sternheim collection [see note 5]; 1928, sold by Théa Sternheim, through Alfred Flechtheim, to the Galerie Étienne Bignou, Paris [see note 6]; 1928, sold by Bignou to M. Knoedler and Co., New York (stock no. A289) and Alex Reid and Lefèvre, Ltd., London [see note 7]; 1928, sold by Knoedler to Robert Treat Paine, 2nd (b. 1861 - d. 1943), Boston; 1935, gift of Robert Treat Paine, 2nd, to the MFA. (Accession Date: December 5, 1935)\n材質: Oil on canvas", "primaryObj": { "oid": "bf705384ac70421573226c435744034c", "title": "Postman Joseph Roulin", "desc": "One of van Gogh’s closest friends and favorite sitters in Arles was the local postman, Joseph Roulin. While painting this work, van Gogh wrote to his brother, “I am now at work with another model, a postman in blue uniform, trimmed with gold, a big bearded face, very like Socrates.” Indeed, the modest postman has all the authority of an admiral. Van Gogh also painted several portraits of Madame Roulin (for example, MFA object no. 48.548), as well as images of their children, delighted, as he wrote, to depict “a whole family.”\n詳細資訊\n\n標題: Postman Joseph Roulin\n建立者: Vincent van Gogh\n建立日期: 1888\n實際尺寸: 81.3 x 65.4 cm (32 x 25 3/4 in.)\n出處: 1889, given or left by the artist to Joseph and Marie Ginoux, Arles; July 9, 1897, sold by the Ginoux, through Henri Laget, to Ambroise Vollard (b. 1867 - d. 1939), Paris [see note 1]; probably September 1, 1897, sold by Vollard to Cornelis Hoogendijk (b. 1866 - d. 1911), The Hague [see note 2]; May 21-22, 1912, posthumous Hoogendijk sale, Frederik Muller, Amsterdam, lot 26, to Galerie Bernheim-Jeune, Paris (stock no. 19248) and Paul Cassirer, Inc., Berlin; 1916, sold by Cassirer to Carl Sternheim (b. 1878 - d. 1942) and Théa Sternheim (b. 1883 - d. 1971), La Hulpe, Belgium [see note 3]; February 11, 1919, Théa Sternheim sale, Frederik Muller, Amsterdam, lot 8, not sold [see note 4]; until 1928, in the Sternheim collection [see note 5]; 1928, sold by Théa Sternheim, through Alfred Flechtheim, to the Galerie Étienne Bignou, Paris [see note 6]; 1928, sold by Bignou to M. Knoedler and Co., New York (stock no. A289) and Alex Reid and Lefèvre, Ltd., London [see note 7]; 1928, sold by Knoedler to Robert Treat Paine, 2nd (b. 1861 - d. 1943), Boston; 1935, gift of Robert Treat Paine, 2nd, to the MFA. (Accession Date: December 5, 1935)\n材質: Oil on canvas", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/c3fffb9b99cd6cf0edd10a706e648d6c.jpg?itok=kPnSTmbk", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/c3fffb9b99cd6cf0edd10a706e648d6c.jpg?itok=LFtBEqLu", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/c3fffb9b99cd6cf0edd10a706e648d6c.jpg?itok=inHzAXFE", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/c3fffb9b99cd6cf0edd10a706e648d6c.jpg?itok=7d82cqHz", "mfid": "c3fffb9b99cd6cf0edd10a706e648d6c", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/c3fffb9b99cd6cf0edd10a706e648d6c.jpg?itok=eQ9Y6dYA", "fileType": "image", "fileCreator": "Vincent van Gogh文森·梵谷", "rights": "Museum of Fine Arts, Boston , 美國", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-05.png?itok=0rVBS4da", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "sortable": true, "type": "imgs-child", "weight": 2 }, "imgs-0z5vf64gg1-yei9qbzt9e": { "id": "imgs-0z5vf64gg1-yei9qbzt9e", "title": "Dr Paul Gachet", "desc": "內容描述\n與文森特梵高在奧維爾的最後一段生活密不可分,加歇博士是一個原創角色。他是一位順勢療法醫生,對手相術感興趣,但他真正的熱情在於藝術。他本人是一位出色的雕刻師,與許多不同的藝術家保持聯繫,包括馬奈、莫奈、雷諾阿和塞尚。因此,當梵高從聖雷米普羅旺斯的醫院出院時,在他兄弟西奧的建議下,梵高去找他是合乎邏輯的。\n這位專攻精神病學的醫生盡最大努力幫助文森特克服痛苦,同時為他提供有利於他幸福的物質安慰。\n醫生的肖像是在這個特別激烈的創作階段畫出來的。正如梵高所寫,他不是普通的模特,被描繪成一個憂鬱的姿勢,反映了“我們這個時代的荒涼表情”。在這幅用冷色刷過的嚴肅肖像中,唯一的希望是毛地黃,它通過其治療特性帶來一點安慰和緩解。儘管他很投入,加歇博士還是無法阻止梵高不可挽回的姿態。不久之後,這位藝術家自殺了。\nInseparably entwined with the last period of Vincent van Gogh's life in Auvers, Dr Gachet was an original character. He was a homoeopathic doctor interested in chiromancy but his real passion lay with the arts. An accomplished engraver himself, he kept in touch with many different artists including Manet, Monet, Renoir and Cézanne. It was therefore logical for Van Gogh to go to him, on the advice of his brother Theo, when he was discharged from hospital in Saint-Rémy-de-Provence.\n\nSpecialised in psychiatry, the doctor did his best to help Vincent overcome his anguish while affording him the material comfort conducive to his well-being.\n\nThe portrait of the doctor was painted during this particularly intense creative phase. He was no ordinary model and is portrayed in a melancholy pose reflecting \"the desolate expression of our time,\" as Van Gogh wrote. The only touch of hope in this severe portrait brushed in cold colours is the foxglove which brings a little comfort and relief through its curative properties.\n\nDespite his devotion, Dr Gachet was unable to prevent Van Gogh's irremediable gesture; the artist committed suicide shortly afterwards.\n詳細資訊\n\n標題: Dr Paul Gachet\n建立日期: 1890\n實際尺寸: w570 x h680 cm\nProvenance: Gift of Paul and Marguerite Gachet, children of the model, 1949\nPainter: Vincent van Gogh\nOriginal Title: Le docteur Paul Gachet\nCredit Line: © Musée d'Orsay, dist. RMN / Patrice Schmidt\n類型: Oil on canvas\n權利: © Musée d'Orsay, dist. RMN / Patrice Schmidt\n外部連結: http://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire_id/dr-paul-gachet-2988.html?tx_commentaire_pi1%5BpidLi%5D=509&tx_commentaire_pi1%5Bfrom%5D=841&cHash=e80caf8200", "primaryObj": { "oid": "eb31ae8ea2e51855785da26f69d44ba3", "title": "Dr Paul Gachet", "desc": "內容描述\n與文森特梵高在奧維爾的最後一段生活密不可分,加歇博士是一個原創角色。他是一位順勢療法醫生,對手相術感興趣,但他真正的熱情在於藝術。他本人是一位出色的雕刻師,與許多不同的藝術家保持聯繫,包括馬奈、莫奈、雷諾阿和塞尚。因此,當梵高從聖雷米普羅旺斯的醫院出院時,在他兄弟西奧的建議下,梵高去找他是合乎邏輯的。\n這位專攻精神病學的醫生盡最大努力幫助文森特克服痛苦,同時為他提供有利於他幸福的物質安慰。\n醫生的肖像是在這個特別激烈的創作階段畫出來的。正如梵高所寫,他不是普通的模特,被描繪成一個憂鬱的姿勢,反映了“我們這個時代的荒涼表情”。在這幅用冷色刷過的嚴肅肖像中,唯一的希望是毛地黃,它通過其治療特性帶來一點安慰和緩解。儘管他很投入,加歇博士還是無法阻止梵高不可挽回的姿態。不久之後,這位藝術家自殺了。\nInseparably entwined with the last period of Vincent van Gogh's life in Auvers, Dr Gachet was an original character. He was a homoeopathic doctor interested in chiromancy but his real passion lay with the arts. An accomplished engraver himself, he kept in touch with many different artists including Manet, Monet, Renoir and Cézanne. It was therefore logical for Van Gogh to go to him, on the advice of his brother Theo, when he was discharged from hospital in Saint-Rémy-de-Provence.\n\nSpecialised in psychiatry, the doctor did his best to help Vincent overcome his anguish while affording him the material comfort conducive to his well-being.\n\nThe portrait of the doctor was painted during this particularly intense creative phase. He was no ordinary model and is portrayed in a melancholy pose reflecting \"the desolate expression of our time,\" as Van Gogh wrote. The only touch of hope in this severe portrait brushed in cold colours is the foxglove which brings a little comfort and relief through its curative properties.\n\nDespite his devotion, Dr Gachet was unable to prevent Van Gogh's irremediable gesture; the artist committed suicide shortly afterwards.\n詳細資訊\n\n標題: Dr Paul Gachet\n建立日期: 1890\n實際尺寸: w570 x h680 cm\nProvenance: Gift of Paul and Marguerite Gachet, children of the model, 1949\nPainter: Vincent van Gogh\nOriginal Title: Le docteur Paul Gachet\nCredit Line: © Musée d'Orsay, dist. RMN / Patrice Schmidt\n類型: Oil on canvas\n權利: © Musée d'Orsay, dist. RMN / Patrice Schmidt\n外部連結: http://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire_id/dr-paul-gachet-2988.html?tx_commentaire_pi1%5BpidLi%5D=509&tx_commentaire_pi1%5Bfrom%5D=841&cHash=e80caf8200", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/11d91aff6cf7ebbbb8162d9bbbf775a2.jpg?itok=vjMqExUj", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/11d91aff6cf7ebbbb8162d9bbbf775a2.jpg?itok=kvsO4Gvh", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/11d91aff6cf7ebbbb8162d9bbbf775a2.jpg?itok=-DcmnT4X", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/11d91aff6cf7ebbbb8162d9bbbf775a2.jpg?itok=hq9EkZFZ", "mfid": "11d91aff6cf7ebbbb8162d9bbbf775a2", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/11d91aff6cf7ebbbb8162d9bbbf775a2.jpg?itok=DmnKnjKS", "fileType": "image", "fileCreator": "Vincent van Gogh 文森·梵谷", "rights": "Musée d'Orsay, dist. RMN / Patrice Schmidt", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-01.png?itok=DszBk5va", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "sortable": true, "type": "imgs-child", "weight": 3 }, "imgs-0z5vf64gg1-og8eo8x687": { "id": "imgs-0z5vf64gg1-og8eo8x687", "title": "The Church in Auvers-sur-Oise, View from the Chevet", "desc": "After staying in the south of France, in Arles, and then at the psychiatric hospital in Saint-Rémy de Provence, Vincent Van Gogh settled in Auvers-Sur-Oise, a village on the outskirts of Paris.\n\nHis brother Théo, concerned with his health, incited him to see Doctor Gachet, himself a painter and a friend of numerous artists, who accepted to treat him. During the two months separating his arrival, on May 21, 1890, and his death on July 29, the artist made about seventy paintings, over one per day, not to mention a large number of drawings.\n\nThis is the only painting representing in full the church in Auvers that may sometimes be distinguished in the background of views of the whole village. This church, built in the 13th century in the early Gothic style, flanked by two Romanesque chapels, became under the painter's brush a flamboyant monument on the verge of dislocating itself from the ground and from the two paths that seem to be clasping it like torrents of lava or mud.\n\nIf one compares this painting with Claude Monet's paintings of the cathedral in Rouen, painted shortly afterward, one can measure how different Van Gogh's approach was from that of the impressionists. Unlike Monet, he did not try to render the impression of the play of light on the monument. Even though the church remains recognizable, the painting does not so much offer the spectator a faithful image of reality as a form of \"expression\" of a church.\n\nThe artistic means used by Van Gogh anticipate the work of the fauvists and expressionist painters. 在法國南部、阿爾勒、聖雷米普羅旺斯的精神病院逗留後,文森特梵高定居在巴黎郊區的奧維爾村。\n 他的兄弟泰奧擔心他的健康,慫恿他去看加歇醫生,他本人是一位畫家,也是眾多藝術家的朋友,他接受了治療。在他於 1890 年 5 月 21 日和他於 7 月 29 日去世之間的兩個月裡,這位藝術家創作了大約 70 幅畫,每天一幅以上,更不用說大量的繪畫了。\n 這是唯一一幅完整地代表奧維爾教堂的畫作,有時可以在整個村莊的景色中脫穎而出。這座教堂建於 13 世紀,採用早期哥特式風格,兩側是兩座羅馬式小教堂,在畫家筆下變成了一座華麗的紀念碑,瀕臨從地面和兩條似乎像激流一樣緊緊抓住它的小徑脫臼熔岩或泥漿。\n如果將這幅畫與克勞德·莫奈不久之後繪製的魯昂大教堂畫作進行比較,可以看出梵高的方法與印象派的方法有多麼不同。與莫奈不同,他並沒有試圖在紀念碑上呈現光影的印象。儘管教堂仍然可以辨認,但這幅畫並沒有為觀眾提供真實的真實形象,而是教堂的一種“表達”形式。\n梵高使用的藝術手段預示著野獸派和表現主義畫家的作品。\n詳細資訊\n\n標題: The Church in Auvers-sur-Oise, View from the Chevet\n建立日期: 1890\n實際尺寸: w740 x h940 mm\nProvenance: Acquired with the participation of Paul Gachet and of an anonymous Canadian donation, 1951\nPainter: Vincent van Gogh\nOriginal Title: L'Eglise d'Auvers-sur-Oise, vue du chevet\nCredit Line: © Musée d'Orsay, dist. RMN\n類型: Oil on canvas\n權利: Musee d'Orsay, dist. RMN\n外部連結: http://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire_id/the-church-in-auvers-sur-oise-7170.html?tx_commentaire_pi1%5BpidLi%5D=509&tx_commentaire_pi1%5Bfrom%5D=841&cHash=41a41feee6", "primaryObj": { "oid": "e7634e86362d1bf193a66170007664a2", "title": "The Church in Auvers-sur-Oise, View from the Chevet", "desc": "After staying in the south of France, in Arles, and then at the psychiatric hospital in Saint-Rémy de Provence, Vincent Van Gogh settled in Auvers-Sur-Oise, a village on the outskirts of Paris.\n\nHis brother Théo, concerned with his health, incited him to see Doctor Gachet, himself a painter and a friend of numerous artists, who accepted to treat him. During the two months separating his arrival, on May 21, 1890, and his death on July 29, the artist made about seventy paintings, over one per day, not to mention a large number of drawings.\n\nThis is the only painting representing in full the church in Auvers that may sometimes be distinguished in the background of views of the whole village. This church, built in the 13th century in the early Gothic style, flanked by two Romanesque chapels, became under the painter's brush a flamboyant monument on the verge of dislocating itself from the ground and from the two paths that seem to be clasping it like torrents of lava or mud.\n\nIf one compares this painting with Claude Monet's paintings of the cathedral in Rouen, painted shortly afterward, one can measure how different Van Gogh's approach was from that of the impressionists. Unlike Monet, he did not try to render the impression of the play of light on the monument. Even though the church remains recognizable, the painting does not so much offer the spectator a faithful image of reality as a form of \"expression\" of a church.\n\nThe artistic means used by Van Gogh anticipate the work of the fauvists and expressionist painters. 在法國南部、阿爾勒、聖雷米普羅旺斯的精神病院逗留後,文森特梵高定居在巴黎郊區的奧維爾村。\n 他的兄弟泰奧擔心他的健康,慫恿他去看加歇醫生,他本人是一位畫家,也是眾多藝術家的朋友,他接受了治療。在他於 1890 年 5 月 21 日和他於 7 月 29 日去世之間的兩個月裡,這位藝術家創作了大約 70 幅畫,每天一幅以上,更不用說大量的繪畫了。\n 這是唯一一幅完整地代表奧維爾教堂的畫作,有時可以在整個村莊的景色中脫穎而出。這座教堂建於 13 世紀,採用早期哥特式風格,兩側是兩座羅馬式小教堂,在畫家筆下變成了一座華麗的紀念碑,瀕臨從地面和兩條似乎像激流一樣緊緊抓住它的小徑脫臼熔岩或泥漿。\n如果將這幅畫與克勞德·莫奈不久之後繪製的魯昂大教堂畫作進行比較,可以看出梵高的方法與印象派的方法有多麼不同。與莫奈不同,他並沒有試圖在紀念碑上呈現光影的印象。儘管教堂仍然可以辨認,但這幅畫並沒有為觀眾提供真實的真實形象,而是教堂的一種“表達”形式。\n梵高使用的藝術手段預示著野獸派和表現主義畫家的作品。\n詳細資訊\n\n標題: The Church in Auvers-sur-Oise, View from the Chevet\n建立日期: 1890\n實際尺寸: w740 x h940 mm\nProvenance: Acquired with the participation of Paul Gachet and of an anonymous Canadian donation, 1951\nPainter: Vincent van Gogh\nOriginal Title: L'Eglise d'Auvers-sur-Oise, vue du chevet\nCredit Line: © Musée d'Orsay, dist. RMN\n類型: Oil on canvas\n權利: Musee d'Orsay, dist. RMN\n外部連結: http://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire_id/the-church-in-auvers-sur-oise-7170.html?tx_commentaire_pi1%5BpidLi%5D=509&tx_commentaire_pi1%5Bfrom%5D=841&cHash=41a41feee6", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/1ca5ca103e4fe6b0e14ed8c38ace434d.jpg?itok=dsoSDWYD", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/1ca5ca103e4fe6b0e14ed8c38ace434d.jpg?itok=HHgeaEr6", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/1ca5ca103e4fe6b0e14ed8c38ace434d.jpg?itok=iC3lY7oi", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/1ca5ca103e4fe6b0e14ed8c38ace434d.jpg?itok=Qz05dHX2", "mfid": "1ca5ca103e4fe6b0e14ed8c38ace434d", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/1ca5ca103e4fe6b0e14ed8c38ace434d.jpg?itok=8WYf50nF", "fileType": "image", "fileCreator": "Vincent van Gogh 文森·梵谷", "rights": "Musee d'Orsay, dist. RMN", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-02.png?itok=fGKM5I0r", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "sortable": true, "type": "imgs-child", "weight": 4 } }, "musicName": "無", "weight": 16, "primaryObj": { "oid": "7649c4dd7d39dbf837602ee65d3259da", "title": "Starry Night", "desc": "Van Gogh's night sky is a field of roiling energy. Below the exploding stars, a village is a place of quiet order. Connecting earth and sky is the flamelike cypress, a tree traditionally associated with graveyards and mourning. But death was not ominous for van Gogh. \"Looking at the stars always makes me dream,\" he said, \"Why I ask myself, shouldn't the shining dots of the sky be as accessible as the black dots on the map of France? Just as we take the train to get to Tarascon or Rouen, we take death to reach a star.\"\n\nThe artist wrote of his experience to his brother Theo: \"This morning I saw the country from my window a long time before sunrise, with nothing but the morning star, which looked very big.\" This morning star, or Venus, maybe the large white star just left of center in The Starry Night. The hamlet, on the other hand, is invented, and the church spire evokes van Gogh's native land, the Netherlands. The painting, like its daytime companion, The Olive Trees, is rooted in imagination and memory. Leaving behind the Impressionist doctrine of truth to nature in favor of restless feeling and intense color, as in this highly charged picture, van Gogh made his work a touchstone for all subsequent Expressionist paintings.\n\nThe Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 35\n\nFind out more about The Starry Night at: mo.ma/starry night\n\n此作品為表現性的後印象主義畫家梵谷的作品,這幅畫有很強的筆觸。油畫中的主色調藍色代表不開心、陰沉的感覺。很粗的筆觸代表憂愁。畫中景象是一個望出窗外的景象。畫中的樹是柏樹,但畫得像黑色火舌一般,直上雲端,令人有不安之感。天空的紋理像渦狀星系,並伴隨眾多星點,而月亮則是以昏黃的月蝕形式出現。整幅畫中,底部的村落是以平直、粗短的線條繪畫,表現出一種寧靜;但與上部粗獷彎曲的線條卻產生強烈的對比,在這種高度誇張變形和強烈視覺對比中體現出了畫家躁動不安的情感和迷幻的意象世界。[1]梵谷生前非常欣賞日本浮世繪《冨嶽三十六景》中的《神奈川沖浪裏》,而《星夜》中天空的渦狀星雲畫風被認為參考並融入了《神奈川沖浪裏》的元素。\n詳細資訊\n\n標題: The Starry Night\n建立者: Vincent van Gogh\n建立日期: 1889\n建立位置: Saint-Rémy-de-Provence\n實際尺寸: w921 x h737 mm\nStyle: Post-Impressionism\nProvenance: Acquired through the Lillie P.Bliss Bequest\nOriginal Title: La nuit étoilée\nMore Info: View more works by Vincent van Gogh on MoMA.org\n類型: Painting\n外部連結: View MoMA's collection online\n材質: Oil on canvas", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/3acfbe84beb8e16f4f6571b70bb51273.jpg?itok=B_2xiR_7", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/3acfbe84beb8e16f4f6571b70bb51273.jpg?itok=uOtEGU45", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/3acfbe84beb8e16f4f6571b70bb51273.jpg?itok=TwTlAvUI", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/3acfbe84beb8e16f4f6571b70bb51273.jpg?itok=RXY4jNcI", "mfid": "3acfbe84beb8e16f4f6571b70bb51273", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/3acfbe84beb8e16f4f6571b70bb51273.jpg?itok=XLmHDzEW", "fileType": "image", "fileCreator": "Van Gogh 文森·梵谷", "rights": "MoMA The Museum of Modern Art New York, 美國", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-04.png?itok=gq-PTcKL", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "title": "Van Gogh 文森·梵谷", "musicText": "", "musicURL": "", "desc": "「沒有黃色跟橙色,就不會有藍色。如果畫了藍色,一定也要放黃色跟橙色,不是嗎?<br>噢,你現在一定覺得我寫給你的信超無聊。」<br>─ 梵谷,1888年6月給Emile Bernard Arles的信<div><br></div>" }, "imgs-g7dnlchl1e": { "id": "imgs-g7dnlchl1e", "type": "imgs", "sortable": true, "multiObjs": [ { "oid": "61d361e214f1f8f3ba4d50c99f5833ae", "title": "Portrait of Madame Cézanne", "desc": "In the many portraits of Madame Cézanne, the intent to create symmetry and frontality is seldom as assertive as it is here. Although employed several times, this rigid, frontal arrangement is not the one most frequently used by Cézanne, who reserved it for major, elaborately handled works. Despite its smaller size and its apparently unfinished condition, this picture displays a monumental, hieratic character. The planes and volumes are distributed in space, with no concern for conventional perspective: the lengthening of the left arm and the elimination of the chair's right-hand armrest both attest to Cézanne’s lack of concern for the standard construction of depth. Among the portraits of Madame Cézanne, this one occupies an intermediate place between the domestic portrait and the rather elaborate effigies. It is hard to pinpoint the date of this painting, though it was likely done sometime between 1886 and 1890.\n\nThe highly structured, technically complex portraits of Madame Cézanne particularly attracted the attention of the next generation of artists. Juan Gris copied them several times, and Kasimir Malevitch devoted a careful analysis to them in his book that was published under the auspices of the Bauhaus (entitled Die gegenstandslose Welt, Munich, 1927).\n詳細資訊\n\n標題: Portrait of Madame Cézanne\n建立日期: Circa 1890\n實際尺寸: w650 x h810 mm\nProvenance: Walter-Guillaume Collection\nPainter: Paul Cézanne\nOriginal Title: Portrait de Madame Cézanne\n類型: Oil on canvas\n權利: © RMN (Musée de l'Orangerie) / Hervé Lewandowski", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/239707253a6e5fe54429e9fa952c4db2.jpg?itok=uUNRMmRq", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/239707253a6e5fe54429e9fa952c4db2.jpg?itok=TMKD7XfC", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/239707253a6e5fe54429e9fa952c4db2.jpg?itok=hvgX85tW", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/239707253a6e5fe54429e9fa952c4db2.jpg?itok=aIKSkqpy", "mfid": "239707253a6e5fe54429e9fa952c4db2", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/239707253a6e5fe54429e9fa952c4db2.jpg?itok=U-BALFkf", "fileType": "image", "fileCreator": "Paul Cézanne 保羅·塞尚", "rights": "Musée de l'Orangerie Paris, 法國", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-02.png?itok=fGKM5I0r", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, { "oid": "5e675d5b2d62763e8c63c55f604ee295", "title": "Bathers (Les Grandes Baigneuses)", "desc": "Cézanne painted bathers from the 1870s onwards, including numerous compositions of male and female bathers, singly or in groups. 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Although employed several times, this rigid, frontal arrangement is not the one most frequently used by Cézanne, who reserved it for major, elaborately handled works. Despite its smaller size and its apparently unfinished condition, this picture displays a monumental, hieratic character. The planes and volumes are distributed in space, with no concern for conventional perspective: the lengthening of the left arm and the elimination of the chair's right-hand armrest both attest to Cézanne’s lack of concern for the standard construction of depth. Among the portraits of Madame Cézanne, this one occupies an intermediate place between the domestic portrait and the rather elaborate effigies. It is hard to pinpoint the date of this painting, though it was likely done sometime between 1886 and 1890.\n\nThe highly structured, technically complex portraits of Madame Cézanne particularly attracted the attention of the next generation of artists. Juan Gris copied them several times, and Kasimir Malevitch devoted a careful analysis to them in his book that was published under the auspices of the Bauhaus (entitled Die gegenstandslose Welt, Munich, 1927).\n詳細資訊\n\n標題: Portrait of Madame Cézanne\n建立日期: Circa 1890\n實際尺寸: w650 x h810 mm\nProvenance: Walter-Guillaume Collection\nPainter: Paul Cézanne\nOriginal Title: Portrait de Madame Cézanne\n類型: Oil on canvas\n權利: © RMN (Musée de l'Orangerie) / Hervé Lewandowski", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/239707253a6e5fe54429e9fa952c4db2.jpg?itok=uUNRMmRq", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/239707253a6e5fe54429e9fa952c4db2.jpg?itok=TMKD7XfC", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/239707253a6e5fe54429e9fa952c4db2.jpg?itok=hvgX85tW", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/239707253a6e5fe54429e9fa952c4db2.jpg?itok=aIKSkqpy", "mfid": "239707253a6e5fe54429e9fa952c4db2", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/239707253a6e5fe54429e9fa952c4db2.jpg?itok=U-BALFkf", "fileType": "image", "fileCreator": "Paul Cézanne 保羅·塞尚", "rights": "Musée de l'Orangerie Paris, 法國", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-02.png?itok=fGKM5I0r", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "musicText": "", "musicURL": "", "desc": "保羅⋅塞尚的主要的繪畫創作為風景、靜物與肖像畫,同時也刻畫狂歡及死亡等特殊題材場景,較常採用厚實的筆法來凸顯出病態的藍色與白色,宛若印刻在蒼白基調上的傷疤。<span><br><div><br></div></span>", "title": "Paul Cézanne 保羅·塞尚" }, "imgs-ycu9zke4tt": { "id": "imgs-ycu9zke4tt", "type": "imgs", "sortable": true, "multiObjs": [ { "oid": "454e13179a909ed26b77f4aa42c78fc7", "title": "Portrait of Suzanne Bloch", "desc": "詳細資訊\n\n標題: Portrait of Suzanne Bloch\n日期: 1904\n實際尺寸: w54 x h65 cm\nTécnica: Óleo sobre tela\nCredit Line: João Musa\nCredit: João Musa\nAuthor: Pablo Picasso\n出處: Doação [Gift] Walther Moreira Salles,1947\n類型: Painting", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/6daa1d924af1d50eda2755fb5854760d.jpg?itok=Lg3yymtp", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/6daa1d924af1d50eda2755fb5854760d.jpg?itok=OSfZylt7", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/6daa1d924af1d50eda2755fb5854760d.jpg?itok=ML2CbnLI", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/6daa1d924af1d50eda2755fb5854760d.jpg?itok=PECbnNhZ", "mfid": "6daa1d924af1d50eda2755fb5854760d", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/6daa1d924af1d50eda2755fb5854760d.jpg?itok=Fx7JtxDJ", "fileType": "image", "fileCreator": "Pablo Picasso 巴勃羅·畢卡索", "rights": "MASP - Museu de Arte de São Paulo Assis Chateaubriand São Paulo, 巴西", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-04.png?itok=gq-PTcKL", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, { "oid": "43ab54de54ce0921d6937d141dc311ff", "title": "Melancholy Woman", "desc": "詳細資訊\n\n標題: Melancholy Woman\n建立者: Pablo Picasso\n日期: 1902\n實體地點: Detroit, MI, U.S.A.\n實際尺寸: w27.25 x h39.38 in (without frame)\nProvenance: Picasso, Paris c. 1905 Michael and Sarah Stein, Paris Daniel-Henry Kahnweiler, Paris (?) Paul Guillaume, Paris F. Valentine Dudensing, New York Robert H. Tannahill, Grosse Pointe Farms, 1934 Detroit Institute of Arts, 1970\n出處: Bequest of Robert H. Tannahill\n類型: Painting\n權利: Detroit Institute of Arts\n外部連結: http://dia.org\n材質: oil on canvas", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/6972ce129e2d685bf763fc401aa84ec0.jpg?itok=6NCO1385", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/6972ce129e2d685bf763fc401aa84ec0.jpg?itok=XHaI_kVg", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/6972ce129e2d685bf763fc401aa84ec0.jpg?itok=DzJ0Bw4q", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/6972ce129e2d685bf763fc401aa84ec0.jpg?itok=WHvfEKhl", "mfid": "6972ce129e2d685bf763fc401aa84ec0", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/6972ce129e2d685bf763fc401aa84ec0.jpg?itok=VcDNecpZ", "fileType": "image", "fileCreator": "Pablo Picasso 巴勃羅·畢卡索", "rights": "The Munch Museum, Oslo", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-01.png?itok=DszBk5va", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, { "oid": "ee802ac8fb82fe0037a498a23c97d64d", "title": "The Tragedy 悲劇", "desc": "", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/93e6b842211d1ab509f07f3ca65ddb8b.jpg?itok=TnIl6Kyw", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/93e6b842211d1ab509f07f3ca65ddb8b.jpg?itok=Fy6mlVl-", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/93e6b842211d1ab509f07f3ca65ddb8b.jpg?itok=YRU6mmJC", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/93e6b842211d1ab509f07f3ca65ddb8b.jpg?itok=n7_pGH9H", "mfid": "93e6b842211d1ab509f07f3ca65ddb8b", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/93e6b842211d1ab509f07f3ca65ddb8b.jpg?itok=NXgmyp5s", "fileType": "image", "fileCreator": "Pablo Picasso 巴勃羅·畢卡索", "rights": "National Gallery of Art at Washington,DC 美國 華盛頓區國家畫廊", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-03.png?itok=h0rkcAOw", "fileLicence": "創用CC 姓名標示-非商業性-禁止改作", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, { "oid": "234cef1540b5e83a56728a28642768ee", "title": "La Vie", "desc": "In 1901, depressed over the suicide of a close friend, Picasso launched into the melancholic paintings of his Blue Period (1901–4). Only 21 years old and desperately poor, he restricted his palette to cold colors suggestive of night, mystery, dreams, and death. His obsession with themes of human misery and social alienation reached its climax with this painting. The subject has been interpreted variously as an allegory of sacred and profane love, a symbolic representation of the cycle of life, and a working-class couple facing the hazards of real life.", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/876771d89577320896e1b62ca4cb003e.jpg?itok=6_jziNKw", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/876771d89577320896e1b62ca4cb003e.jpg?itok=h7lad6hu", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/876771d89577320896e1b62ca4cb003e.jpg?itok=0D4wHsCq", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/876771d89577320896e1b62ca4cb003e.jpg?itok=CRtWJpty", "mfid": "876771d89577320896e1b62ca4cb003e", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/876771d89577320896e1b62ca4cb003e.jpg?itok=uCFOSOu7", "fileType": "image", "fileCreator": "Pablo Picasso 巴勃羅·畢卡索", "rights": "克利夫蘭藝術博物館 美國", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-05.png?itok=0rVBS4da", "fileLicence": "創用CC 姓名標示-非商業性-禁止改作", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, { "oid": "797ba3bac3eda1d8819631b80db48737", "title": "The Old Guitarist", "desc": "Pablo Picasso made The Old Guitarist while working in Barcelona. 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Only 21 years old and desperately poor, he restricted his palette to cold colors suggestive of night, mystery, dreams, and death. His obsession with themes of human misery and social alienation reached its climax with this painting. The subject has been interpreted variously as an allegory of sacred and profane love, a symbolic representation of the cycle of life, and a working-class couple facing the hazards of real life.", "primaryObj": { "oid": "234cef1540b5e83a56728a28642768ee", "title": "La Vie", "desc": "In 1901, depressed over the suicide of a close friend, Picasso launched into the melancholic paintings of his Blue Period (1901–4). Only 21 years old and desperately poor, he restricted his palette to cold colors suggestive of night, mystery, dreams, and death. His obsession with themes of human misery and social alienation reached its climax with this painting. The subject has been interpreted variously as an allegory of sacred and profane love, a symbolic representation of the cycle of life, and a working-class couple facing the hazards of real life.", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/876771d89577320896e1b62ca4cb003e.jpg?itok=6_jziNKw", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/876771d89577320896e1b62ca4cb003e.jpg?itok=h7lad6hu", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/876771d89577320896e1b62ca4cb003e.jpg?itok=0D4wHsCq", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/876771d89577320896e1b62ca4cb003e.jpg?itok=CRtWJpty", "mfid": "876771d89577320896e1b62ca4cb003e", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/876771d89577320896e1b62ca4cb003e.jpg?itok=uCFOSOu7", "fileType": "image", "fileCreator": "Pablo Picasso 巴勃羅·畢卡索", "rights": "克利夫蘭藝術博物館 美國", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-05.png?itok=0rVBS4da", "fileLicence": "創用CC 姓名標示-非商業性-禁止改作", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "sortable": true, "type": "imgs-child", "weight": 2 }, "imgs-ycu9zke4tt-dycqxz8op9": { "id": "imgs-ycu9zke4tt-dycqxz8op9", "title": "Portrait of Suzanne Bloch", "desc": "詳細資訊\n\n標題: Portrait of Suzanne Bloch\n日期: 1904\n實際尺寸: w54 x h65 cm\nTécnica: Óleo sobre tela\nCredit Line: João Musa\nCredit: João Musa\nAuthor: Pablo Picasso\n出處: Doação [Gift] Walther Moreira Salles,1947\n類型: Painting", "primaryObj": { "oid": "454e13179a909ed26b77f4aa42c78fc7", "title": "Portrait of Suzanne Bloch", "desc": "詳細資訊\n\n標題: Portrait of Suzanne Bloch\n日期: 1904\n實際尺寸: w54 x h65 cm\nTécnica: Óleo sobre tela\nCredit Line: João Musa\nCredit: João Musa\nAuthor: Pablo Picasso\n出處: Doação [Gift] Walther Moreira Salles,1947\n類型: Painting", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/6daa1d924af1d50eda2755fb5854760d.jpg?itok=Lg3yymtp", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/6daa1d924af1d50eda2755fb5854760d.jpg?itok=OSfZylt7", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/6daa1d924af1d50eda2755fb5854760d.jpg?itok=ML2CbnLI", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/6daa1d924af1d50eda2755fb5854760d.jpg?itok=PECbnNhZ", "mfid": "6daa1d924af1d50eda2755fb5854760d", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/6daa1d924af1d50eda2755fb5854760d.jpg?itok=Fx7JtxDJ", "fileType": "image", "fileCreator": "Pablo Picasso 巴勃羅·畢卡索", "rights": "MASP - Museu de Arte de São Paulo Assis Chateaubriand São Paulo, 巴西", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-04.png?itok=gq-PTcKL", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "sortable": true, "type": "imgs-child", "weight": 3 }, "imgs-ycu9zke4tt-o2tuzo88u7": { "id": "imgs-ycu9zke4tt-o2tuzo88u7", "title": "Melancholy Woman", "desc": "詳細資訊\n\n標題: Melancholy Woman\n建立者: Pablo Picasso\n日期: 1902\n實體地點: Detroit, MI, U.S.A.\n實際尺寸: w27.25 x h39.38 in (without frame)\nProvenance: Picasso, Paris c. 1905 Michael and Sarah Stein, Paris Daniel-Henry Kahnweiler, Paris (?) Paul Guillaume, Paris F. Valentine Dudensing, New York Robert H. Tannahill, Grosse Pointe Farms, 1934 Detroit Institute of Arts, 1970\n出處: Bequest of Robert H. Tannahill\n類型: Painting\n權利: Detroit Institute of Arts\n外部連結: http://dia.org\n材質: oil on canvas", "primaryObj": { "oid": "43ab54de54ce0921d6937d141dc311ff", "title": "Melancholy Woman", "desc": "詳細資訊\n\n標題: Melancholy Woman\n建立者: Pablo Picasso\n日期: 1902\n實體地點: Detroit, MI, U.S.A.\n實際尺寸: w27.25 x h39.38 in (without frame)\nProvenance: Picasso, Paris c. 1905 Michael and Sarah Stein, Paris Daniel-Henry Kahnweiler, Paris (?) Paul Guillaume, Paris F. Valentine Dudensing, New York Robert H. Tannahill, Grosse Pointe Farms, 1934 Detroit Institute of Arts, 1970\n出處: Bequest of Robert H. Tannahill\n類型: Painting\n權利: Detroit Institute of Arts\n外部連結: http://dia.org\n材質: oil on canvas", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/6972ce129e2d685bf763fc401aa84ec0.jpg?itok=6NCO1385", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/6972ce129e2d685bf763fc401aa84ec0.jpg?itok=XHaI_kVg", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/6972ce129e2d685bf763fc401aa84ec0.jpg?itok=DzJ0Bw4q", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/6972ce129e2d685bf763fc401aa84ec0.jpg?itok=WHvfEKhl", "mfid": "6972ce129e2d685bf763fc401aa84ec0", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/6972ce129e2d685bf763fc401aa84ec0.jpg?itok=VcDNecpZ", "fileType": "image", "fileCreator": "Pablo Picasso 巴勃羅·畢卡索", "rights": "The Munch Museum, Oslo", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-01.png?itok=DszBk5va", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "sortable": true, "type": "imgs-child", "weight": 4 } }, "musicName": "無", "weight": 18, "primaryObj": { "oid": "454e13179a909ed26b77f4aa42c78fc7", "title": "Portrait of Suzanne Bloch", "desc": "詳細資訊\n\n標題: Portrait of Suzanne Bloch\n日期: 1904\n實際尺寸: w54 x h65 cm\nTécnica: Óleo sobre tela\nCredit Line: João Musa\nCredit: João Musa\nAuthor: Pablo Picasso\n出處: Doação [Gift] Walther Moreira Salles,1947\n類型: Painting", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/6daa1d924af1d50eda2755fb5854760d.jpg?itok=Lg3yymtp", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/6daa1d924af1d50eda2755fb5854760d.jpg?itok=OSfZylt7", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/6daa1d924af1d50eda2755fb5854760d.jpg?itok=ML2CbnLI", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/6daa1d924af1d50eda2755fb5854760d.jpg?itok=PECbnNhZ", "mfid": "6daa1d924af1d50eda2755fb5854760d", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/6daa1d924af1d50eda2755fb5854760d.jpg?itok=Fx7JtxDJ", "fileType": "image", "fileCreator": "Pablo Picasso 巴勃羅·畢卡索", "rights": "MASP - Museu de Arte de São Paulo Assis Chateaubriand São Paulo, 巴西", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-04.png?itok=gq-PTcKL", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "musicText": "", "musicURL": "", "title": "Pablo Picasso 巴勃羅·畢卡索", "desc": "<div>「普魯士藍的誕生,開啟了畢卡索的藍色時期」<br>畢卡索的藍色時期世界大約是介於1901年到1904年,畢卡索的摯友卡薩吉瑪斯因求愛不成而自殺,讓畢卡索悲憤欲絕進而廢寢忘食的投入工作以忘記悲痛,此時期以沉鬱冰冷的藍綠深色調為主,且畫中人物表情憂鬱痛苦、身形消瘦,強烈的情緒使觀眾久久無法忘懷。</div>" }, "imgs-zchq0p9k5z": { "id": "imgs-zchq0p9k5z", "type": "imgs", "sortable": true, "multiObjs": [ { "oid": "552920ec4220793d9140899fc60805e2", "title": "The Port of Rotterdam", "desc": "In 1906 Signac visited the port of Rotterdam and was greatly impressed. On a postcard with a harbor scene, he wrote: 'From my window! What industriousness! I am enthusiastic but amazed.' He made this painting the following year based on a drawing, which is also in the collection of Museum Boijmans Van Beuningen. The combination of the individual dabs of paint creates shimmering light effects.\n\n標題: The Port of Rotterdam\n建立者: Signac, Paul\n日期: 1907 - 1907\n實際尺寸: w114 x h87 cm (Without Frame)\nStyle / Theme : Neo-Impressionism/River Landscape\nPainter: Paul Signac\nOriginal Title: Le port de Rotterdam\n類型: Painting\n權利: http://collectie.boijmans.nl/en/disclaimer/\n外部連結: \nMuseum Boijmans Van Beuningen\n材質: Oil on Canvas", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/d8c3574ee704ddf3345c9a1756152644.jpg?itok=sZjKW8A5", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/d8c3574ee704ddf3345c9a1756152644.jpg?itok=65yZakl2", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/d8c3574ee704ddf3345c9a1756152644.jpg?itok=OwmCuPmJ", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/d8c3574ee704ddf3345c9a1756152644.jpg?itok=WvriT3qX", "mfid": "d8c3574ee704ddf3345c9a1756152644", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/d8c3574ee704ddf3345c9a1756152644.jpg?itok=ScjRXcBA", "fileType": "image", "fileCreator": "保羅·希涅克", "rights": "Museum Boijmans Van Beuningen 博伊曼斯·范伯寧恩美術館 荷蘭", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-02.png?itok=fGKM5I0r", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, { "oid": "90cc6cd8ae6c9345846ba1ceeb6f833b", "title": "Canal of Overschie", "desc": "標題: Canal of Overschie\n建立者: Paul Signac\n建立日期: 1906\n實際尺寸: w808 x h650 mm\nArtist Name (Japanese): ポール・シニャック\n類型: Paintings\n權利: Ohara Museum of Art、 Ohara Museum of Art\n外部連結: \nhttp://www.ohara.or.jp/201001/jp/C/C3a10.html\n材質: oil on canvas", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/0a85ef1056da4c83a11047d01befcf7d.jpg?itok=wPRkS2tR", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/0a85ef1056da4c83a11047d01befcf7d.jpg?itok=Y-NtwbY0", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/0a85ef1056da4c83a11047d01befcf7d.jpg?itok=L0otbH99", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/0a85ef1056da4c83a11047d01befcf7d.jpg?itok=MtD9hPTd", "mfid": "0a85ef1056da4c83a11047d01befcf7d", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/0a85ef1056da4c83a11047d01befcf7d.jpg?itok=5DebDVf0", "fileType": "image", "fileCreator": "Paul Signac 保羅·希涅克", "rights": "Ohara Museum of Art 大原美術館 日本", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-04.png?itok=gq-PTcKL", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, { "oid": "042dd7acdcf09d8f55a6d0332b2f1413", "title": "Place des Lices, St. Tropez", "desc": "Paul Signac participated in the final Impressionist exhibition, but his work revealed a new interest in strong geometric structures, rigidly differentiated forms, and bold color. Signac was a leader of Neo-Impressionism, a movement that built on Impressionist color theory but took a more scientific approach. In this work, Signac employs small dots or short brushstrokes of bright, often contrasting colors, which were thought to vibrate or blend in the viewer’s eye to create a more subtle perception. The trees, composed largely of dark violets and blues, are backlit by the bright yellows, oranges, and clear blues of the distant field and sky. The profusion of colors on the ground under the trees creates a dappled effect.\n\nSignac was attracted to the theory that lines and shapes create distinct meanings and moods. The sinuous lines of the trees in the middle ground draw the viewer’s eye up and may help create a buoyant mood, while the solitary and introspective atmosphere created by the lone figure provides a counterbalance.\n\n詳細資訊\n標題: Place des Lices, St. Tropez\n建立者: Paul Signac\n建立日期: 1893\n實際尺寸: h: 25 3/4 x w: 32 1/4 in. (work)、 h: 38 1/2 x w: 45 1/2 x d: 5 1/2 in. (frame)\n類型: oil painting (visual work)\n權利: Public domain\n外部連結: \nView this work at cmoa.org.\n材質: oil on canvas\nCredit Line: Carnegie Museum of Art, Acquired through the generosity of the Sarah Mellon Scaife Family\nAccession Number: 66.24.2", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/da58429a048ca9956652a88e5412ae62.jpg?itok=le_RHqeO", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/da58429a048ca9956652a88e5412ae62.jpg?itok=aufyiw7E", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/da58429a048ca9956652a88e5412ae62.jpg?itok=yekP3MoS", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/da58429a048ca9956652a88e5412ae62.jpg?itok=sL2HMtky", "mfid": "da58429a048ca9956652a88e5412ae62", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/da58429a048ca9956652a88e5412ae62.jpg?itok=VLlMeAy1", "fileType": "image", "fileCreator": "Paul Signac 保羅·希涅克", "rights": "Carnegie Museum of Art", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-05.png?itok=0rVBS4da", "fileLicence": "創用CC 姓名標示-非商業性-禁止改作", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, { "oid": "667176aea05fcda96d06395b796b4782", "title": "Rue Ravignan, Paris", "desc": "詳細資訊\n\n標題: Rue Ravignan, Paris\n建立者: French\n日期: 1893\n實際尺寸: w74.3 x h54.8 cm (without frame)\n類型: Painting\n材質: Oil on canvas\nCredit Line: The Museum of Fine Arts, Houston, gift of Audrey Jones Beck", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/ba83ade682f7d4b34077613a1e7aea44.jpg?itok=jKZ2LfLK", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/ba83ade682f7d4b34077613a1e7aea44.jpg?itok=_23hCe_2", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/ba83ade682f7d4b34077613a1e7aea44.jpg?itok=dkXQkCnW", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/ba83ade682f7d4b34077613a1e7aea44.jpg?itok=UCLpExl2", "mfid": "ba83ade682f7d4b34077613a1e7aea44", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/ba83ade682f7d4b34077613a1e7aea44.jpg?itok=8-yDWud1", "fileType": "image", "fileCreator": "Maximilien Luce 馬克西米連·盧斯", "rights": "The Museum of Fine Arts, Houston, gift of Audrey Jones Beck", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-04.png?itok=gq-PTcKL", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" } ], "items": { "imgs-zchq0p9k5z-8h5tcsusog": { "id": "imgs-zchq0p9k5z-8h5tcsusog", "title": "The Port of Rotterdam", "desc": "In 1906 Signac visited the port of Rotterdam and was greatly impressed. On a postcard with a harbor scene, he wrote: 'From my window! What industriousness! I am enthusiastic but amazed.' He made this painting the following year based on a drawing, which is also in the collection of Museum Boijmans Van Beuningen. The combination of the individual dabs of paint creates shimmering light effects.\n\n標題: The Port of Rotterdam\n建立者: Signac, Paul\n日期: 1907 - 1907\n實際尺寸: w114 x h87 cm (Without Frame)\nStyle / Theme : Neo-Impressionism/River Landscape\nPainter: Paul Signac\nOriginal Title: Le port de Rotterdam\n類型: Painting\n權利: http://collectie.boijmans.nl/en/disclaimer/\n外部連結: \nMuseum Boijmans Van Beuningen\n材質: Oil on Canvas", "primaryObj": { "oid": "552920ec4220793d9140899fc60805e2", "title": "The Port of Rotterdam", "desc": "In 1906 Signac visited the port of Rotterdam and was greatly impressed. On a postcard with a harbor scene, he wrote: 'From my window! What industriousness! I am enthusiastic but amazed.' He made this painting the following year based on a drawing, which is also in the collection of Museum Boijmans Van Beuningen. The combination of the individual dabs of paint creates shimmering light effects.\n\n標題: The Port of Rotterdam\n建立者: Signac, Paul\n日期: 1907 - 1907\n實際尺寸: w114 x h87 cm (Without Frame)\nStyle / Theme : Neo-Impressionism/River Landscape\nPainter: Paul Signac\nOriginal Title: Le port de Rotterdam\n類型: Painting\n權利: http://collectie.boijmans.nl/en/disclaimer/\n外部連結: \nMuseum Boijmans Van Beuningen\n材質: Oil on Canvas", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/d8c3574ee704ddf3345c9a1756152644.jpg?itok=sZjKW8A5", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/d8c3574ee704ddf3345c9a1756152644.jpg?itok=65yZakl2", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/d8c3574ee704ddf3345c9a1756152644.jpg?itok=OwmCuPmJ", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/d8c3574ee704ddf3345c9a1756152644.jpg?itok=WvriT3qX", "mfid": "d8c3574ee704ddf3345c9a1756152644", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/d8c3574ee704ddf3345c9a1756152644.jpg?itok=ScjRXcBA", "fileType": "image", "fileCreator": "保羅·希涅克", "rights": "Museum Boijmans Van Beuningen 博伊曼斯·范伯寧恩美術館 荷蘭", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-02.png?itok=fGKM5I0r", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "sortable": true, "type": "imgs-child", "weight": 0 }, "imgs-zchq0p9k5z-afum13lj4j": { "id": "imgs-zchq0p9k5z-afum13lj4j", "title": "Canal of Overschie", "desc": "標題: Canal of Overschie\n建立者: Paul Signac\n建立日期: 1906\n實際尺寸: w808 x h650 mm\nArtist Name (Japanese): ポール・シニャック\n類型: Paintings\n權利: Ohara Museum of Art、 Ohara Museum of Art\n外部連結: \nhttp://www.ohara.or.jp/201001/jp/C/C3a10.html\n材質: oil on canvas", "primaryObj": { "oid": "90cc6cd8ae6c9345846ba1ceeb6f833b", "title": "Canal of Overschie", "desc": "標題: Canal of Overschie\n建立者: Paul Signac\n建立日期: 1906\n實際尺寸: w808 x h650 mm\nArtist Name (Japanese): ポール・シニャック\n類型: Paintings\n權利: Ohara Museum of Art、 Ohara Museum of Art\n外部連結: \nhttp://www.ohara.or.jp/201001/jp/C/C3a10.html\n材質: oil on canvas", "thumbURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/square_thumbnail_100/mcode/0a85ef1056da4c83a11047d01befcf7d.jpg?itok=wPRkS2tR", "thumbMediumURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_medium/mcode/0a85ef1056da4c83a11047d01befcf7d.jpg?itok=Y-NtwbY0", "thumbBigURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/thumbnail_big/mcode/0a85ef1056da4c83a11047d01befcf7d.jpg?itok=L0otbH99", "background": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1920/mcode/0a85ef1056da4c83a11047d01befcf7d.jpg?itok=MtD9hPTd", "mfid": "0a85ef1056da4c83a11047d01befcf7d", "musicURL": "", "musicName": "", "fileURI": "https://plaza.openmuseum.tw/files/muse_plaza/muse_styles/w1024/mcode/0a85ef1056da4c83a11047d01befcf7d.jpg?itok=5DebDVf0", "fileType": "image", "fileCreator": "Paul Signac 保羅·希涅克", "rights": "Ohara Museum of Art 大原美術館 日本", "rightsLogo": "https://plaza.openmuseum.tw/files/muse_plaza/styles/square_thumbnail_100/public/default_rights/memder_non-04.png?itok=gq-PTcKL", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "sortable": true, "type": "imgs-child", "weight": 1 }, "imgs-zchq0p9k5z-qszzzwcu0w": { "id": "imgs-zchq0p9k5z-qszzzwcu0w", "title": "Place des Lices, St. Tropez", "desc": "Paul Signac participated in the final Impressionist exhibition, but his work revealed a new interest in strong geometric structures, rigidly differentiated forms, and bold color. Signac was a leader of Neo-Impressionism, a movement that built on Impressionist color theory but took a more scientific approach. In this work, Signac employs small dots or short brushstrokes of bright, often contrasting colors, which were thought to vibrate or blend in the viewer’s eye to create a more subtle perception. The trees, composed largely of dark violets and blues, are backlit by the bright yellows, oranges, and clear blues of the distant field and sky. The profusion of colors on the ground under the trees creates a dappled effect.\n\nSignac was attracted to the theory that lines and shapes create distinct meanings and moods. The sinuous lines of the trees in the middle ground draw the viewer’s eye up and may help create a buoyant mood, while the solitary and introspective atmosphere created by the lone figure provides a counterbalance.\n\n詳細資訊\n標題: Place des Lices, St. Tropez\n建立者: Paul Signac\n建立日期: 1893\n實際尺寸: h: 25 3/4 x w: 32 1/4 in. (work)、 h: 38 1/2 x w: 45 1/2 x d: 5 1/2 in. (frame)\n類型: oil painting (visual work)\n權利: Public domain\n外部連結: \nView this work at cmoa.org.\n材質: oil on canvas\nCredit Line: Carnegie Museum of Art, Acquired through the generosity of the Sarah Mellon Scaife Family\nAccession Number: 66.24.2", "primaryObj": { "oid": "042dd7acdcf09d8f55a6d0332b2f1413", "title": "Place des Lices, St. Tropez", "desc": "Paul Signac participated in the final Impressionist exhibition, but his work revealed a new interest in strong geometric structures, rigidly differentiated forms, and bold color. Signac was a leader of Neo-Impressionism, a movement that built on Impressionist color theory but took a more scientific approach. In this work, Signac employs small dots or short brushstrokes of bright, often contrasting colors, which were thought to vibrate or blend in the viewer’s eye to create a more subtle perception. The trees, composed largely of dark violets and blues, are backlit by the bright yellows, oranges, and clear blues of the distant field and sky. The profusion of colors on the ground under the trees creates a dappled effect.\n\nSignac was attracted to the theory that lines and shapes create distinct meanings and moods. The sinuous lines of the trees in the middle ground draw the viewer’s eye up and may help create a buoyant mood, while the solitary and introspective atmosphere created by the lone figure provides a counterbalance.\n\n詳細資訊\n標題: Place des Lices, St. Tropez\n建立者: Paul Signac\n建立日期: 1893\n實際尺寸: h: 25 3/4 x w: 32 1/4 in. (work)、 h: 38 1/2 x w: 45 1/2 x d: 5 1/2 in. 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