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迭戈 委拉斯贵兹 作品画册专辑 |
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迭戈 委拉斯贵兹 作品画册专辑 |
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迭戈 委拉斯贵兹 作品画册专辑 |
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迭戈 委拉斯贵兹 作品画册专辑 |
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迭戈 委拉斯贵兹 作品画册专辑 |
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迭戈 委拉斯贵兹 作品画册专辑 | |||||||||||||||
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委拉斯贵兹(1599-1660年)是西班牙的天才画家。
16世纪末至17世纪的100年风是西班牙美术的黄金时代。其间出现了像埃尔· 格列柯 、里别拉、苏巴朗、 牟利罗 等杰出的 画家 。而其中影响最大的人物，还 是迭哥·德·席尔瓦·委拉斯贵兹。他以卓越的洞察力和创造性的艺术技巧，表现出他对西班牙人民的热爱和对于绘画艺术的精管理解。
1599年6月6日，委拉斯贵支出生于西班牙著名工业城市塞维尔。塞维利亚不仅有着优秀的民间美术传统，而且意大利先进美术的影响也波及这里。少年委拉斯贵兹对自己的绘画才能充满信心，他在小本上画满了各种速写。尽管当时做画家没有社会地位，父亲还是同意他学习绘画。
12岁的委拉斯贵兹进了当时正享有盛名的埃雷拉(Francisco De Herrer)的画室。这个被误认为“塞维利亚的米开朗基罗”的画家，除了别致生动的性格外，并没有什么可以教给自己的学生。委拉斯贵兹很快就决定离开，另投帕切柯(Francisco Pacheco)的门下。
帕切柯是西班牙著名的美术教育家，是塞维尔画派最孚众望的画家，以造型严谨著称。委拉斯贵支受到了严格的训练，以勤奋的努力和聪颖的天资成为帕奇科最钟爱的学生。在帕奇科门下所作的几件作品，如《卖水老人》、 《煎鸡蛋的老妇人》等风俗画，都以关心贫民生活为主题，技巧上以强烈的明暗对比和造型的扎实功力见长。但与后来成熟时期的作品相比较，还显得比较拘谨，并且明显地仿效 卡拉瓦乔 的明暗技法。帕切柯对委拉斯贵兹的才能非常赏识，并介绍他结识塞维利亚著名的诗人、作家、哲学家、画家。在艺术观念上，尽管帕切柯非常推崇意大利学院派艺术，但他对卡拉瓦乔的 现实主义 艺术很感兴趣，对于自己的天才学生委拉斯贵兹的创造性探索给予极大的鼓励和支持。我们从帕切柯的日记中可以看到这样的记录：“经过5年的培养教导以后，我允许他同我的女儿结了婚，这是由于他具有着伟大的天才、青年人的纯洁、善良的品质和他的希望所促成的。”
1617年，委拉斯贵兹开始独立进行创作，年近19岁的他这时已经成为知名画家，这个时期他的绘画作品成了波德科涅斯风格的主要代表。
1623年，在菲力浦四世登上西班牙王位时，委拉斯贵文由老师帕奇科介绍，这位爱好艺术的国王使青年画家决定到首都马德里试一试自己的才能和运气。他在给国王的自荐书中写道：让国王看看并且赏识一下真正的艺术家吧 !来到马德里，经正在担任首相的塞维尔元老奥列瓦尔斯伯爵的举荐，国王接受了这位自信的年轻人，并立即让他为自己画肖像。国王对委拉斯贵兹画的肖像十分满意，竟下令把自己的其他画像全部从墙上取下来，从此以后只允许委拉斯贵兹为自己画像，委拉斯贵兹得以在宫中悉心观摩大批意大利文艺复兴大师和当代巨匠们的作品。他对威尼斯画派的巨匠提香和当代佛兰德尔画家鲁本斯的作品尤其崇拜。他们在色彩上追求总体和谐的高明技巧使委拉斯贵支赞叹不已。从此开始摆脱塞维尔画派的拘谨和枯燥之弊病，变得生动和明亮起来。代表这种转变的第一件作品是《酒神与醉汉》 (1628—1629)。
据说国王经常在委拉斯贵兹的画室里消磨时光，为了避人耳目，国王从深宫修了一条地道直通画家工作室。并且国王把他请进王宫，把画家的地位提高到与宫廷小丑同等的级别。
西班牙属地佛兰德斯的大画家 鲁本斯 ，经常以外交家和画家的身份出使西班牙，每次拜见国王时总要到委拉斯贵兹的画室作画。当他结识这位比他小20岁的青年画家时，对他的才能十分赏识，建议国王让这位年轻人到艺术之邦意大利亲自领略文艺复兴大师们的成就。国王欣然接受，派遣委拉斯贵兹前往意大利为自己收藏艺术珍宝，同时考察学习。他到意大利后，临摹过 米开朗基罗 的《最后的审判》和 拉斐尔 的《雅典学院》，从而使他的艺术进入了成熟的阶段。其代表作品便是《火神的作坊》和《布列达城的投降式》。在画家50岁时第二次被派赴意大利，这次他在罗马停留了一年多时间，曾为教廷贵族画肖像，其中最为杰出的是《教皇伊诺森西奥十世》。
委拉斯贵兹在罗马停留期间，受到教皇伊诺森西奥十世的热诚欢迎，画家为教皇画了肖像以表达感激之情。 76岁的教皇想摆出一副仁慈上帝的化身，让画家为自己树一座令人可亲可敬的永久纪念碑。可是委拉斯开兹以自己入木三分的锐利目光，透过教皇虚伪造作的外表 发现了他那贫婪、凶狠、无情冷酷的本质。
画家在构图和人物动作的安排上，紧紧扣住人物精神的传达。教皇正襟危坐在宝座上，身子微向左侧。在他狭长的面孔上，嵌着一双凶狠的眼睛，斜视着这个世界，他那冷峻逼人的目光令人望而生畏；稍嫌肥厚的鹰钩鼻子内藏奸诈；紧闭的嘴唇上长着稀疏的胡子，威严里含着狠毒；双手架在椅把手上，拉开的架势简直不可一世， 那双瘦削无力的手却掌握着教廷的大权。为了再现教皇的个性和权威，画家充分发挥了色彩的表现力：火红的上衣与白色的长袍形成纯净热烈的对比，更衬托出人物面部与手部的光彩；华贵的服饰显现出柔软的质感，在光的照射下闪烁着耀眼的光芒。尽管画家想赞颂教皇，可是他那现实主义的手法却无法美化教皇，呈现在大众面前的是专横跋扈、阴险狠毒、内在空虚而外表自负的教皇形象。据说当这幅肖像完成之后，教皇发自内心地说了一句：“太像我了。”这幅肖像被安放在大厅中央位置，当时一位主教经过大厅时，偶然从垂帘缝里看到这幅画，急忙转首对同形人小声说道：“讲话轻点，教皇就坐在里面。”作品问世后一位女子教训哭闹的孩子 时说：“别哭，教皇坐在那里。”孩子一看竟然不敢再哭了。这则趣闻使西班牙的宫廷画师委拉斯开兹的名声很快传遍罗马、意大利和整个欧洲。因此画家被接纳为罗马画院院士( 当时叫圣路加公会会员 )，这是当时画家的最高荣誉称号。西方评论家曾评价这幅肖像：在欧洲所有大师的肖像画都是出色的画，唯独委拉斯贵兹的这幅不是肖像画，而是教皇本人。
人们公认委拉斯贵兹是西班牙最伟大的肖像画大师，可是有人却妒嫉他说：“委拉斯贵兹只会画人头，别的就一无所长了。”画家尖刻地回敬道：“这位君子对我太过奖了，他应该知道西班牙还没有人能真正地画好人头。”委拉斯贵兹是位自尊好胜的大画家，他曾说过宁做西班牙第一流画家的最末一位，也不当第二流画家的第一位，而他的才能却证明他是西班牙画史上第一位大师。画家为了表明自己的绘画成就不局限于肖像画，曾相继画过许多风俗画和历史画，这些画都属于欧洲画坛第一流的杰作。委拉斯贵兹的绘画反映社会生活时既不颂扬也不谴责。在许多描绘社会底层大众的画面上，既不是赞美贫穷的圣洁，也不是对贫穷的鄙视，他的画对社会的启示意义很少，他认为自己是艺术家，而不是政治家和革命家。而且他是只限于再现现实的艺术家，他所理解的现实主义是：只把自己看到的如实地描绘在画布上罢了。
在艺术史上，他不但属于西班牙，而且属于全世界，是西班牙出现的第一位世界性的绘画巨匠。
Velázquez (or Velásquez), Diego (1599-1660). Spain's greatest painter was also one of the supreme artists of all time. A master of technique, highly individual in style, Diego Velasquez may have had a greater influence on European art than any other painter.
Diego Rodriguez de Silva Velasquez was born in Seville, Spain, presumably shortly before his baptism on June 6, 1599. His father was of noble Portuguese descent. In his teens he studied art with Francisco Pacheco, whose daughter he married. The young Velasquez once declared, "I would rather be the first painter of common things than second in higher art." He learned much from studying nature. After his marriage at the age of 19, Velasquez went to Madrid. When he was 24 he painted a portrait of Philip IV, who became his patron.
The artist made two visits to Italy. On his first, in 1629, he copied masterpieces in Venice and Rome. He returned to Italy 20 years later and bought many paintings--by Titian, Tintoretto, and Paolo Veronese--and statuary for the king's collection.
Except for these journeys Velasquez lived in Madrid as court painter. His paintings include landscapes, mythological and religious subjects, and scenes from common life, called genre pictures. Most of them, however, are portraits of court notables that rank with the portraits painted by Titian and Anthony Van Dyck.
Duties of Velasquez' royal offices also occupied his time. He was eventually made marshal of the royal household, and as such he was responsible for the royal quarters and for planning ceremonies.
In 1660 Velasquez had charge of his last and greatest ceremony--the wedding of the Infanta Maria Theresa to Louis XIV of France. This was a most elaborate affair. Worn out from these labors, Velasquez contracted a fever from which he died on August 6.
Velasquez was called the "noblest and most commanding man among the artists of his country." He was a master realist, and no painter has surpassed him in the ability to seize essential features and fix them on canvas with a few broad, sure strokes. "His men and women seem to breathe," it has been said; "his horses are full of action and his dogs of life."
Because of Velasquez' great skill in merging color, light, space, rhythm of line, and mass in such a way that all have equal value, he was known as "the painter's painter." Ever since he taught Bartolomé Murillo, Velasquez has directly or indirectly led painters to make original contributions to the development of art. Others who have been noticeably influenced by him are Francisco de Goya, Camille Corot, Gustave Courbet, Edouard Manet, and James McNeill Whistler. His famous paintings include The Surrender of Breda, an equestrian portrait of Philip IV, The Spinners, The Maids of Honor, Pope Innocent X, Christ at Emmaus, and a portrait of the Infanta Maria Theresa.
As court painter to Philip IV, Velazquez spent a large part of his life recording, in his cool, detached way, the objective appearance of this rigidly conventional royal household, with little interpretation but with the keenest eye for selecting what was important for pictoral expression and with a control of paint to secure exactly the desired effect. Through acquaintance, while in Italy, with the work of Caravaggio and through contact with the Spaniard Jusepe de Ribera (1588-1656), he learned something of the potentialities of a very limited palette, black and neutrals, as is evident in many of his portraits, which are subtle harmonies of grays and blacks.
In painting these royal portraits, whatever interpretation he made or whatever emotional reaction he experienced he kept to himself. Royalty, courtliness of the most rigid character was his task to portray, not individual personality. However, the portrait of Innocent X leads on to suspect that there might have been more interpretation had the painter been free to express it.
Through his practice of using pigment as it is used in Maids of Honor, and Innocent X, in short or long, thin or thick, apparently hasty and spontaneous but actually most skillfully calculated strokes, Velasquez was a forerunner of the modern practice or direct painting.
Toilet of Venus
by Diego Velasquez 81.3 x 61.0 cmLas Meninas
by Diego Velasquez 61.0 x 91.4 cmInfanta Margarita Teresa in White Garb
by Diego Velasquez 45.7 x 61.0 cmThe Fable of Arachne (Las Hilanderas), 1657
by Diego Velasquez 61.0 x 45.7 cmInfanta Margarita (1651-73) in Blue, 1659
by Diego Velasquez 61.0 x 81.3 cmThe Infanta Margarita Teresa (1651-1673) in a Pink Dress
by Diego Velasquez 45.7 x 61.0 cmPortrait of the Infanta Maria-Margarita, Daughter of Philip IV, King of Spain
by Diego Velasquez 45.7 x 61.0 cmWater-Seller in Sevilla, Spain
by Diego Velasquez 45.7 x 61.0 cmInfante Balthasar Carlos in Hunting Dress, 1635-36
by Diego Velasquez 45.7 x 61.0 cmThe Surrender of Breda, June 2, 1625, During the Dutch War of Independence
by Diego Velasquez 61.0 x 45.7 cmLas Meninas
by Diego Velasquez 45.7 x 61.0 cmPortrait of Francesco the First d'Este, Galleria Estense, Modena
by Diego Velasquez 45.7 x 61.0 cmChrist in the House of Martha and Mary, 1629-1630
by Diego Velasquez 61.0 x 45.7 cmPortrait of Innocent X (1574-1655), Detail
by Diego Velasquez 45.7 x 61.0 cmLas Meninas
by Diego Velasquez 40.6 x 50.8 cmVenus and Cupid (Venus of the Mirror or Rockeby Venus)
by Diego Velasquez 61.0 x 45.7 cmQueen Maria Anna of Austria (1634-1696), Wife of Philip IV of Spain
by Diego Velasquez 45.7 x 61.0 cmLas Meninas (The Maids of Honour), Detail
by Diego Velasquez 61.0 x 45.7 cm
