拉斐尔素描研究稿高清图片

作品简介

Madonna and Child with the Infant Saint John the Baptist; upper left, Study for the Right Arm of the Infant Saint John; upper right, Study for Drapery (recto); Study of a Nude Male Figure (verso)

圣母子与婴儿圣施洗者约翰;左上，婴儿圣约翰右臂研究;右上，布料研究(正面);裸体男性人物研究(背面)

这幅绘制细腻的画作聚焦于《草地上的圣母》的构图研究，这幅画现藏于维也纳的艺术史博物馆，创作日期为1505年或1506年。此外，画作上方还包含两个与构图相关细节的片段式研究。这是艺术家早期使用红粉笔创作的画作之一。年轻的拉斐尔在翁布里亚和马尔凯地区(当时被视为地方中心)完成首批作品后，于1503年左右抵达佛罗伦萨，并开始通过绘制多幅圣母与圣婴的画作来树立自己的艺术声誉。

在佛罗伦萨，拉斐尔接触到了列奥纳多和米开朗基罗的作品，很可能正是这两位艺术家引领这位初来乍到的年轻人进入了红粉笔的艺术领域。拉斐尔为他的朋友兼赞助人塔代奥·塔代伊创作了《草地上的圣母》，塔代奥同时也是米开朗基罗的赞助人。这幅画的几幅预备性草图得以留存，其中包括收藏于阿尔贝蒂娜博物馆(维也纳)、德文郡收藏馆(查茨沃斯庄园)以及阿什莫林博物馆(牛津)的画作。大都会艺术博物馆收藏的这幅画作是现存预备性草图序列中的最后一幅。对维也纳那幅最终画作的科学检测表明，作为创作过程的最后一步，拉斐尔还准备了一幅草图(全尺寸素描)，但该草图现已失传。

大都会艺术博物馆收藏的这幅素描与最终完成的画作仅在细微之处存在差异，其中最显著的区别在于，素描中圣母的左臂是自由的，而在画作中却被厚重的织物所遮盖。在阿尔贝蒂娜博物馆收藏的一幅画有1507年博尔盖塞美术馆《基督下葬》祭坛画下方基座面板研究草图的画作背面，有一幅用钢笔绘制的《从十字架上放下基督》的设计图(参见费舍尔参考文献，编号182)。与维也纳那幅画作相关联的，还有卢浮宫收藏的一幅钢笔画(参见费舍尔参考文献，编号183)，画中描绘了一个仿佛被钉在十字架上的裸体男性形象;该形象为全身像，但显然源自我们画作中的裸体形象。

This delicately rendered sheet focuses on a composition study for the Madonna in the Meadow, a painting in the Kunsthistorisches Museum in Vienna that is dated either 1505 or 1506. Along the top, the sheet also includes two fragmentary studies for related details of the composition. This is one of the artist's earliest drawings in red chalk. When the young Raphael arrived in Florence around 1503, after his first work in the regions of Umbria and the Marches which were considered provincial centers, he began to establish his reputation as an artist by painting numerous compositions of the Madonna and Child.

In Florence, Raphael came in contact with the work of Leonardo and Michelangelo, and it was probably these artists who introduced the young newcomer to the medium of red chalk. Raphael produced the Madonna in the Meadow for his friend and patron Taddeo Taddei, who was also Michelangelo's patron. Several preparatory drawings for the picture survive, among them sheets in the Albertina (Vienna), Devonshire Collection (Chatsworth), and Ashmolean Museum (Oxford). The Metropolitan Museum sheet is the last in this sequence of extant preparatory drawings. Scientific examination of the final painting in Vienna suggests that, as the last step of his creative process, Raphael also prepared a cartoon (full-scale drawing), but which has not survived.

The Metropolitan Museum drawing varies only in small details from the final painted panel, the most significant difference here being that the Madonna's left arm, free in the drawing, is covered in the painting by heavy drapery. On the verso of a sheet in the Albertina with a study for one of the predella panels for the 1507 Borghese Gallery Entombment of Christ is a pen design for a Descent from the Cross (see ref. Fischel, no. 182). Related to the Vienna sheet is a pen drawing in the Louvre (see ref. Fischel, no. 183) of a nude male figure hanging as from a cross; the figure is full length but derives clearly from the nude in our drawing .