拉斐尔作品《圣乔治与龙》高清图片

作品简介

《圣乔治》(又名《圣乔治与龙》)是意大利文艺复兴艺术家拉斐尔约1503-1505年间创作的小幅油画，现藏于巴黎卢浮宫。同一题材的后期版本《圣乔治与龙》现存于华盛顿国家美术馆。

本作与同样尺寸精巧的《圣米迦勒》(亦藏于卢浮宫)原为一组双联画。在马萨林收藏时期，这两幅作品被装订在皮革封套内组成连幅画作。1661年，路易十四从马萨林红衣主教的继承人处购得此组作品。

关于《圣乔治》的创作时期曾有争议：

因画中战马与蒙特卡瓦洛(奎里纳莱宫)的骏马雕像相似，曾被推测为拉斐尔罗马时期作品

但艺术家可能通过达芬奇门徒的素描稿了解该马匹形象

从画作仍显稚拙的佩鲁吉诺风格判断，实为约1504年的早期作品

拉斐尔稍后创作了同题材的华盛顿版本，晚年又绘制了大幅《圣米迦勒》(现同藏卢浮宫)。

据乔瓦尼·洛马佐在《绘画论》(1584年)记载：

乌尔比诺公爵曾委托拉斐尔在"小棋盘"(tavoliere)上绘制《圣乔治》

早期目录显示《圣米迦勒》(可能包括本作)背面原有棋盘纹样，现已被覆盖

X射线与红外检测未能证实这一说法

洛马佐在著作中似乎混淆了多幅同题材作品。若其虽晚近却混乱的记载部分可信，卢浮宫这两幅画作可能确为乌尔比诺公爵定制。

Saint George or Saint George and the Dragon is a small painting by the Italian Renaissance artist Raphael, executed c. 1503–1505. It is housed in the Louvre in Paris. A later version of the same subject is the Saint George and the Dragon in the National Gallery of Art in Washington, D.C.

This painting and the equally small Saint Michael, also in the Louvre, are a pair. In the Mazarin Collection they were joined together, forming a diptych, and bound in leather. Louis XIV acquired them from Cardinal Mazarin's heirs in 1661.

The Saint George has sometimes been ascribed to the artist's Roman period, because the horse resembles one of the horses of Monte Cavallo (the Quirinal Palace). However, Raphael could easily have known this particular horse from a drawing of it, done by one of Leonardo's pupils. To judge by the still somewhat naïve and Peruginesque style of the painting, it is really one of Raphael's early works, dating from about 1504. He produced another painting of the same subject a little later (the aforementioned panel in Washington D.C.), and towards the end of his life he painted a large Saint Michael which is also in the Louvre.

Giovanni Lomazzo, in his Trattato della Pittura (1584), mentions a Saint George by Raphael, commissioned by the Duke of Urbino, which was painted on a "little chess-board" (tavoliere). According to the old catalogues the small Saint Michael, if not the Saint George as well, had a draughts-board on the back which is now covered over. Examination by means of X-rays and infrared has not confirmed this statement. In the abovementioned book, Lomazzo seems to have confused various pictures of the same subject. If one can rely to some extent on his late and somewhat muddled testimony, it is possible that the two paintings in the Louvre were painted for the Duke of Urbino.