拉斐尔素描稿超高清大图

作品简介

这张画纸很可能曾是拉斐尔在1508年从佛罗伦萨前往罗马的旅途中随身携带的素描本的一部分。

这幅画出自拉斐尔的“粉色素描本”，该素描本由十张大小大致相同的画纸组成，每张都描绘了母子形象的不同变体。如今，其中六幅画作收藏于里尔美术宫;两幅在大英博物馆;一幅在私人收藏中;还有一幅在克利夫兰。这些画纸的小尺寸让拉斐尔在1508年从佛罗伦萨前往罗马的旅途中能够轻松携带这个素描本。拉斐尔采用了金属点画法，这种技法在15世纪至16世纪初的意大利颇为流行，通常是在粉色预处理过的表面上作画。画中婴儿头部的姿势借鉴了列奥纳多·达·芬奇《贝诺瓦圣母像》中基督婴孩的姿势，当时这幅画收藏于佛罗伦萨的一家私人收藏中，不过拉斐尔对其进行了改动，比如让婴儿眼睛上扬、嘴巴张开。女性裸体的弯曲背部与婴儿头部的圆润造型相呼应。画纸底部三幅关于仰卧婴儿的速写，笔触自由、即兴发挥，通过重复的轮廓线传达出婴儿扭动、持续活动的状态。

This sheet was probably once part of a sketchbook carried by the artist Raphael on a 1508 journey between Florence and Rome.

This drawing is from Raphael’s "pink sketchbook," comprised of ten sheets of roughly equal size that each portray variations of a mother and child. Today, six of the drawings at the Palais des Beaux-Arts, Lille; two are at the British Museum; one is in a private collection; and one is in Cleveland. The small format of the sheets would have enabled the artist to carry the notebook as he traveled from Florence to Rome in 1508. Raphael used metalpoint, a technique popular in 15th- and early 16th-century Italy on a pink prepared surface. The pose of the infant's head in the drawing was based on that of the Christ child in Leonardo da Vinci's Benois Madonna, then in a private collection in Florence, with changes—such as the uplifted eyes and open mouth—made by Raphael. The curving back of the female nude is echoed in the roundness of the child's head. The three sketches of a reclining infant at the bottom of the sheet are freely handled and improvisational, relaying the child's squirming, continuous movement with repeated contour lines.