拉斐尔素描《基督孩童研究》高清图片

作品简介

这幅根据真人模特创作的生动研究草图，其创作时间大约可追溯至1513 - 1514年，正值拉斐尔在罗马艺术生涯的成熟时期。在这一阶段，他的艺术风格聚焦于形式上的雕塑般庄重感，以及将光线作为构图元素所带来的戏剧化效果。在教皇宫廷那段辉煌的职业生涯中，拉斐尔运用红黑粉笔创作了许多极为精湛的画作，以完成众多委托项目，其中不少是为圣母与圣婴主题绘画所做的准备。

粉笔这一媒介独具特色，通过用手指或布料轻轻擦拭，可使每一笔触实现柔和的融合，从而营造出细腻而均匀的阴影效果，这非常契合拉斐尔对色调的探索。在这幅作品中，艺术家以令人惊叹的笔触描绘了婴儿那带有酒窝的稚嫩肌肤。大都会艺术博物馆的这幅研究草图，是为创作一幅包含圣婴圣约翰的圣家族构图所做的准备。我们已知有两个版本的画作，主要出自拉斐尔的亲密助手之手(分别藏于维也纳的艺术史博物馆和罗马的博尔盖塞美术馆)。在这幅研究草图中，拉斐尔主要关注的是探索基督孩童姿态的自然运动。在最终的画作中，基督成为了圣像之间的构图纽带，因为他站在母亲的膝上，伸手触向本应跪在左侧的幼年施洗约翰。

This animated sheet of studies done from a live model may be dated about 1513–14, to Raphael's mature years in Rome, when his artistic vocabulary focused on the sculptural monumentality of form and the dramatic effect of lighting as compositional devices. At this point in his dazzling career at the papal court, Raphael produced some of his most accomplished drawings in red and black chalks to fulfill his numerous commissions, many of them for paintings of the Madonna and Child.

The medium of chalk, which enables a soft blending of the individual strokes by rubbing with the fingers or a cloth to achieve delicately uniform shadows, was uniquely suited to Raphael's explorations of tone. Here, the artist gives a breathtaking rendition of the infant's dimpled flesh. The Metropolitan Museum study was preparatory for a composition of the Holy Family with the Infant Saint John, known from two painted versions largely executed by Raphael's close assistants (Vienna, Kunsthistorisches Museum and Rome, Galleria Borghese). In this study, one of Raphael's main concerns was to explore the naturalistic movement of the Christ Child's pose. In the final paintings, Christ provides the compositional link among the holy figures, for he stands on his mother's lap and reaches to the boy Saint John the Baptist, who is meant to be kneeling on the left.