达·芬奇油画作品《圣母子与圣安妮》高清图片

作品简介

《圣母子与圣安妮》是文艺复兴盛期艺术家列奥纳多·达·芬奇创作于约1501-1519年间的一幅未完成油画。作品描绘了圣安妮、其女圣母玛利亚与圣婴耶稣。画面中，基督正与象征其受难的献祭羔羊搏斗，而圣母试图阻止他。该画原是为佛罗伦萨圣母领报大教堂主祭坛所作祭坛画，这个主题长期萦绕在达·芬奇的创作中。

这幅画很可能是法国国王路易十二在1499年女儿诞生后委托创作的，但最终并未交付。达·芬奇通过绘制《伯灵顿宫草图》(现藏英国国家美术馆)来探索人物构图。2008年，卢浮宫一位策展人在画作背面发现了数幅疑似达·芬奇所作的素描。通过红外反射成像技术显现出：

一幅7×4英寸的马头素描，与达·芬奇在创作《安吉亚里战役》前所作的马匹草图相似

一幅6.5×4英寸的半边头骨素描

一幅圣婴与羔羊嬉戏的素描，与画作正面的构图相似

卢浮宫发言人表示这些素描"极有可能"出自达·芬奇之手，这是首次在其画作背面发现素描。随着画作修复工作的进行，这些素描将由专家团队进一步研究。

达·芬奇的这幅作品初看令人愉悦平静，细观却充满谜团。三位人物的构图相当紧凑，圣母玛利亚明显在与圣婴耶稣互动。仔细观察他们的位置会发现，玛利亚正坐在圣安妮的膝上。这种姿势的寓意尚不明确，在艺术作品中也没有先例可循——女性相互坐在膝上并非明确的文化或传统参照。此外，虽然圣母与圣安妮的具体尺寸未知，但从画作可推断圣安妮的体型明显大于玛利亚。达·芬奇运用这种微妙但可察觉的大小差异来强调两人之间的母女关系，尽管圣安妮缺乏通常能表明其母亲身份的年龄视觉线索。圣婴手中握着一只羔羊。我们还可以看到玛利亚凝视着孩子的眼睛，而圣安妮则注视着玛利亚。由于玛利亚坐在圣安妮膝上，而圣安妮又注视着她，达·芬奇可能试图通过这种安排来表现她们的关系与性格。

The Virgin and Child with Saint Anne is an unfinished oil painting by High Renaissance artist Leonardo da Vinci, dated to c. 1501–1519. It depicts Saint Anne, her daughter the Virgin Mary and the infant Jesus. Christ is shown grappling with a sacrificial lamb symbolizing his Passion as the Virgin tries to restrain him. The painting was commissioned as the high altarpiece for the Church of Santissima Annunziata in Florence and its theme had long preoccupied Leonardo.

It is likely that the painting was commissioned by King Louis XII of France following the birth of his daughter in 1499, but it was never delivered to him. Leonardo probed into incorporating these figures together by drawing the Burlington House Cartoon (National Gallery). In 2008, a curator at the Louvre discovered several faint sketches believed to have been made by Leonardo on the back of the painting. Infrared reflectography was used to reveal a "7–by–4 inch drawing of a horse's head", which had a resemblance to sketches of horses that Leonardo had made previously before drawing The Battle of Anghiari. Also revealed was a second sketch 61⁄2 inch–by–4 inch depiction of half a skull. A third sketch showed the infant Jesus playing with a lamb, which sketch was similar to that which is painted on the front side. The Louvre spokesperson said that the sketches were "very probably" made by Leonardo and that it was the first time that any drawing had been found on the "flip side of one of his works". The drawings will be further studied by a group of experts as the painting undergoes restoration.

Leonardo's painting is at once both pleasing, calm yet confusing upon closer examination. The composition of the three figures is fairly tight, with the Virgin Mary clearly interacting with the infant Jesus. Upon closer examination of their positioning it is apparent that Mary is sitting on Saint Anne's lap. It is unclear what meaning this could have and what meaning Leonardo intended to project with that pose. There is no clear parallel in other works of art and women sitting in each other's lap are not a clear cultural or traditional reference that the viewer can relate to. Additionally, although the exact sizes of neither the Mother Virgin nor Saint Anne are known, it can be extrapolated from the painting that Saint Anne is a significantly larger person than Mary. This subtle yet perceptible distortion in size was utilized by Leonardo to emphasize the mother–daughter relationship between the two women despite the apparent lack of visual cues to the greater age of Saint Anne that would otherwise identify her as the mother. The child is holding a lamb. We also see that Mary is gazing into her child's eyes, while Saint Anne is looking at Mary. As Mary is sitting on her lap and Saint Anne is looking at her, it is possible that Leonardo was trying to make a point about their relationship and personalities.