拉斐尔作品《美惠三女神》高清图片

作品简介

《美惠三女神》是意大利画家拉斐尔创作的油画作品，现藏于法国尚蒂伊孔代博物馆。虽然创作年代尚未完全确定，但很可能是他在约1500年师从佩鲁吉诺后所作，时间大约在1503-1505年间。根据詹姆斯·帕特里克2007年所著《文艺复兴与宗教改革》中的观点，这幅作品标志着拉斐尔首次以正背面视角描绘女性裸体形象。

画面展现了古典神话中的三位美惠女神。普遍认为拉斐尔的创作灵感来自锡耶纳大教堂皮科洛米尼图书馆展出的一尊残缺的罗马大理石雕像——19世纪艺术史学家[丹·K]认为这只是对原作不甚高明的复制品——但其他灵感来源也不无可能，毕竟这一主题在意大利颇为流行。朱莉娅·卡特赖特在《拉斐尔早期作品》(2006)中指出，这幅画受费拉拉画派的影响远甚于古典雕塑，明确表明那尊雕像并非拉斐尔的范本。

画中三位女性可能象征女性成长的各个阶段：左侧系腰带的形象代表少女(贞洁)，右侧的女性则象征成熟(欢愉)，当然也存在其他解读。

1930年，埃尔温·帕诺夫斯基教授提出这幅画与《骑士之梦》构成双联画，并根据《骑士之梦》的主题，认为此画描绘的是赫拉克勒斯盗取金苹果的赫斯珀里得斯花园。部分艺术史学家对此结论持异议。罗杰·琼斯与尼古拉斯·彭尼在1987年的传记《拉斐尔》中指出，两幅画人物比例的差异使它们不太可能构成双联画，尽管"一幅或许曾是另一幅的盖板"。迈克尔·韦恩·科尔在《16世纪意大利艺术》(2006)中认为："虽无疑构成一组...但不应视为双联画，因其方形制式与人物比例变化均不符合双联画特征。"科尔将这些形象解读为维纳斯的侍女，手持与她相关的金苹果，印证了《骑士之梦》所呈现的"美德"与"爱情"的恰当关联。

The Three Graces is an oil painting by Italian painter Raphael, housed in the Musée Condé of Chantilly, France. The date of origin has not been positively determined, though it seems to have been painted at some point after his arrival to study with Pietro Perugino in about 1500, possibly 1503-1505. According to James Patrick in 2007's Renaissance and Reformation, the painting represents the first time that Raphael had depicted the nude female form in front and back views.

The image depicts three of the Graces of classical mythology. It is frequently asserted that Raphael was inspired in his painting by a ruined Roman marble statue displayed in the Piccolomini Library of the Siena Cathedral—19th-century art historian [Dan K] held that it was a not very skillful copy of that original—but other inspiration is possible, as the subject was a popular one in Italy. Julia Cartwright in Early Work of Raphael (2006) proposes that the painting bears far more influence of the school of Ferrara than classical sculpture, making clear that the statue was not Raphael's model.

The three women in the painting may represent stages of development of woman, with the girded figure on the left representing the maiden (Chastitas) and the woman to the right maturity (Voluptas), though other interpretations have certainly been advanced.

In 1930, Professor Erwin Panofsky proposed that this painting was part of a diptych along with Vision of a Knight and that based on the theme of Vision the painting represented the Hesperides with the golden apples which Hercules stole. Some art historians disagree with Panofsky's conclusion. Roger Jones and Nicholas Penny, in 1987's biography Raphael, suggest that the scale differences of the figures in the paintings make it unlikely that they were intended as a diptych, though "one might have formed the lid of the other." In 16th Century Italian Art (2006), Michael Wayne Cole opines that while "there can be no doubt that they form a pair...they must not be imagined as a diptych, which is excluded by their square shape and also by the change in scale of the figures." Cole presents the figures as handmaidens of Venus, holding the golden apples with which she is associated and affirming the proper connection of "Virtus" (presented by Vision) and Amor.