文化      12-19世纪西方经典绘画(不断更新中)

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MINIATURIST, French (active c. 1400 in Liège) Vision of the Throne of the Lord (The Paris Apocalypse) c. 1400 Vellum, 27,5 x 18,5 cm Bibliothèque Nationale, Paris The miniature represents the fourth part of the visions of the Apostle St John in a framework of stylized clouds. With the help of an angel John is being allowed to see into Heaven. The Lord is enthroned in a huge mandorla in the centre, held up by an angel with spread wings, surrounded by the symbols of the four evangelists. On both sides of the mandorla prophets with golden crowns praise God. The seven torches symbolizing the seven souls of God were suspended by the painter on the top frame of the picture. In all probability the miniature was produced in the centre of the eastern part of the Low Countries, perhaps in Liège, since three different stylistic trends are blended in it. The first, the mature International Style, may have been transferred from Paris by the court art of the Northern Netherlands. It was in Paris that the aerial and yet buoyant figure of the angel with the peacock wings, who supports the mandorla, as well as the solution of the whole background originated. So did the misty, blue whirl which veils the prophets and the skies which appear like almost tangible drapery. The fullness of the shapes, the stockiness of the figures, the characteristic features of the prophets, not at all idealized, the spatially lucid representation of the steps, the gate and the throne, all point to the vigorous realism of Flemish art. And, finally, the dramatic expressiveness of German art makes itself felt in the other-worldly, eerie mood of the whole scene, in the way the white light sharply penetrates the darkness, illuminates the outlines and shines upon the sombre countenance of one prophet or the other. The encounter of these three stylistic trends is the more felicitous in the miniature as the vision, like dreams or fairytales, consists of realistic details arranged in an unrealistic manner. It is characteristic of the International Style to confront these two contrasting features, and in this picture it is combined with Flemish tendencies which are basically more naturalistic, and German ones which prefer unreality. All the same, the artist took great care to stretch the scene depicted onto the plane of the vellum, while he conveyed highly developed spatial effects as well. Thus, for example, the angel holding the mandorla is standing rather a long way from the bottom part of the frame, in the green field of the picture, whilst the point of the mandorla is in front of the top edge of the frame. Other details too jut out and are to be seen in front of the frame (St John's halo, the garment on his shoulders and the seven nails on which the seven lamps are suspended). These elements counterbalance or, as it were, eliminate the illusory effect of pictorial space.
Author: MINIATURIST, French Title: Vision of the Throne of the Lord (The Paris Apocalypse) Time-line: 1401-1450 School: French Form: illumination Type: religious

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MINIATURIST, French (1420-1480) Book of Hours 1452-60 Illumination on parchment Musée Condé, Chantilly The miniature was executed by Jean Fouquet (1420-1480). The picture is an illumination from the Heures d'蓆ienne Chevalier. It represents the Martyrdom of St Andrew.
Author: MINIATURIST, French Title: Martyrdom of St Andrew Time-line: 1451-1500 School: French Form: illumination Type: religious

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MINIATURIST, French (active 1400-1420) Vir Dolorum (Man of Sorrows) 1400-20 Lead and tempera on wood, 8,7 x 12,6 cm Deutsche Staatsbibliothek, Berlin On grounds of the inscription on the cover of the twelve panels that had originally been fastened together to form a book, the picture is considered to be the work of a painter called "Jaques Daliwe", who probably had immigrated to France from the Low Countries and then worked beside the Limbourg brothers in the court of the Duc de Berry. (Though the name "Daliwe" could be also a reference to the proprietor.) The artist may have used the booklet as a note-book for about twenty years. In it he put down his memories, ideas and everything he saw and considered interesting while moving from one place to another. Often, as was the case with the drawing reproduced here, he composed homogeneous scenes from the different motifs in his individual manner. As a rule the seated lamenting figures of the Virgin and St John are represented below the crucified Christ. But here both Christ and the cross have been removed and only the two of them remain in the place of the Crucifixion. In front of them there are scattered the instruments of torture, whereas behind them - as though it were their common thought - the figure of the suffering Christ is to be seen surrounded by a cloud of angels. His face is distorted by pain, His head is bowed forwards and His crossed arms have slipped slightly sideways in the sarcophagus. The imagination of His mother and His favourite disciple have enlarged His figure into monumental dimensions, but the two react to the scene in different ways: the Virgin is leaning her face onto her hand and is engrossed in her thoughts; wrapped in her cloak, she stares into space. St John is more agitated and active, and raises his head passionately. The difference between the vision and the real scene is shown not only in the scale of the figures but also in the technique of drawing. The Virgin, St John and the ground are modelled with the most delicate tints of grey, while the paler figure of Christ is interpreted by more linear means, first of all with contours, whereas the host of angels is conveyed only by gossamer fine outlines. The drawing may have been a preparatory sketch to a painting, its composition being based on a strictly geometrical framework. The central axis of the picture is indicated by two nails lying in the foreground and meeting at their tips. If we, in our imagination, lengthen their lines up to the top corners we get two smaller triangles on the two sides and a larger one in the middle of the top. The former include the figures of the Virgin and of St John respectively, whereas the latter frames Christ's figure with the angels, whose whirling movements fill up the triangle standing on its point.
Author: MINIATURIST, French Title: Vir Dolorum (Man of Sorrows) Time-line: 1401-1450 School: French Form: illumination Type: religious

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MINIATURIST, Hungarian (active 1510s) Graduale, Volume I 1510s Parchment, 770 x 660 mm Cathedral Library, Esztergom The first page of the Graduale is very richly decorated. Above the God, below the coat-of-arms of Bakócz-Erd鮠y can be seen. At the two sides the Anunciation is divided into two scenes, Gabriel on the left and Mary on the right side, respectively. In the "A" illumination the kneeling King David is depicted in a mountaineous landscape. This page is the only fully completed decorated page.
Author: MINIATURIST, Hungarian Title: Graduale, Volume I Time-line: 1501-1550 School: Hungarian Form: illumination Type: religious

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MINIATURIST, Italian (active in second half of 15th century in Florence) Prayer Book of Lorenzo de' Medici 1458 Illumination on parchment Biblioteca Medicea-Laurenziana, Florence This masterpiece of the Florentine manuscripts was made for the outstanding figure of the Florentine Renaissance, Lorenzo de' Medici. The miniaturist was Francesco Antonio del Cherico. In the middle of the page the scene of the Annunciation is depicted. The composition and the realization of the miniature can be compared with the works of the mature Renaissance. Below it a Nativity scene can be found. In the small medallions of the frame prophets and sybils are represented.
Author: MINIATURIST, Italian Title: Prayer Book of Lorenzo de' Medici Time-line: 1451-1500 School: Italian Form: illumination Type: religious

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MINIATURIST, Spanish (active in 1400-1450) Missal of St Eulalia 1403 Illumination on parchment Cathedral, Barcelona The page from the Missal shows an admirable version of the Last Judgment. It is the work of Rafael Destorrents. The upper band of picture shows the Redemption with Christ in the centre among apostles and saints. On the left side St Michael judges the resurrected. On the lower band the Hell is depicted in a detailed manner.
Author: MINIATURIST, Spanish Title: Missal of St Eulalia Time-line: 1401-1450 School: Spanish Form: illumination Type: religious

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UNKNOWN MASTER, Hungarian (active 1340s) Home Altar of Queen Elisabeth 1340s Painted and gilded silver Metropolitan Museum of Art, New York This altarpiece originates from the Church of Clarisses at Buda, Hungary.
Author: UNKNOWN MASTER, Hungarian Title: Home Altar of Queen Elisabeth Time-line: 1301-1350 School: Hungarian Form: sculpture Type: religious

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MINIATURIST, French (active before 1210) Ingeborg Psalter before 1210 Illumination on parchment, 30,5 x 20,5 cm Musée Condé, Chantilly The picture shows a page from the Ingeborg Psalter representing the Pentecost. Beside the Bibles, the psalter was a popular type of manuscript in the twelfth century. The psalter was a private devotional book, often owned by people in some religious vocation. The psalters are expensive picture books with long series of illustrations prefaced to the main text. The Ingeborg Psalter was owned by the French queen Ingeborg, wife of Philip Augustus. It is an example of this type of devotional manual.
Author: MINIATURIST, French Title: Ingeborg Psalter Time-line: 1201-1250 School: French Form: illumination Type: religious

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MINIATURIST, French (active after 1250) Fragment of an Antiphonale after 1250 Illumination on parchment Museum of Fine Arts, Budapest 14 pages of the manuscript survived, twelve of them contain figurative miniatures. The text of this page comes from the Old Testament (Exodus 3). The initial L represents God and Moses with a tree symbolizing the burning bush.
Author: MINIATURIST, French Title: Fragment of an Antiphonale Time-line: 1251-1300 School: French Form: illumination Type: religious

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MINIATURIST, Italian (active in second half of 15th century in Florence) Prayer Book of Lorenzo de' Medici 1458 Illumination on parchment Biblioteca Medicea-Laurenziana, Florence This masterpiece of the Florentine manuscripts was made for the outstanding figure of the Florentine Renaissance, Lorenzo de' Medici. The miniaturist was Francesco Antonio del Cherico. This is the page facing the Annunciation page with a frame of similar character. The page is the introduction to Mary's Officine, the prayers offered to Mary. The initial D therefore depicts the madonna and Child.
Author: MINIATURIST, Italian Title: Prayer Book of Lorenzo de' Medici Time-line: 1451-1500 School: Italian Form: illumination Type: religious

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MINIATURIST, Spanish (active 1480-1500) Breviarium 1490s Illumination on parchment Forschungsbibliothek-Schloss Friedenstein, Gotha The decoration of the codex contains the coat-of-arms Ferdinand of Aragonia (1479-1516) and Queen Isabel (1474-1504). In the initial B the kneeling King David wears a Spanish garment. The decorative elements of the page sho Moorish influence.
Author: MINIATURIST, Spanish Title: Breviarium Time-line: 1451-1500 School: Spanish Form: illumination Type: religious

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MINIATURIST, French (active 1250-1270) Bible 1252-70 Illumination on parchment Cathedral Museum, Toledo This miniature is from the Bible in three volumes that St Louis, King of France, gave to Ferdinand III.
Author: MINIATURIST, French Title: Bible Time-line: 1251-1300 School: French Form: illumination Type: religious

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MINIATURIST, Italian (active in 1340s in Venice) Dante Codex 1340s Illumination on parchment University Library, Budapest The codex contains Dante's work, the "Divina Commedia". In the 14th century the codex belonged to the Venetian Emo family. The three figurative pictures on the title page shown here illustrate lines 1-2 and 30-50 of the "Inferno". In the N initial the figure of Dante appears, below it Dante meditates in a racky landscape. The third picture depicts the meeting of Dante with the three symbolic beasts (lion, wolf, panther).
Author: MINIATURIST, Italian Title: Dante Codex Time-line: 1301-1350 School: Italian Form: illumination Type: other

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MINIATURIST, Italian (1285-1344) Petrach's Virgil c. 1336 Illuminated manuscript, 29,5 x 20 cm Biblioteca Ambrosiana, Milan The picture shows the title page of Petrach's Virgil, illuminated by Simone Martini in Avignon. Thanks to Petrarch's sonnets we know that the poet and the painter became very good friends. Simone must undoubtedly have been influenced by the proto-Humanist cultural world of Petrarch, and we can see clearly how the manuscript illumination of Petrarch's Virgil in the Biblioteca Ambrosiana in Milan, with its classical and naturalistic overtones (sophisticated gestures, white cloth drapery, the delicate figures of the shepherd and the peasant), anticipates the typical style of early 15th-century French manuscript illumination.
Author: MINIATURIST, Italian Title: Petrach's Virgil Time-line: 1301-1350 School: Italian Form: illumination Type: other

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MINIATURIST, Italian (active in 1400-1410 in Paris) Parisian Book of Hours c. 1405-10 Illumination on parchment British Museum, London This page, the opening page of the Hours of the Virgin, is from a Parisian Book of Hours. The artist has been identified as an Italian called Zebo da Firenze. In the opening years of the fifteenth century, the importance of Italian ideas in French manuscript painting is clear, with fresh experiments in landscape, with the introduction of architectural portraiture and occasionally with the transposition to the manuscript page of compositions derived from Italian wall-painting. A significant innovation was the introduction of Italianate acanthus leaves into the borders of traditional spiky ivy-leaf. One Italian manuscript painter can certainly be traced to France. He was called Zebo da Firenze and worked probably in Paris during the beginning of the fifteenth century. In the page from a Parisian Book of Hours he tended to engulf the text in a mass of decorative acanthus liberally interspersed with putti. His narrative scenes were not always confined to a restricted area but sometimes spilled over into the border after the Italian manner.
Author: MINIATURIST, Italian Title: Parisian Book of Hours Time-line: 1401-1450 School: Italian Form: illumination Type: religious

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MINIATURIST, Spanish (active 1490s) Book of Hours 1490s Illumination on parchment Cathedral Library, Esztergom The miniature representing Meeting of Mary and Elisabeth comes from a Book of Hours (Book of Prayers) with provenance of Tours.
Author: MINIATURIST, Spanish Title: Book of Hours Time-line: 1451-1500 School: Spanish Form: illumination Type: religious

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MINIATURIST, English (active c. 1200 in Gloucester) Munich Psalter c. 1200 Illumination on parchment, 27,5 x 18,8 cm Bayerische Staatsbibliothek, Munich This is a page of the Munich Psalter, representing Christ in Glory. The Psalter is the most lavish produced in England at the beginning of the 13th century. It possesses the extraordinary number of eighty full-page illustrations. It appears to have originated in the Gloucester area. Naturally, in an undertaking of this size several artists took part.
Author: MINIATURIST, English Title: Munich Psalter Time-line: 1201-1250 School: English Form: illumination Type: religious

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MINIATURIST, English (active in the beginning of 14th century) Queen Mary' Psalter 1300-1320 Illumination on parchment British Library, London The large codex contains hundreds of illustrations of scenes from the Old and New Testament. It is one of the most outstanding piece of the 14th century English codices. This page is divided into six fields of different background patterns, all representing the figures of a prophet and an apostle. Their names are at the bottom of the fields: Sofonias-Philippus, Micheas-Matheus, Daniel-Tadeus, Iohel-Bartolomeus, Malachias-Simon, Ezechiel-Mathias. The name of the codex comes from the fact that 200 years after its creation it was given to Queen Mary of Tudor.
Author: MINIATURIST, English Title: Queen Mary' Psalter Time-line: 1301-1350 School: English Form: illumination Type: religious

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MINIATURIST, French (active in 1480s) Gradual 1480-84 Illumination on parchment National Széchényi Library, Budapest The miniature representing water-drinkers comes from a Gradual of French provenance which belonged to King Matthias Corvinus' (1458-1490) Bibliotheca Corviniana in Buda.
Author: MINIATURIST, French Title: Gradual Time-line: 1451-1500 School: French Form: illumination Type: religious

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MINIATURIST, Italian (1403-1482) Italian Antiphonary c. 1450 Illumination on parchment National Széchényi Library, Budapest This miniature, representing the Stigmatization of Saint Francis, is from the Italian Antiphonary, illuminated by the Sienese painter Giovanni di Paolo with scenes of the Passion and miniatures representing the legend of Saint Francis of Assisi.
Author: MINIATURIST, Italian Title: Italian Antiphonary Time-line: 1401-1450 School: Italian Form: illumination Type: religious