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User:Cyuanfr/波尔多的卖牛奶姑娘

維基百科，自由的百科全書
波爾多的賣牛奶姑娘
西班牙語：La lechera de Burdeos
藝術家弗朗西斯科·戈雅
年份1825–1827年
尺寸74 cm × 68 cm（29英寸 × 27英寸）
收藏地馬德里普拉多博物館

波爾多的牛奶女工（西班牙語：La lechera de Burdeos）[1]是一幅完成於1825年至1827年間的油畫，通常被認為是西班牙藝術家弗朗西斯科·戈雅（1746-1828年）的作品。這幅畫被認為是戈雅的最後作品之一，完成於他去世的前一年，被認為是戈雅的傑作之一，也是他生前最後一幅女性肖像畫。[2][3]

爭議

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儘管這幅畫受到藝術評論家的推崇，但還是被部分藝術史學家懷疑這是否是戈雅的真跡[4]。 If authentic then it is likely a portrait of either Rosario Weiss, or more likely, her mother Leocadia Weiss—the artist's nurse during the last years of his life. 如果屬實，那麼這幅畫有可能描繪的是Rosario Weiss，但更有可能是weiss的母親 Leocadia Goya ，她在戈雅生命中的最後幾年一直照顧著他 Leocadia cared for Goya in exile in Bordeaux, where he settled to live among politically liberal friends.[5] The true nature of the relationship between Goya and Leocadia is unknown due to a lack of documentation, and while many sources refer to Leocadia as a nurse or housekeeper, others believe her to be Goya's mistress.[6][7] 儘管這幅畫受到評論家和公眾的高度讚賞和廣泛欣賞，但藝術史學家對它是否真正是戈雅的作品提出了質疑。如果真實的話，那麼它很可能是羅薩里奧·韋斯（Rosario Weiss）的肖像，或者更有可能是她的母親萊奧卡迪亞·韋斯（Leocadia Weiss）——在他生命的最後幾年裡擔任他的護士的藝術家。萊奧卡迪亞在戈雅流亡波爾多期間照顧了戈雅，他在那裡定居並與政治上自由的朋友們生活在一起。由於缺乏文件記錄，戈雅和萊奧卡迪亞之間的真實關係尚不清楚，雖然許多資料稱萊奧卡迪亞是一位護士或管家，但也有人認為她是戈雅的情婦。

Following his death, the painting was willed to his last child, Javier (b. 1784). Financial difficulties a year later forced him to sell it to Juan Bautista de Muguiro, a distant relative. Muguiro's descendants donated the work to the Museo del Prado in 1946,[1] where it remains a popular exhibit at the gallery, despite doubts as to its origin. While being widely admired by art historians and the public alike, The Milkmaid of Bordeaux remains one of Goya's works that is infrequently discussed, perhaps because it is considered not as ambitious as his other works. [8] 在戈雅去世後，這幅畫被遺贈給了他最後的孩子哈維爾（出生於1784年）。一年後，由於經濟困難，他不得不將其賣給胡安·鮑蒂斯塔·德·穆吉羅（Juan Bautista de Muguiro），一個遠房親戚。穆吉羅的後代於1946年將這幅作品捐贈給了普拉多博物館，它至今仍然是該畫廊的一件受歡迎的展品，儘管對其起源存有疑慮。儘管《波爾多擠奶女工》受到藝術史學家和公眾的廣泛讚賞，但它仍然是戈雅的作品中很少被討論的作品之一，可能是因為人們認為它不像他的其他作品那樣雄心勃勃。

Rosario was later a painter, and it is sometimes claimed that she may have been the creator of this work. However, when compared to the relatively amateur works of hers held in the Academia de San Fernando, it is generally considered highly unlikely.[9] It has also been argued that Rosario is in fact Goya's illegitimate daughter, but those claims are unsubstantiated, and it is highly unlikely, given that Leocadia was living with her husband at the time.[10] Rosario是戈雅之後的一名畫家，有人認為她才是這幅畫的作者。但當這幅畫與她在聖費爾南多學院展出其它的相對業餘的作品相比之下，這幾乎不可能。有人指出Rosario是戈雅的私生女，帶這些觀點多是無根據的，因為在作畫期間Leocadia與她的丈夫居住在一起。

作品賞析

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儘管賣牛奶的波爾多女工不是戈雅最出名的作品，卻被認為屬於戈雅在技術方面最好的作品之一。 While not his most famous painting, The Milkmaid of Bordeaux is considered a technical masterpiece, and one of his technically best works. [11] 這幅畫描繪了一個帶著披肩的年輕女人，而這個披肩很有可能是戈雅自己買的，這一點在Leandro Fernandez de Moratin寫給Juan Antonio Melón的信件中被提及。 This portrait features a young woman wrapped in a shawl that Goya had likely bought himself, as mentioned in a letter from Leandro Fernandez de Moratin to Juan Antonio Melón. [12] The work is his last portrait of a woman before his death. [13]

波多爾的賣牛奶女工被詮釋為一個健康不佳的老人對青春的頌歌。它光亮的基調與戈雅之前著名的黑暗元素顯得格格不入，因此有些人認為這幅畫不是戈雅畫的，但這些觀點幾乎沒有根據。 The Milkmaid of Bordeaux has been interpreted as an ode to youth by an old man in failing health. [13] Its brightness is such a departure in tone from his famous black paintings that it has been argued that Goya is not the artist of the painting, though this claim has little support. [14] The brushstrokes and coloring of the painting speaks to Goya's mastery of technique.[11]

While in Bordeaux during the last years of his life, Goya made several works that reflect the daily life of ordinary people, some of which have been interpreted as a reflection of Goya's faith in humanity, this work included.[11] The portrait itself is of a young woman, presumably a milkmaid or peasant, appearing to sit in contemplation with her head lowered. [15][14] [11] Her hair is partially covered in a scarf, a shawl wraps around her shoulders, and an apron sits on her lap.[15] Beside the woman, on the bottom left of the painting, sits what appears to be a milk jug or container of some kind. [15] The sky in the background is just a blur of colors, and the position of the woman has been interpreted as implying that she is actually riding on a mule, though it, as well as her hands, are not visible in the painting. [15] [14]

參見

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參考來源

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  1. ^ 1.0 1.1 Hughes, 402
  2. ^ Felisati, D.; Sperati, G. Francisco Goya and his illness. Acta Otorhinolaryngologica Italica. 5 October 2010, 30 (5): 264–270. PMC 3040580 可免費查閱. PMID 21804693. 
  3. ^ Junquera, Juan José. The Black Paintings of Goya. London: Scala Publishers Ltd. 2003: 21–23. 
  4. ^ Hughes, 25
  5. ^ Hagen & Hagen, 95
  6. ^ Posèq, Avigdor W. G. The goat in Goya's 'witches' sabbaths'. Source: Notes in the History of Art. July 1999, 18 (4): 30–39. S2CID 192957288. doi:10.1086/sou.18.4.23206811. 
  7. ^ Junquera, Juan José. The Black Paintings of Goya. London: Scala Publishers Ltd. 2003: 21–23. 
  8. ^ Licht, Fred. Goya: The Origins of the Modern Temper in Art. New York, NY: Universe Books. 1979: 269. ISBN 0-87663-294-0. 
  9. ^ Junquera, 21
  10. ^ Junquera, Juan José. The Black Paintings of Goya. London: Scala Publishers Ltd. 2003: 21–23. 
  11. ^ 11.0 11.1 11.2 11.3 Klindgender, Francis Donald. Goya in the Democratic Tradition. London: Sidgwick and Jackson Limited. 1948: 212. 
  12. ^ Junquera, Juan José. The Black Paintings of Goya. London: Scala Publishers Ltd. 2003: 21–23. 
  13. ^ 13.0 13.1 Baticle, Jeannine. Goya: Painter of Terrible Splendor. New York: Harry N. Abrams. 1994: 124–127. ISBN 0-8109-2818-3. 
  14. ^ 14.0 14.1 14.2 Delbanco, Nicholas. LASTINGNESS: THE ART OF OLD AGE. Michigan Quarterly Review. Summer 2009, 48 (3). hdl:2027/spo.act2080.0048.311. ProQuest 232309143. 
  15. ^ 15.0 15.1 15.2 15.3 The Milkmaid of Bordeaux - The Collection - Museo Nacional del Prado. www.museodelprado.es. [2022-04-22]. 

戈雅的傳記

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Template:Museo del Prado

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