庆祝普拉多博物馆两百周年[心]
安利普拉多的特展：委拉斯凯兹/伦勃朗/维米尔《平行视象》、安吉列柯特展等
Within the context of the Prado’s celebration of its Bicentenary, the Museum is presenting [鼓掌]Velázquez, [鼓掌]Rembrandt, [鼓掌]Vermeer:[赞] Parallel visions[赞], an ambitious exhibition devoted to [心]Dutch and [心]Spanish painting of the late 16th and early 17th centuries which benefits from the sponsorship of Fundación AXA and the special collaboration of the Rijksmuseum, Amsterdam.
Comprising 72 works from the Prado, the Rijksmuseum and a further 15 lenders (including the Mauritshuis in The Hague, the National Gallery in London and the Metropolitan Museum of Art in New York), the exhibition offers a reflection on the traditions of painting in Spain and the Low Countries. While the art-historical literature has considered these traditions to be essentially different, the exhibition juxtaposes the historical myths and artistic realities of these two artistic centres in order to reflect on their numerous shared traits.
The exhibition is curated by Alejandro Vergara, Chief Curator of Flemish Painting and the Northern Schools at the Museo del Prado. It is on display in Rooms A and B of the Jerónimos Building until [鲜花]29 September.
[抱抱]Velázquez, Rembrandt, Vermeer: Parallel visions is an exhibition that encourages visitors to not only appreciate the quality and importance of the 72 works on display, some by the most admired painters of 17th-century Europe, but also to establish points of comparison between them.
[给力]The traditional and long-standing idea of the art produced in different parts of Europe is that it is notably different: that Velázquez, for example, is “very Spanish” and Rembrandt “very Dutch”.[给力] This viewpoint is based on the excessive influence that 19th- and 20th-century nationalist mindsets and ideologies have had on our way of understanding art. Studies from that period placed enormous importance on the idea that every nation had a different national character, as a result of which the notion that these differences were manifested in the art of each country became widespread. This perspective functioned to minimise the traits shared by European artists.
The case of 17th-century Spanish and Dutch painting is symptomatic of this. Separated by a war, the art of these countries has traditionally been interpreted as opposing. Nonetheless, the legacy of Flemish and Italian painting, the influence of which defined all of European art, was interpreted in a similar way in the two places. In the 17th century both countries saw the emergence of an aesthetic that departed from idealism and which focused on the real appearance of things and the manner of representing it. In their works the artists represented in this exhibition did not express the “essence” of their nations but rather gave form to the ideas and approaches that they shared with an international community of creators.
“The unity of Western painting is one of the great realities that reveals the unity of European culture.”
José Ortega y Gasset
Curator:
Alejandro Vergara, Museo del Prado Senior Curator Flemish Painting and Northern Schools (to 1700)#越艺术 悦生活##遇见艺术##油画##艺术##艺术家#
注，有兴趣自己访问普拉多官网 https://t.cn/RU1U2eU
安利普拉多的特展：委拉斯凯兹/伦勃朗/维米尔《平行视象》、安吉列柯特展等
Within the context of the Prado’s celebration of its Bicentenary, the Museum is presenting [鼓掌]Velázquez, [鼓掌]Rembrandt, [鼓掌]Vermeer:[赞] Parallel visions[赞], an ambitious exhibition devoted to [心]Dutch and [心]Spanish painting of the late 16th and early 17th centuries which benefits from the sponsorship of Fundación AXA and the special collaboration of the Rijksmuseum, Amsterdam.
Comprising 72 works from the Prado, the Rijksmuseum and a further 15 lenders (including the Mauritshuis in The Hague, the National Gallery in London and the Metropolitan Museum of Art in New York), the exhibition offers a reflection on the traditions of painting in Spain and the Low Countries. While the art-historical literature has considered these traditions to be essentially different, the exhibition juxtaposes the historical myths and artistic realities of these two artistic centres in order to reflect on their numerous shared traits.
The exhibition is curated by Alejandro Vergara, Chief Curator of Flemish Painting and the Northern Schools at the Museo del Prado. It is on display in Rooms A and B of the Jerónimos Building until [鲜花]29 September.
[抱抱]Velázquez, Rembrandt, Vermeer: Parallel visions is an exhibition that encourages visitors to not only appreciate the quality and importance of the 72 works on display, some by the most admired painters of 17th-century Europe, but also to establish points of comparison between them.
[给力]The traditional and long-standing idea of the art produced in different parts of Europe is that it is notably different: that Velázquez, for example, is “very Spanish” and Rembrandt “very Dutch”.[给力] This viewpoint is based on the excessive influence that 19th- and 20th-century nationalist mindsets and ideologies have had on our way of understanding art. Studies from that period placed enormous importance on the idea that every nation had a different national character, as a result of which the notion that these differences were manifested in the art of each country became widespread. This perspective functioned to minimise the traits shared by European artists.
The case of 17th-century Spanish and Dutch painting is symptomatic of this. Separated by a war, the art of these countries has traditionally been interpreted as opposing. Nonetheless, the legacy of Flemish and Italian painting, the influence of which defined all of European art, was interpreted in a similar way in the two places. In the 17th century both countries saw the emergence of an aesthetic that departed from idealism and which focused on the real appearance of things and the manner of representing it. In their works the artists represented in this exhibition did not express the “essence” of their nations but rather gave form to the ideas and approaches that they shared with an international community of creators.
“The unity of Western painting is one of the great realities that reveals the unity of European culture.”
José Ortega y Gasset
Curator:
Alejandro Vergara, Museo del Prado Senior Curator Flemish Painting and Northern Schools (to 1700)#越艺术 悦生活##遇见艺术##油画##艺术##艺术家#
注，有兴趣自己访问普拉多官网 https://t.cn/RU1U2eU
1.很多博物馆都对自己的藏品量称巨，以至多少年不吃不喝都看不全。这都骗骗自己和外行，没有人会为了看全而看。逛了三天普拉多，真正入眼的画不过寥寥数幅。或者广告可以这么宣传：鄙馆佳作不多，但每幅都够看一生。
2.顶好的东西是不会传染的，既不会通过时间传染，也不会通过空间传染，委拉斯贵兹之于马佐，得天独厚，可证进步历史之逆行。如果历史是前进的，那只是纪年数字的加法给人的幻觉，时间不会无缘无故把过去的好堆在你头上，躺在自以为优越的时代感中睡大觉，大概就是今人艺术堕落的开始。姿势不对，起来重睡，不，起来耕作。
3.“如果”鲁本斯要为我画一幅画，我想越小越好，甚至一幅素描即可，便可做到丽而不淫。“如果”委拉斯贵兹要画，那越大越好，多人物更好，他在不言而喻之处从不啰嗦。能力从不自带分寸，但分寸本身就是能力。“如果”提香想花画，我希望伴有一裸女斜躺，近看什么都没画，远看什么都有的那种；“如果”丢勒要画，我想来一幅他的自画像同款。再如果下去我就醒不过来了。
4.好的艺术像泥鳅，永远逃离语言的抓捕。
#遇见艺术##越艺术 悦生活##艺术##绘画##博物馆##艺术家#
2.顶好的东西是不会传染的，既不会通过时间传染，也不会通过空间传染，委拉斯贵兹之于马佐，得天独厚，可证进步历史之逆行。如果历史是前进的，那只是纪年数字的加法给人的幻觉，时间不会无缘无故把过去的好堆在你头上，躺在自以为优越的时代感中睡大觉，大概就是今人艺术堕落的开始。姿势不对，起来重睡，不，起来耕作。
3.“如果”鲁本斯要为我画一幅画，我想越小越好，甚至一幅素描即可，便可做到丽而不淫。“如果”委拉斯贵兹要画，那越大越好，多人物更好，他在不言而喻之处从不啰嗦。能力从不自带分寸，但分寸本身就是能力。“如果”提香想花画，我希望伴有一裸女斜躺，近看什么都没画，远看什么都有的那种；“如果”丢勒要画，我想来一幅他的自画像同款。再如果下去我就醒不过来了。
4.好的艺术像泥鳅，永远逃离语言的抓捕。
#遇见艺术##越艺术 悦生活##艺术##绘画##博物馆##艺术家#
优秀的东西……是不会传染的
不会通过时间传染 也不会通过空间传染
所以今天的人啊
不要躺在自以为优越的“时代”里沉睡
时代不会自动给你精神，
时间没有义务把过去的善都堆在你头上，
起来吧，精神点，开工了！
（图注：左厅是委拉斯贵兹，右厅是他之后的）
#遇见艺术##越艺术 悦生活##艺术##美术# https://t.cn/8kphgpl
不会通过时间传染 也不会通过空间传染
所以今天的人啊
不要躺在自以为优越的“时代”里沉睡
时代不会自动给你精神，
时间没有义务把过去的善都堆在你头上，
起来吧，精神点，开工了！
（图注：左厅是委拉斯贵兹，右厅是他之后的）
#遇见艺术##越艺术 悦生活##艺术##美术# https://t.cn/8kphgpl
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