- 作者： （美）斯韋特蘭娜·阿爾珀斯
- 出版社：商務印書館
- 出版日期：2019/0
內容簡介 · · · · · ·
魯本斯是古典主義繪畫大師，是巴洛克時代的開創者之一。《製造魯本斯》以盧浮宮藏品《露天集市》為基點，展示了魯本斯波瀾壯闊的藝術生涯；通過“酒神狂歡”這一主題繪畫，揭示了魯本斯的個人旨趣與宮廷贊助人之間和諧微妙的關係。本書還重點討論了魯本斯對後世的影響：在法國皇家藝術學院，推崇色彩的“魯本斯派”與註重造型平衡的“普桑派”分庭抗禮，一道構成了18世紀歐洲藝術和藝術史的發展脈絡。
通過本書，讀者可以了解藝術家的發展歷程、藝術家作為個體在整個社會關係中對自我的定位，以及歐洲古代時局的變更與藝術發展之間的重要聯繫。此外，本書闡釋的將魯本斯“製造”成藝術大師的諸多因素，值得後人借鑒和討論。
作者簡介 · · · · · ·
斯韋特蘭娜•阿爾珀斯（Svetlana Alpers，1936— ），美國著名藝術史家，1965年獲得哈佛大學博士學位，後長期任教於加利福尼亞大學伯克利分校，主要研究荷蘭黃金年代的藝術作品。她對於藝術家名望與文化資本之間關係的研究為藝術史的書寫方式提供了新的方向，被認為是現代世界藝術史學的重要構成者之一。主要著作有《描繪的藝術——17世紀的荷蘭藝術》《倫勃朗的企業——工作室與藝術市場》《藝術的煩惱——委拉斯克斯與他人》等。
龔之允，英國蘇賽克斯大學藝術史博士，現擔任該校藝術史系和中文系講師，同時也是英國獨角獸出版集團學術總監，《中國藝術》《中國美術》和《三聯生活周刊》期刊專欄作家。主要研究方向為中西藝術交流史、清代宮廷西洋風藝術、歐洲中國風藝術，以及中國當代藝術史學理論。著有《圖像與範式——早期中西繪畫交流史（1514—1885）》，編著《視覺的調適...
目錄 · · · · · ·
001前言
001緒論
005第一章佛蘭德語境中的繪畫：農民的《露天集市》
057第二章製造一種魯本斯趣味
091第三章肉體中的創新：《酒醉的西勒諾斯》
145注釋
157圖片目錄
163索引
001緒論
005第一章佛蘭德語境中的繪畫：農民的《露天集市》
057第二章製造一種魯本斯趣味
091第三章肉體中的創新：《酒醉的西勒諾斯》
145注釋
157圖片目錄
163索引
View InsidePrice: $30.00
July 25, 1996
186 pages, 6 3/4 x 8 1/4
66 b/w + 60 color illus.
ISBN: 9780300067446
Paper
Also Available in:
Cloth
Out of Print
Rubens has long been considered a remarkably successful, prolific, and fleshly painter, a frequenter of the courts of the great. He is more admired than loved in our time, in contrast to the troubled figure of Rembrandt. This book takes up basic questions about Rubens's art and life, studies two of his bacchic paintings in detail, and discovers him in a less easy and more identifiably modern predicament.
The first problem Svetlana Alpers addresses is one of the relationship between making art and national consciousness. Why and how did Rubens paint the reveling Flemish peasants in the great Louvre Kermis? The circumstances, tone, and feeling of this picture are investigated and found to involve deep ambivalences that are political, social, and aesthetic.
The second problem is that of art and its consumption. Beginning with Watteau, the making of a Rubensian art is traced through the taste for Rubens in the eighteenth century in France, where many of the pictures from his own collection were to be found. In the writings of Roger de Piles and in the works of the painters to follow, a binary system of taste emerges for Rubens as contrasted to Poussin. Critical distinctions come to be fashioned in terms of gender.
Finally Alpers considers creativity itself and how, as a man and as a painter, Rubens could have seen his own generative talent. An analysis of his Munich Silenus—fleshy, intoxicated, and disempowered as a condition of producing his songs—reveals a sense of the creative gift as humanly indeterminate and equivocal.
Fully illustrated with many drawings and paintings in color, this book complicates and deepens the interest of Rubens and of his works.
The first problem Svetlana Alpers addresses is one of the relationship between making art and national consciousness. Why and how did Rubens paint the reveling Flemish peasants in the great Louvre Kermis? The circumstances, tone, and feeling of this picture are investigated and found to involve deep ambivalences that are political, social, and aesthetic.
The second problem is that of art and its consumption. Beginning with Watteau, the making of a Rubensian art is traced through the taste for Rubens in the eighteenth century in France, where many of the pictures from his own collection were to be found. In the writings of Roger de Piles and in the works of the painters to follow, a binary system of taste emerges for Rubens as contrasted to Poussin. Critical distinctions come to be fashioned in terms of gender.
Finally Alpers considers creativity itself and how, as a man and as a painter, Rubens could have seen his own generative talent. An analysis of his Munich Silenus—fleshy, intoxicated, and disempowered as a condition of producing his songs—reveals a sense of the creative gift as humanly indeterminate and equivocal.
Fully illustrated with many drawings and paintings in color, this book complicates and deepens the interest of Rubens and of his works.
Svetlana Alpers, professor of the history of art at the University of California, Berkeley, is the author of The Decoration of the Torre de la Parada, The Art of Describing, Rembrandt's Enterprise, and, with Michael Baxandall, Tiepolo and the Pictorial Intelligence.
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