鏡のヴィーナス
(鏡を見るウェヌス から転送)
出典: フリー百科事典『ウィキペディア（Wikipedia）』 (2023/12/07 05:22 UTC 版)
『鏡のヴィーナス』（かがみのヴィーナス、西: Venus del espejo、英: Venus at her Mirror）は、スペイン黄金世紀の巨匠であるスペイン人画家のディエゴ・ベラスケスが描いた絵画。『鏡を見るヴィーナス』とも[1]。ロンドン・ナショナル・ギャラリーの所蔵で、英語圏では『ロークビーのヴィーナス (The Rokeby Venus)』と呼ばれることが多く、諸外国では他にThe Toilet of Venus、Venus and Cupid、La Venus del espejoor、La Venus del espejo などと呼ばれている。1647年から1651年にかけて[2]、ベラスケスがイタリアに滞在していたときに描かれたものといわれ、ローマ神話の女神であるヴィーナスが裸体でベッドに横たわり、彼女の息子である愛の神キューピッドが支える鏡に見入っているという構図の絵画である。
- ^ 『ヴィーナス』 2017, p. 27.
- ^ "The Rokeby Venus". National Gallery, London. Retrieved on 25 December, 2007.
- ^ a b c Carr, p. 214.
- ^ MacLaren, p. 126. and Carr, p. 214.
- ^ Prater, p.51
- ^ a b Prater, p.40.
- ^ Carr, p. 214. It does not, however, seem clear to Wallace, quoted below.
- ^ Wallace, Natasha. "Venus at her Mirror". JSS Virtual Gallery, 17 November, 2000. Retrieved on 4 January, 2008.
- ^ a b c Davies, Christie. "Velazquez in London". New Criterion, Volume: 25, Issue: 5, January 2007.
- ^ Gallego, Julián. "Vision et symboles dans la peinture espagnole du siècle d'or". Paris: Klincksieck, 1968. p. 59f.
- ^ a b c d Carr, p. 217
- ^ Keith, Larry; in Carr, p. 83.
- ^ a b MacLaren, p. 125.
- ^ a b Portús, p. 56.
- ^ a b Prater, p. 56–57.
- ^ Noting the resemblance of the model in these paintings, López-Rey offered: "Obviously, Velázquez worked in both cases, and, for that matter, in the Fable of Arachne and Arachne, from the same model, the same sketch, or just the same idea of a beautiful young woman. Yet, he put on canvas two different images, one of divine and the other of earthly beauty". López-Rey, vol. I, p. 156. However, MacLaren (p. 127) does not endorse these suggestions; they would probably argue that the painting was not produced in Italy. The Prado "Coronation" is dated to 1641–42; the present image is "stretched" vertically compared with the original.
- ^ López-Rey believed that an overzealous cleaning in 1965 unevenly exposed some of Velázquez's "tentative contours", resulting in a loss of subtlety and contravening the artist's intent. López-Rey, vol II, p. 260. However, the National Gallery catalogue retaliates by describing López-Rey's description of the painting's condition as "largely misleading". MacLaren, p. 127.
- ^ Carr, p. 217, see also MacLaren, p. 125 for the opposite view.
- ^ MacLaren, p. 125. In particular, it had been claimed that the face in the mirror had been overpainted. See note above for López-Rey's criticism of the cleaning.
- ^ a b c d Prater, p. 20.
- ^ The landscape probably done or finished by Titian, after Giorgione's death
- ^ Langmuir, p. 253
- ^ MacLaren, p. 126
- ^ Hagen II, p. 405.
- ^ See en:Cabinet (room); such paintings were "cabinet pictures".
- ^ a b Portús, p. 62–63.
- ^ a b Veliz, Zahira. "Signs of Identity in Lady with a Fan by Diego Velazquez: Costume and Likeness Reconsidered". Art Bulletin, Volume: 86. Issue: 1. 2004
- ^ The engravings of such artists as en:Wenceslaus Hollar and en:Jacques Callot show, according to Veliz, "an almost documentary interest in the form and detail of European costume in the second quarter of the seventeenth century".
- ^ Bull, Malcolm. "The Mirror of the Gods, How Renaissance Artists Rediscovered the Pagan Gods". Oxford UP, 2005. p. 169. ISBN 0195219236.
- ^ Cherry, Peter. "Seventeenth-Century Spanish Taste2. Collections of Paintings in Madrid 1601–1755, vol. 2. CA: Paul Getty Information Inst. 1997. p. 73f.
- ^ MacLaren, p. 128-9.
- ^ López-Rey noted that based on stylistic qualities, Beruete (Aureliano de Berueute, Velázquez, Paris, 1898) assigned the painting to the late 1650s. López-Rey, vol. I, p. 155.
- ^ From 1648; before that Marquis of Heliche, by which title he is sometimes referred to. Portús, p. 57.
- ^ Fernández, Ángel Aterido. "The First Owner of the Rokeby Venus". The Burlington Magazine, Vol. 143, No. 1175, February, 2001. pp. 91–94.
- ^ Aterido, pp. 91–92.
- ^ Portús, p. 57.
- ^ Gudiol, p. 261.
- ^ López-Rey, vol. II, p. 262.
- ^ MacLaren, p. 126.
- ^ Schwarz, Michael. "The Age of the Rococo". London: Pall Mall Press, 1971. p. 94. ISBN 0-2690-2564-2
- ^ Brought to England by William Buchanan, a Scottish art dealer who kept an agent in Spain, G.A. Wallis. Bray, in Carr, p. 99; MacLaren, p. 127.
- ^ The painting was not universally accepted as Velázquez's work on its reintroduction to the public. The critic, James Grieg hypothesised that it was by en:Anton Raphael Mengs—although he found little support for his idea—and there was more serious discussion about the possibility of Velázquez's son-in-law and pupil, Juan del Mazo as the artist. MacLaren p. 76 dismisses both claims: "The supposed signatures of Juan Bautista Mazo and Anton Raphael Mengs in the bottom left corner are purely accidental marks."
- ^ Bray; in Carr, p. 107
- ^ Smith, Charles Saumarez. "The Battle for Venus: In 1906, the King Intervened to Save a Velazquez Masterpiece for the Nation. If Only Buckingham Palace, or Indeed Downing Street, Would Now Do the Same for Raphael's Madonna of the Pinks". New Statesman, Volume 132, Issue 4663, November 10, 2003. p. 38.
- ^ a b Prater, p. 114.
- ^ Carr, p. 103, and MacLaren, p. 127, the latter of whom would mention copies and early prints if there were any.
- ^ "The more frequent appearance of the motif in the late seventeenth and early eighteenth centuries is probably owing to the prestige of the antique figure of Hermaphrodite....In Renaissance art the earliest example of a nude woman lying with her back to the spectator is the en:Giulio Campagnola engraving, which probably represents a design by Giorgione"....Clark, 391, note to page 150.
- ^ "And when Manet painted his Olympia in 1863, and changed the course of modern art by provoking the mother of all art scandals with her, to whom was he paying homage? Manet’s Olympia is the Rokeby Venus brought up to date — a whore descended from a goddess." Waldemar Januszczak, Times Online (October 8, 2006). Still sexy after all these years. Retrieved on March 14, 2008.
- ^ Davies, Christie. "Velazquez in London". New Criterion. Volume: 25. Issue: 5, January 2007. p. 53.
- ^ a b Prater, p. 7.
- ^ a b Nead, Lynda. "The Female Nude: Art, Obscenity, and Sexuality". New York: : Routledge, 1992. p. 2.
- ^ Whitford, Frank. "Still sexy after all these years". The Sunday Times, October 08, 2006. Retrieved on March 12, 2008.
- ^ Nead, Lynda, The Female Nude: Art, Obscenity, and Sexuality, p. 35, 1992, Routledge, ISBN 0415026784
- ^ "National Gallery Outrage. Suffragist Prisoner in Court. Extent of the Damage". The Times, March 11, 1914. Retrieved on March 13, 2008.
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