Amor neemt de gedaante van Ascanius aan: een ‘nieuwe’ interpretatie van een schilderij van Nicolaas Verkolje

IF 0.1 2区 艺术学 0 ART OUD HOLLAND Pub Date : 2012-01-01 DOI:10.1163/18750176-90000008
George van Hoof, E. Sluijter
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Abstract

In 2011 the Rijksmuseum Twenthe in Enschede organised the exhibition Nicolaas Verkolje (1673-1746). Defluwelen hand / The velvet touch. One of the masterpieces in the show was a painting from the Musee des Beaux-Arts in Carcassonne which, as we know from auction catalogues, has been called Venus and the sleeping Cupid since the late eighteenth century (fig. 1). Respecting the tradition, that title and interpretation were adopted in the exhibition and catalogue. However, when a classics teacher at the Stedelijk Gymnasium in Nijmegen saw the painting illustrated in the catalogue he discussed the subject with his pupils. Together they concluded that the painting actually shows Cupid disguised as Ascanius, which is based on the story of Dido and Aeneas in book 1 of Virgil's Aeneid. The sleeping boy is not Cupid, but Ascanius; the standing child is Cupid who is being groomed by the Graces. Some anomalies in the painting now fell into place. The subject is exceptional in Dutch art history. Some 40 years before Verkolje, Gerard Hoet depicted the subject in his series of paintings of the love story of Dido and Aeneas in Slangenburg Castle near Doetinchem (fig. 2), and he may have used Vondel's translation, in which some details were added to the original story. Verkolje must have known Hoet's work, or a drawing based on it, and probably elaborated on Hoet's scene even further. The only other known depiction of the subject is a print by Gerard de Lairesse (fig. 3) from a slightly earlier date than Hoet's paintings. Lairesse, though, chose a completely different solution and stayed much closer to Virgil's version of the story.
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阿莫以阿斯卡尼乌斯的形式出现:对尼科拉斯·维尔科耶的一幅画的“新”诠释
2011年,恩斯赫德的国家博物馆组织了尼古拉·维尔科耶(1673-1746)展览。柔软的手/柔软的触感。展览中的杰作之一是来自卡尔卡松美术博物馆的一幅画,我们从拍卖目录中知道,自18世纪末以来,这幅画一直被称为维纳斯和沉睡的丘比特(图1)。尊重传统,展览和目录中采用了这个标题和解释。然而,当奈梅亨市立中学的一位古典文学老师看到目录上的这幅画时,他和学生们讨论了这个问题。他们共同得出结论,这幅画实际上是丘比特伪装成阿斯卡尼乌斯的样子,这是根据维吉尔的《埃涅伊德》第一卷中的狄多和埃涅阿斯的故事改编的。熟睡的男孩不是丘比特,而是阿斯卡尼厄斯;站着的孩子是丘比特,他正在被格雷斯打扮。这幅画中的一些反常之处现在变得清晰起来。这个主题在荷兰艺术史上是独一无二的。大约在Verkolje之前40年,Gerard Hoet在他的一系列画中描绘了在Doetinchem附近的Slangenburg城堡里的Dido和Aeneas的爱情故事(图2),他可能使用了Vondel的翻译,在原始故事中添加了一些细节。Verkolje一定知道Hoet的作品,或者以它为基础的绘画,并且可能进一步阐述了Hoet的场景。唯一已知的关于这一主题的描述是杰拉德·德·莱尔塞(Gerard de Lairesse)的一幅版画(图3),其创作时间略早于霍特的画作。然而,Lairesse选择了一个完全不同的解决方案,更接近于维吉尔的故事版本。
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来源期刊
OUD HOLLAND
OUD HOLLAND Arts and Humanities-Visual Arts and Performing Arts
CiteScore
0.30
自引率
33.30%
发文量
7
期刊介绍: The periodical Oud Holland is the oldest surviving art-historical periodical in the world. Founded by A.D. de Vries and N. der Roever in 1883, it has appeared virtually without interruption ever since. It is entirely devoted to the visual arts in the Netherlands up to the mid-nineteenth century and has featured thousands of scholarly articles by Dutch and foreign authors, including numerous pioneering art-historical studies. Almost from the magazine’s inception, the publication of archival information concerning Dutch artists has played an important role. From 1885 to his death in 1946, the renowned art historian Dr. Abraham Bredius set a standard of excellence for Oud Holland.
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