保罗·乌切洛注重透视学的研究,以数之理性严谨精确计算人物之间的空间远近关系,以达到在平面上再现可见世界的真实,这在当时极具开创性。这种理性的方式使他画中人物有种“摆拍”感,一切似乎都定格在那一瞬,仿佛时间止息了;却也让动作难免显得呆板。乌切洛很会穿插画中的人、物与景致,节奏而有秩序,在背景的处理上有一种田园风。他善于用色,始终将色彩控制在高贵典雅的调子里。
The Battle of San Romano
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如果保罗·乌切洛把精力用于描绘人物和动物,而不是用于研究透视的细节,白白糟蹋大好时光。那么,他将成为从乔托时代至今最高雅和最富想像力的绘画天才。尽管这些细节巧妙而美丽,但是一个人若对此过分地苦苦追求,不免是在浪费光阴,枉费精力,自找苦吃,常常使丰富和敏捷的思维能力处于紧张状态,而一无所获。由于过多注意这些细节而忽略人物形象,风格便会变得枯燥乏味,生硬呆板,这一切出于过细地审视事物;且常常会使人变得孤僻、抑郁、怪僻和可怜,保罗·乌切洛就是如此。
——瓦萨里《著名画家、雕塑家、建筑家传》
The Hunt in theForest
oil on panel
73.3 × 177 cm
AshmoleanMuseum, Oxford, UK
约1470
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The Hunt in the Forest (细节大图)
Niccolò Mauruzi da Tolentino at the Battle of San Romano
182 x 320 cm
poplar wood, tempera
National Gallery, London, UK
1435 - 40
The Battle of San Romano(Detail)
The Battle of San Romano(Detail)
The Battle of San Romano(Detail)
The Battle of San Romano(Detail)
The Battle of San Romano(Detail)
The Battle of San Romano(Detail)
The Battle of San Romano(Detail)
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这个人,天赋洞察一切的头脑,惟乐于攻克困难。不,惟乐于攻克透视学的无法解决的难题,尽管这些问题能激起人们的想像力。透视是美妙的,却大大妨碍了他的人物描绘,以致随着年岁的增长,他的人物画得越来越糟。
毫无疑问,如果一个人顺着性子进行过分热情的研究,虽然可以发挥他一方面的才华,但是他所做的一切不可能显得灵巧和优雅,因为这需要恰到好处,冷静判断,避免钴入牛角尖,否则只会使一个人的作品现出矫揉造作、枯燥乏味、呆滞生硬和蹩脚下品的风格,使观者见之不是赞叹不已,而是惋惜万分;因为惟当天才希望其才智得到发挥、灵感之火被点燃的时候,天才的精神才应该付诸行动,惟在此时,卓越和非凡的品性、惊人的思想才见显露。
——瓦萨里《著名画家、雕塑家、建筑家传》
The Battle of San Romano
182 x 320 cm
wood, tempera
Uffizi art museum, Italy
1438
The Battle of San Romano(Detail)
The Battle of San Romano(Detail)
The Battle of San Romano(Detail)
The Battle of San Romano(Detail)
The Battle of San Romano(Detail)
The Battle of San Romano(Detail)
The Battle of San Romano(Detail)
The Battle of San Romano(Detail)
The Battle of San Romano(Detail)
The Battle of San Romano(Detail)
The Counterattack of Michelotto da Cotignola
182 × 317cm
wood, tempera
Louvre, France
1438
The Counterattack of Michelotto da Cotignola(Detail)
The Counterattack of Michelotto da Cotignola(Detail)
The Counterattack of Michelotto da Cotignola(Detail)
The Counterattack of Michelotto da Cotignola(Detail)
Episodes of Life Eremitica
81 x 111 cm
wood, tempera
Firenze, Galleria dell’Accademia
1460
Episodi di vita eremitica(Detail)
Episodi di vita eremitica(Detail)
Episodi di vita eremitica(Detail)
Episodi di vita eremitica(Detail)
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保罗的本事足以依据透视学的规则,他把所见到的一切——耕过的田地、沟渠和大自然的其他细枝末节——以他干巴巴的、硬邦邦的风格,描绘和缩短得如同真的一模一样。因此,倘若他选取最美的东西,很好地组织在画面中,那么他的画将无与伦比。
——瓦萨里《著名画家、雕塑家、建筑家传》
Funerary Monument to Sir John Hawkwood
tempera on wood panel
820 × 514cm
意大利·佛罗伦萨新圣母大殿
1436
An Angel (detail)
tempera on wood panel
San Miniato al Monte, Florence
1435
Portrait of a Young Man
tempera on wood panel
1430-35
Flood and Waters Subsiding
tempera on panel
215 x 510 cm
Green Cloister, Santa Maria Novella, Florence
1439-1440
Noah's Sacrifice
tempera on panel
277 x 540 cm
Green Cloister, Santa Maria Novella, Florence
1447-48
Creation of the Animals and Creation of Adam
tempera on panel
244 x 478 cm
Green Cloister, Santa Maria Novella, Florence
1432-1436
Miracle of the Desecrated Host (Scene 1)
tempera on wood panel
43 x 58 cm
Galleria Nazionale delle Marche,Urbino
1465-69
Miracle of the Desecrated Host (Scene 2)
tempera on wood panel
43 x 58 cm
Galleria Nazionale delle Marche,Urbino
1465-69
Miracle of the Desecrated Host (Scene 3)
tempera on wood panel
43 x 58 cm
Galleria Nazionale delle Marche,Urbino
1465-69
Miracle of the Desecrated Host (Scene 4)
tempera on wood panel
Galleria Nazionale delle Marche,Urbino
1465-69
Quarate Predella
tempera on wood panel
Museo Arcivescovile, Ravenna, Italy
1435-1440
St John on patmos
tempera on wood panel
41 x 20.5 cm
Museo Arcivescovile, Ravenna, Italy
1435-1440
Adoration of the Magi
tempera on wood panel
20.5 x 82 cm
Museo Arcivescovile, Ravenna, Italy
1435-1440
St John and Ansano
tempera on wood panel
41 x 20.5 cm
Museo Arcivescovile, Ravenna, Italy
1435-1440
crucifixion
Tempera on panel
45 x 67 cm
Museo Nacional Thyssen-Bornemisza, Madrid
1460-65
crucifixion
Tempera on wood, gold ground
The Metropolitan Museum of Art
约 1450s
Mary's Presentation in the Temple
tempera on wood panel
335 x 420 cm
Siena Cathedral,Italy
1435
Disputation of St Stephen
tempera on wood panel
300 x 360 cm
Siena Cathedral,Italy
1435
Birth of the Virgin
tempera on wood panel
302 x 361 cm
Siena Cathedral, Italy
1435
Birth of the Virgin(detail)
Saint George slaying the dragon
62.2 × 38.8 cm
oil, tempera and silver leaf on wood panel
Florence, Tuscany, Italy
1430
Saint George and the dragon
tempera on wood panel
55.6 × 74.2cm
英国·伦敦国家美术馆
1470s
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保罗·乌切洛(Paolo Uccello 1397-1475),意大利文艺复兴早期画家,原名保罗·迪·多诺(Paolo di Dono),因所绘飞禽极为精致,被冠以 “飞鸟”( 乌切洛)的绰号。乌切洛才华横溢却缺乏毅力,虽长寿却作品不多,其代表作有《圣罗马诺之战》三幅。
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