奥斯文扎大师《坠入地狱》（Descent into Limbo，哈佛大学艺术博物馆）

奥斯文扎大师坠入地狱 Descent into Limbo哈佛大学艺术博物馆

作品介绍

This panel is by the Master of the Osservanza, named after alarge altarpiece in the church of the Osservanza outside of Siena.It belongs to the predella, or lower register, of a similaraltarpiece that presents episodes from the Passion of Christ.Although the altarpiece from which it comes was dismantled and isnow difficult to reconstruct accurately, all five scenes from itspredella survive. They form one of the artist’s most importantnarrative cycles and are among the most remarkable Sienesepaintings of the fifteenth century.

Predellas devoted to the Passion were not uncommon, but thedepiction of the Descent into Limbo is unusual and may relate to aSienese literary source. In La resurrezione (The Resurrection), afourteenth-century poem by Niccolò Cicerchia, Christ storms throughhell, helping the three patriarchs — Adam, Abel, and Noah — toescape. Here they may be the older men being drawn to the luminousglow of the resurrected Christ.

参考译文

这件作品由奥斯文扎大师以锡耶纳以外的奥斯文扎教堂的一个大型祭坛命名。它属于类似祭坛画的预定或更低的签名，它呈现了基督受难的情节。虽然它所来自的祭坛被拆除，现在很难准确地重建，但是它的前任所有五个场景都存活下来。它们是艺术家最重要的叙事周期之一，也是十五世纪最引人注目的锡耶纳画作之一。

致力于激情的祭坛画并不罕见，但是对“坠入地狱”的描述是不同寻常的，可能与耶锡纳的文学来源有关。在NiccolòCicerchia创作的十四世纪诗歌“复活”中，基督在地狱中肆虐，帮助三位族长 - 亚当，亚伯和诺亚 -逃脱。在这里，他们可能是被复活的基督光辉照耀的年长人。

作品细节

奥斯文扎大师坠入地狱 Descent intoLimbo 局部

画家简介

奥斯文扎大师（Osservanza Master 或 Master ofOsservanza，活跃于1430-1450），意大利耶锡纳画派画家。“奥斯文扎大师”并不是艺术家的真名，而是一个便利之名（Notname，对于身份不明的艺术家使用的通用名称）。意大利学者罗伯托·隆希（RobertoLonghi）的研究指出，以前被认为属于斯特凡诺·迪·乔瓦尼（Stefano diGiovanni，伊萨塞塔，1392–1451）的两个三联画是另一位画家的作品，现在通常被称为“奥斯特桑扎三联画”的主人，这幅画在风格上与萨诺·迪·皮特罗（SanodiPietro，1406-1481）的作品相似，但有一个叙事表达是晚期哥特式绘画的特征。同样的发现被其他学者在多件作品中所证实，但学者玛利亚·法尔科内（MariaFalcone）于2010年在锡耶纳（Siena）进行的研究显示，奥斯文扎大师与萨诺·迪·皮特罗是同一个人。法尔科内在锡耶纳外面的阿夏诺教堂找到了一份关于“奥斯特桑扎大师”祭坛的文件，阿夏诺教堂的牧师没有向画家支付费用，因此锡耶纳市政府不得不向阿雷佐的主教提出上诉，迫使该地区的牧师向艺术家支付费用。艺术家的名字作为SanodiPietro被列入文件。从目前归于奥斯文扎大师的作品看，无论是在风格还是技法上都与萨诺·迪·皮特罗有着明显的区别。画家对高度描述性的叙事细节的偏好，大量展示在简单的教堂、荒芜的树木、岩石路径、温和的动物群和黄昏的天空。（阴山工作室编写）

作品资料

Object Number：1922.172

People

Master of the Osservanza, Italian (active c. 1425 - c.1480)

Previously attributed to Sassetta, Italian (c.1400-1450)

Title：

The Descent into Limbo

Other Titles

Alternate Title: Christ in Limbo

Classification：Paintings

Work Type：painting

Date：c. 1445

Places：Creation Place: Europe, Italy, Tuscany, Siena

Culture：Italian

Location：Level 2, Room 2500, European Art, 13th–16th century,Art and Image in Europe

Provenance：Purchased by William Hopetoun Carnegie, 8th Earl ofNorthesk, Rome, c. 1860, by inheritance to his son; George JohnCarnegie, 9th Earl of Northesk, sold?; to R. Langton Douglas,London, sold; to Paul J. Sachs, Cambridge, 1915, gift; to Fogg ArtMuseum, 1922.

Notes:

1. The 8th Earl of Northesk was a connoisseur who lived in thePalazzo Poli in Rome for about twenty years.

展览历史

Loan Exhibition of the Arts of the Italian Renaissance, TheMetropolitan Museum of Art, 05/08/1923 - 01/01/1923

Memorial Exhibition: Works of Art from the Collection of PaulJ. Sachs [1878-1965] Given and Bequeathed to the Fogg Art MuseumHarvard University Cambridge, Massachusetts, Fogg Art Museum,Cambridge, 11/15/1965 - 01/15/1966; Museum of Modern Art, New York,New York, 12/19/1966 - 02/26/1967

Edward Waldo Forbes: Yankee Visionary, Fogg Art Museum,01/16/1971 - 02/22/1971

Re-View: S422-423 Western Art of the Middle Ages &Renaissance, Harvard Art Museums/Arthur M. Sackler Museum,Cambridge, 08/16/2008 - 06/18/2011

32Q: 2500 Renaissance, Harvard Art Museums, Cambridge,11/01/2014

相关文献

George Harold Edgell, "The Loan Exhibition of ItalianPaintings in the Fogg Museum, Cambridge", Art and Archaeology (July- December 1915), Vol. II, pp. 11-22, p. 13

William N. Bates, "Archaeological News: Notes on RecentExcavations and Discoveres; Other News", American Journal ofArchaeology (January - March 1918), Vol. 22, No. 1, pp. 73-100, p.97

The Metropolitan Museum of Art, Loan Exhibition of the Arts ofthe Italian Renaissance, exh. cat. (New York, 1923), p. 5, cat. no.5, repr.

Agnes Mongan, Memorial Exhibition: Works of Art from theCollection of Paul J. Sachs [1878-1965] : given and bequeathed tothe Fogg Art Museum, Harvard University, Cambridge, Massachusetts,exh. cat., Harvard University (Cambridge, MA, 1965), p. 9, cat. no.87, repr.

Edward Waldo Forbes, Yankee Visionary, Fogg Art Museum(Cambridge, MA, 1971), p. 36, repr. in b/w p. 37

Kristin A. Mortimer and William G. Klingelhofer, HarvardUniversity Art Museums: A Guide to the Collections, HarvardUniversity Art Museums and Abbeville Press (Cambridge and New York,1986), no. 168, p. 149, repr.

Edgar Peters Bowron, European Paintings Before 1900 in theFogg Art Museum: A Summary Catalogue including Paintings in theBusch-Reisinger Museum, Harvard University Art Museums (Cambridge,MA, 1990), p. 35, color plate; pp. 119, 301, repr. b/w cat. no.558

Catherine Gallagher and Stephen Greenblatt, "The Wound in theWall", University of Chicago Press (Chicago, IL, 2000), pp.101-102, repr. in b/w as fig. 11

Benjamin David, "Past and Present in Sienese Painting:1350-1550", Res (Autumn 2001), 40, pp. 77-100, p. 82, repr. as fig.8, p. 83, repr. in color inside back cover

Carl Brandon Strehlke, Italian Paintings 1250-1450 in the JohnG. Johnson Collection and the Philadelphia Museum of Art,Philadelphia Museum of Art (Philadelphia, PA, 2004), p. 298; repr.in b/w p. 300 as fig. 52.7

Stephan Wolohojian and Alvin L. Clark, Jr., Harvard ArtMuseum/ Handbook, ed. Stephan Wolohojian, Harvard Art Museum(Cambridge, 2008), p. 56, repr.

Max Seidel, Andrea de Marchi, and Gabriele Fattorini, Le artia Siena nel primo Rinascimento: da Jacopo della Quercia aDonatello, exh. cat., Federico Motta Editore (Milan, Italy, 2010),pp. 272-275, under cat. no. C.35, our work mentioned on p. 272,repr. in reconstruction p. 274.

阴山工作室

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