追寻 极限明信片中 比利时名胜古迹 与 艺术杰作 的足迹 (in the footsteps of .....)
本帖最后由 ngsunyu 于 2020-3-6 11:50 编辑今年十月，我们游览了荷兰，比利时，法国。 计划访问卢森堡，但法国铁路罢工使去卢森堡的行程出轨。 我们去的第三个城市是 安特卫普。安特卫普（荷蘭語：Antwerpen；法語：Anvers）是比利时最重要的商业中心、港口城市和比利时第二大城市。我们住在安特卫普中央车站汉普顿酒店 (Hampton by Hilton Antwerp Central Station) 靠近安特卫普中央车站 （荷蘭語：Station Antwerpen-Centraal，法語：Gare d'Anvers-Central)。 我们还可以从房间的窗户看到中央车站。
中央车站兴建于1895年到1905年，有“铁路大教堂”的美称。大厅的穹顶高75米，车站共分4层，14个站台。2009年，美国《新闻周刊》称安特卫普中央车站是世界上第四美的火车站。(zh.wikipedia.org/安特卫普中央车站)
中央车站是比利时最美丽的火车站，但也有许多小偷和扒手。 本帖最后由 ngsunyu 于 2020-3-7 13:09 编辑
安特卫普的集装箱港是世界上最大的港口之一。(zh.wikipedia.org/安特卫普)
跨港渡轮是免费的。
本帖最后由 ngsunyu 于 2020-3-7 13:15 编辑
安特卫普的集装箱港是世界上最大的港口之一。(zh.wikipedia.org/安特卫普)
圣母大教堂（荷蘭語：Onze-Lieve-Vrouwekathedraal）尖顶高123米。 本帖最后由 ngsunyu 于 2020-3-7 23:50 编辑
中央车站前广场对面左拐是安特卫普的唐人街为比利时最大的亞洲人聚居市区。(zh.wikipedia.org/安特卫普)
从酒店步行五分钟可到达我推荐的文苑菜馆。 本帖最后由 ngsunyu 于 2020-3-8 00:11 编辑
Groenplaats广场比邻圣母大教堂（荷蘭語：Onze-Lieve-Vrouwekathedraal）。
广场中有彼得·保罗·鲁本斯（荷蘭語：Sir Peter Paul Rubens) 雕像。
本帖最后由 ngsunyu 于 2020-3-8 00:14 编辑
Groenplaats广场比邻圣母大教堂（荷蘭語：Onze-Lieve-Vrouwekathedraal）。
广场中有彼得·保罗·鲁本斯（荷蘭語：Sir Peter Paul Rubens) 雕像。
本帖最后由 ngsunyu 于 2020-3-9 09:21 编辑
圣母大教堂（荷蘭語：Onze-Lieve-Vrouwekathedraal）位于比利时安特卫普，始建于1351年，尖顶高123米。虽然第一阶段建造已于1521年结束，但主教座堂至今仍未全部完工。该主教座堂由建筑师扬·阿佩尔曼斯及其子彼得·阿佩尔曼斯设计建造，呈现出哥特式风格。大教堂里收藏了许多彼得·保罗·鲁本斯的作品。(zh.wikipedia.org/圣母主教座堂 (安特卫普)
本帖最后由 ngsunyu 于 2020-3-10 08:28 编辑
彼得·保罗·鲁本斯（荷蘭語：Sir Peter Paul Rubens，1577年6月28日－1640年5月30日），弗兰德画家，巴洛克画派早期的代表人物。魯本斯的畫有濃厚的巴洛克風格，強調運動、顏色和感官。魯本斯以其反宗教改革的祭壇畫、肖像畫、風景畫以及有關神話及寓言的歷史畫聞名。
1608年，鲁本斯的母亲去世，鲁本斯回到安特卫普，成为了布鲁塞尔宫廷画家，一年以后他迎娶了安特卫普当地一名杰出的人文主义者的女儿伊莎贝拉（Isabella Brant，1591年-1626年7月15日）。他为安特卫普圣母大教堂所画的两副祭坛画作品《上十字架》与《下十字架》确立了他作为比利时最杰出宗教画家的地位。(zh.wikipedia.org/彼得·保罗·鲁本斯)
1939年比利时的鲁本斯邮票包括这幅《下十字架》。 本帖最后由 ngsunyu 于 2020-3-11 05:06 编辑
鲁本斯故居（Rubenshuis）是彼得·保罗·鲁本斯（1577-1640）在安特卫普的故居和工作室，现在是一个博物馆。1609年鲁本斯与伊莎贝拉·勃兰特结婚一年后，开始在此兴建意大利风格的别墅，当时位于运河岸边。鲁本斯亲自设计这座建筑，基于他对意大利文艺复兴建筑的研究结果《热那亚的宫殿》（Palazzi di Genova）。布局包括住宅，工作室，巨大的门廊，内部庭院和巴洛克花园。 (zh.wikipedia.org/鲁本斯故居) 本帖最后由 ngsunyu 于 2020-3-12 01:07 编辑
鲁本斯故居的门廊上方安装了两座雕像：左边是画家之神墨丘利（拉丁語：Mercurius），右边是智慧女神弥涅耳瓦（拉丁語：Minerva）。
The garden portico's design is clearly based on a Roman triumphal arch, whereas the impressive central gateway clearly draws its inspiration from the Porta Pia, a famous city gate in Rome by the Italian Renaissance artist Michelangelo (1475-1564). Rubens installed sculptures of two Roman deities above the portico: to the left stands Mercury, the god of all painters, with Minerva, the goddess of wisdom to his right. (rubenshuis.be/en/page/courtyard-and-portico) 本帖最后由 ngsunyu 于 2020-3-13 01:15 编辑
门廊的中门模仿罗马的庇亚门（Porta Pia)。庇亚门是由米开朗基罗设计。
The garden portico's design is clearly based on a Roman triumphal arch, whereas the impressive central gateway clearly draws its inspiration from the Porta Pia, a famous city gate in Rome by the Italian Renaissance artist Michelangelo (1475-1564). Rubens installed sculptures of two Roman deities above the portico: to the left stands Mercury, the god of all painters, with Minerva, the goddess of wisdom to his right. (rubenshuis.be/en/page/courtyard-and-portico) 本帖最后由 ngsunyu 于 2020-3-14 00:14 编辑
鲁本斯故居（Rubenshuis）包括住宅，工作室，巨大的门廊，内部庭院和巴洛克花园。 本帖最后由 ngsunyu 于 2020-3-14 00:19 编辑
鲁本斯故居（Rubenshuis）包括住宅，工作室，巨大的门廊，内部庭院和巴洛克花园。 本帖最后由 ngsunyu 于 2020-3-15 00:26 编辑
1608年，彼得·保罗·鲁本斯回到安特卫普。他在约1619年绘了这幅《自画像》。原作已遗失，现存工作室复制品展于圣彼得斯堡冬宫博物馆。
The portrait presents Rubens with his elder son Albert (1614-1657), the future lawyer, secretary of the Privy Council in Brussels and author of a number of archeological works. The canvas was likely done by one of the artists in Rubens?s school and is a copy of the master?s last self-portrait. The main elements of the composition correspond to Rubens?s concept of the portrait: he is presented here surrounded by objects reflecting his interests as an antiquarian and humanist. On the right, in the niche, there is the depiction of a statue from Classical Antiquity of the goddess Hekate which once was part of the master?s personal collection. The burning lamp atop the statue is an attribute of many of the artist?s works and possibly symbolizes the light of knowledge. Finally, the gesture of the child?s hand, which trustfully touches the hand of Rubens, is a sign of the boy?s affection for his father, who appears here in the role of teacher and mentor to his son in the world of science and art. A similar gesture, attesting to the spiritual closeness of spouses, is met with in Rubens?s Self-portrait with Isabella Brant (Alte Pinakothek, Munich). from hermitagemuseum.org/wps/portal/hermitage/digital-collection 本帖最后由 ngsunyu 于 2020-3-15 00:30 编辑
1608年，彼得·保罗·鲁本斯回到安特卫普。他在约1623年绘了这幅《自画像》。现展于伦敦白金汉宫。
This painting seems to have been something of a face-saver. In 1621 Rubens supplied Lord Danvers with a Lion Hunt (now lost), a studio work, not knowing that it was intended for Charles, Prince of Wales. Danvers had it sent back as ‘a peese scarse touched by his own hand’. Rubens seems to have planned with Lord Danvers to make a peace offering to the Prince the moment he realised his mistake. Later Rubens claimed that he was concerned at the arrogance of sending a self portrait under these circumstances: ‘it did not seem fitting to send my portrait to a prince of such high rank, but he overcame my modesty’ (Rubens, letter of 10 January 1625; to Palamède de Fabri, Sieur de Valavez; 1582-1645). The most important thing, however, was that the work should be executed by Rubens and not his assistants: Lord Danvers wrote to William Trumbull in Brussels, asking ‘for his owne picture made originall and every part of it wrought with his owne hand’ (letter of 18 December 1622). Danvers adds in the same letter that this is a self portrait ‘which I heare hee hath made alreadie’; it is difficult to know if this means that Rubens redirected an existing (obviously recent) self portrait, or whether enough progress had been made on the portrait which Danvers himself instigated (through some previous, now lost, instruction) for word to get out that it was ‘made alreadie’. Whatever the explanation, the portrait is signed and dated 1623 and seems to have arrived in London in that year.
This is an interesting piece of self-promotion; it does not advertise Rubens’s invention, figure drawing or story-telling, important elements of his art. Instead we see purely pictorial qualities at theirmost intense: contrast of light and dark, with shades of deep black and a softly luminous face; strong accents of colour on the face and sky (again contrasting with the areas of black); variations of paint application from thinly scrubbed areas in the background, where brown underpaint shows through, to the thick, mobile rivers of oil paint, drawn by the brush, over the face. Rubens’s ‘owne hand’ is obviously and everywhere at work.
Rubens is portrayed as a courtier and diplomat, wearing sombre – but fashionable and expensive – black clothing. He carries no obvious attributes alluding to his profession, although he does wear a gold chain, which since the mid- sixteenth century had come to symbolise an artist’s success and wealth. However, unlike the gold chain prominently worn by Titian in both his surviving self-portraits, here only a small glimmer of gold can be seen beneath the sitter’s black cloak. Rubens received a number of gold chains during his career, including in 1609 one from the Archdukes Albert and Isabella of Austria and in 1623 from Christian iV of Denmark. The black hat worn at an acute angle, while fashionable, also served to conceal the artist’s hairline, which, as his self- portrait in the Galleria degli Uffizi of c.1615 demonstrates, had begun to recede.
The objects in the background of this portrait could be described as ‘a rock and a reddening sky’, which, in Latin, would read, Petrus et caelum rubens. It has been suggested that the artist included them as a play on his own name (reinforcing the Latin signature), or indeed that the whole portrait depicts a shame-faced, blushing or rubens Rubens.
By 1639, the picture was hanging in the ‘Litle roome Betwene Withdrawing roome: als called the Breakfast Chamber and the longe gallorie’ alongside self-portraits by Van Dyck and Daniel Mytens. This room was next to the King’s Bedchamber and would likely have been seen by the king on a daily basis.
Signed, dated and inscribed along top right margin:Petrus Paullus Rubens / se ipsum expressit / A.D MDCXXIII / Aetatis Suae XXXXV(rct.uk/collection/400156/a-self-portrait)
