普拉多博物馆 (西班牙语：Museo Nacional del Prado) 成立200周年

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这幅画是1630年委拉斯开兹《火神的熔爐, 西班牙語： Apolo en la Fragua de Vulcano》。请参观 追寻 极限明信片中 荷兰名胜古迹 与 艺术杰作 的足迹 (in the footsteps of .....) 第 29～30楼。

這幅畫的主題是在表現太阳神阿波羅﹝Apollo﹞向維納斯的丈夫火神兀兒肯﹝Vulcan﹞，揭露維納斯和战神馬爾斯﹝Mars﹞通奸的故事。 構圖基本上是以垂直線為基礎。畫中人物以熔爐為中心一一排列，產生一種縱深的效果。這幅畫明顯地反映出義大利之行，對委拉斯开兹的影響，其畫面安排充實有力、人物描繪精確、表情恰到好處，貝利拉的明暗技法也得到了運用，在那不勒斯時，委拉斯开兹曾會見了這位自己仰慕已久的大師。  在該畫的人物布局方面，委拉斯开兹成功地找到一種寧靜、穩重的平衡。畫中的阿波羅光彩照人，他身裹橙紅色的長衫，與兀兒肯和他的四名徒弟形成鮮明對比；突然闖入的阿波羅打斷了鐵匠們的工作，使他們吃了一驚。畫家以明暗技法表現出健壯的人體，並以畫面的結構，巧妙地安排人物之間的聯繫。和以前的作品一樣，委拉斯开兹在畫中使用的仍然是暖色調：從淺朱色到深朱色逐漸變化，進而成為陰影處的褐色，這種褐色包括從栗色到焦土色調的變化；在這樣的色調襯托下，阿波羅大氅的鮮明顏色和鐵鉆上燒紅的金屬鍛件顯得格外分明。(Caneis.com.tw)

Vulcan's Forge. 1630. Oil on canvas
A figure suddenly appears on the left in a forge where various blacksmiths are working, dressed in an orange robe and wearing a laurel wreath, with rays of light emerging from his head. This is Apollo, who addresses himself to Vulcan, the blacksmith nearest to him, whose stance reveals his lameness. Everyone has stopped working, astonished by the news Apollois recounting: the adultery of Vulcan`s wife, the goodness Venus, with Mars, god of war, whose armour is being made at the forge. This episode, taken from Ovid`s Metamorphoses, provides the basis for one of Velázquez`s most ambitious and unique works, marking a before and after in his career from both a technical and a compositional and spatial viewpoint.

The first known reference to the painting dates from 1634 when it was sold by the artist to Phillip IV for the Buen Retiro palace. In 1724 Palomino stated that it was painted during the artist`s first trip to Rome, at the same time as Joseph`s Bloody Coat brought to Jacob (monastery of El Escorial). The two works are of similar (although not identical) size and are also comparable in theme: they are large history paintings in which the artist directly confronted issues of pictorial narration rather than moral or devotional questions. In both works the central episode in the narrative is the transmission of a surprising piece of news and the range of reactions on the part of those hearing it. The representation of emotions notably interested the most important artists working in Italy around 1630, such as Guido Reni, Pietro da Cortona and Nicolas Poussin. In this sense, Velázquez`s two paintings can be seen as an immediate response to the local context and one of a bold and direct nature. The artist made no attempt to encumber his figures with concealing garments, rather choosing an episode that obliged him to demonstrate his perfect mastery of the system of human proportions and his ability to transform the entire body (not just the face and hands) into a bearer of emotions. The resulting painting is a remarkable demonstration of his abilities.

The ultimate significance of Vulcan`s Forge has been the subject of considerable debate. Some authors have drawn attention to the fact that Homer used this episode with a didactic intent, giving Apollo the role of the eternal watchman of truth. According to this interpretation, the scene can be read in allegorical, Christian terms, with the god representing Christ as the legitimate owner of Truth. Other writers have considered the painting to be an allegory of art: the luminous figure of Apollo suddenly appears in the forge in order to illuminate the world of darkness with the light of the principal art forms. Following this idea, several authors have observed the similarities between this painting and Joseph`s Bloody Coat brought to Jacob with regard to the circumstances of their execution, their compositional ambition and the number of figures. As a result, they have proposed a global reading for the two paintings based on the idea of the power of the word to influence human emotions and behaviour, implying a discourse on the superiority of the world of ideas over that of mechanical labour. Aside from these significances, however, within Velázquez`s mythological output this canvas stands out for its narrative clarity, in the sense that what is happening is what we see, while the action is set out in perfectly recognizable terms. As a result, it can be seen as a work in which the artist deployed one of his more classical structures.

Within Velázquez`s development, Vulcan`s Forge marks his definitive conquest of space, the nude and expression, aspects that are intimately related in this work. Prior to his trip to Rome, the artist had experienced some problems in representing realistic spatial settings, which he always resolved through the juxtaposition of figures and objects. A good example is Los Borrachos (P01170), in which the drinkers are crowded together in the foreground. In Joseph`s Bloody Coat brought to Jacob Velázquez took a step forward in this sense, making use of a checkerboard floor, while in Vulcan`s Forge he completed the process, constructing his most complex and realistic spatial setting to date.

He achieved this by tacking the figure of Apollo and the blacksmiths as his starting point, rather than a pre-existing setting in which to locate the figures. It is these figures with their volume, turning movements and bodily gestures that create space. Here Velázquez made use of the nude, which has a capacity to generate space around it far greater than that of a clothed figure. This is immediately evident from a comparison between the crispness and quality of the space created by the blacksmiths and that generated by Apollo, who is partly clothed. In this sense, Vulcan`s Forge has one of the most coherent and successful descriptions of space to be found in any work by the artist, in which he had no need to make use of effects of aerial perspective of the type that would yield such outstanding results from The Surrender of Breda (P01172) and the equestrian portraits.

Vulcan`s Forge clearly reveals some of the consequences of Velázquez`s Italian trip, including his study of classical sculpture, and the skill in the depiction of emotions that he acquired by copying Michelangelo in the Sistine Chapel. Together, these elements give rise to one of his most successful compositions with regard to the unified, natural interaction of the figures. Technically, Vulcan`s Forge also represents a milestone in Velázquez`s career as it is his first large-scale work in which he used the lead white priming that would become a distinctive trait of his technique from this date onwards, resulting in exceptionally luminous compositions (Text from Portús, J.: Velázquez,Kunsthistorisches Museum, Wien, 2014, pp. 301-302).

小心1938年的委拉斯开兹极限明信片大多是倒戳，因为他们的明信片是1938年以后版。请参观 追寻 极限明信片中 荷兰名胜古迹 与 艺术杰作 的足迹 (in the footsteps of .....) 第 30楼。

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《布雷达之降》（西班牙文：La rendición de Breda），又译《布拉达之降》，是西班牙画家委拉斯開茲 的一幅1635年油画画作，1625年荷兰军队在布雷达（布拉达）向西班牙斯皮諾拉將軍投降。它描述布拉達城總督，把城門鑰匙交給勝利的將軍唐·安柏吉奧·斯皮諾拉侯爵的情景。在這樣一幅宏偉巨作裡，構圖佔了非常重要的地位。委拉斯開茲 把畫面分為兩部分：一邊為勝利者，一邊為戰敗者。挺立的長矛構成全畫的支撐點，長矛的垂直韻律，在畫的右邊更為鮮明突出。儘管這幅畫構圖十分複雜，委拉斯開茲 仍力求表現人物的個性。在熱內亞指揮官斯皮諾拉侯爵身後，我們還可以辨認出拿索．錫根和費里亞侯爵。這幅畫的構圖，擺脫了歷史畫的傳統布局，畫家在強調每個人物的心理聯繫和內心世界的同時，通過光線、空間與色彩的協調，讓全畫在整體的感覺達到統一。(caneis.com.tw)

唐·安柏吉奧·斯皮諾拉，第一代巴卑斯侯爵（Don Ambrogio Spinola Doria, 1st Marquis of the Balbases，1569年－1630年9月25日），出生在熱那亞，金羊毛騎士團、聖地牙哥騎士團成員，具有偉大的將軍（西班牙語：El Gran Capitán）之稱號。他以熱那亞貴族的身分，擔任西班牙的知名將軍，並為西班牙王室贏得許多重要戰役。講西班牙語的人，通常稱他為「安布羅西奧」。他被認為是那時代最偉大的將領之一，同時也是西班牙軍事史上最偉大的將領之一。

1618年，三十年戰爭爆發，西班牙政府決定出兵支援奧地利盟友，斯皮諾拉於是在1620年進軍新教陣營的普法爾茨選侯國。

天主教陣營對普法爾茨的攻勢相當順利，斯皮諾拉的兩萬五千人陸續攻陷不少城鎮，其中兩座大城市由他親自攻陷：奧彭海姆因為主力部隊被誘走而無力堅守，於利希的荷蘭守軍在承受圍攻五個月後放棄。在斯皮諾拉初步的勝利後，天主教陣營向普法爾茨派遣更多軍隊，由巴伐利亞將領蒂利伯爵和貢薩洛·德·科爾多巴（和祖先同名的西班牙將領）指揮，最後終於在1622年瓜分了普法爾茨。

普法爾茨的攻略讓斯皮諾拉得到提督之位，但是他在接下來的貝亨奧普佐姆圍攻（1622）裡無法阻止荷蘭海軍的補給，被迫撤退，埋下日後被抨擊的汙點。1624年，斯皮諾拉不顧西班牙政府的反對，出兵圍攻布雷達。布雷達是一座堅固的要塞，有相當的守軍駐紮，荷蘭和英國也隨時有可能出兵解救，國王和首相的憂慮相當合理。

出乎大部分人的意料之外，斯皮諾拉經過長達十一個月的激戰，中間抵擋了新教聯軍的兩輪救援，竟能迫使布雷達守軍投降，震驚全歐，成為他生涯中最偉大的勝利。

斯皮諾拉死後，西班牙國王腓力四世指定委拉斯開茲畫了「布雷達之降」，是關於斯皮諾拉的畫作中最知名的作品。收藏於馬德里的普拉多博物館。(zh.wikipedia.org/安布羅西奧·斯皮諾拉)


The Surrender of Breda. Ca. 1635. Oil on canvas Room 009A
On June 5, 1625 the Dutch governor of Breda, Justinus van Nassau, surrendered the keys of that city to Ambrosio Spínola, the Genoese general commanding the Spanish tercios (a group of soldiers that included pikemen, swordsmen and musketeers) of Flanders. Breda`s extraordinary strategic importance made it one of the most disputed cities in the Spanish monarchy`s prolonged war against the United Provinces of the North. Its conquest after a lengthy siege was considered a military accomplishment of the first order, generating a plethora of texts and images intended to exalt the winners. It is therefore not surprising that the decision to decorate the Buen Retiro Palace`s Hall of Realms with a series of paintings narrating the military triumphs of Philip IV`s reign called for a depiction of what was probably the most resounding victory of all. Nor is it any surprise that Velázquez, who was then the court`s most prestigious painter, was commissioned to paint it. As with his equestrian portrait of Philip IV (P01178), the artist proudly declares his authorship and his stylistic singularity on a sheet of bank paper appearing in the composition`s lower right corner. The painting`s dimensions, the importance of the event it depicts and the significance of the hall where it was to hang all encouraged the painter to put his best efforts into this work, offering proof of his extraordinary faculties. Additional pressure came from the competitive context, as the Hall of Realms included works by the court`s most outstanding artists. Velázquez met the challenge with a masterpiece that reveals not only his extraordinary descriptive gifts and mastery of aerial perspective, but also his narrative skills and his capacity to place all of a painting`s elements at the service of a specific content.

As numerous scholars have pointed out, this is no ordinary pictorial celebration of victory or martial ideals -its smoking background speaks clearly of destruction, war and death- but it does concentrate our attention on the foreground, where the triumphant general receives the key from his vanquished foe with an attitude closely resembling affection, in a gesture that seems more like the announcement of impending peace than that of war`s end. The entire composition is designed to emphasize this gesture, and both the group of Dutch soldiers (at the left) and the Spaniards serve to frame, accompany and shelter this principal motif, drawing our attention directly to it. The two generals constitute an image that conveys the message with extraordinary efficiency, and historians have related it to extremely varied sources and antecedents from both profane symbolism (Andrea Alciato`s Emblematum liber) and Christian iconography. In fact, Velázquez`s interpretation of the battle has very precise precedents: both Hermann Hugo, in his historical treatise, Obsidio bredana, and Pedro Calderón de la Barca, in one of his plays, approached the subject in a similar way, insisting on the magnanimity of General Spínola and his army, who treated their enemy with the respect they deserved as worthy rivals, rather than the disdain meted out to the vanquished. Indeed, Calderón`s The Seige of Breda, from 1635, describes the very event depicted in the painting in much the same terms, as an almost friendly encounter. A very similar content is also transmitted by Juan Bautista Maíno`s The Recovery of Bahia in 1625 (P885). Velázquez`s genius lies in having discovered the ideal formula for transmitting that content, which he did by eliminating all rhetoric and drawing instead on the most straightforward, and thus the most efficient means: the simple gesture of the two generals is enough to transmit a theory of State and a view of history. Generically, this painting can be dated between 1634 and 1635, as the decoration of the Hall of Realms is known to have begun in 1634 and was finished by spring, 1635.

Museo Nacional del Prado, El Palacio del Rey Planeta: Felipe IV y el Buen Retiro, Madrid, Museo Nacional del Prado, 2005, p.132-133

ngsunyu

小心1938年的委拉斯开兹极限明信片大多是倒戳，因为他们的明信片是1938年以后版。

ngsunyu

《宫娥》（西班牙語：Las Meninas）是西班牙黃金時代画家委拉斯開茲在1656年的一幅畫作，現收藏於馬德里的普拉多博物館。《宫娥》描繪的大房間位於國王西班牙菲利普四世的馬德里皇宮內，畫中所描繪之人物為西班牙宮廷內成員，畫面的擷取方式有如快照攝影。部分人物面向觀畫者，有些則正在與其他人物互動。在畫面中心，宮女、護衛、一名侏儒與一隻狗所環繞的小女孩是德雷莎小公主，腓力四世之女。在這些人的後方，則是面向觀畫者的画家委拉斯開茲。背景中懸吊的鏡子反映出國王與瑪麗亞納王后的上半身，他們處在畫作所描繪的空間之外，相當於觀畫者的位置。有些學者指出，若依此鏡像來推測，畫中的委拉斯開茲正在描繪的就是國王與王后。 (zh.wikipedia.org/宮女 (委拉斯開茲)

此《宫娥》画面上，画家委拉斯開茲站在最左面，手上拿着画笔，表情严肃，接下来从左至右分别为玛丽亚、小公主玛格利特、伊莎贝尔，玛丽亚和伊莎贝尔二人是玛格丽塔公主的侍女。再向右是小矮子玛丽芭波拉和波图萨托，后者的脚正踏在一条闭目而憩的猎狗身上。在她们身后站着一男一女，女士为马塞拉，王后的典衣侍女。男的因处在阴影之中，身份难以判定。画面最后站在门口的那个人是委拉斯凯兹的亲戚涅托，正在注视着室内的情景。在画面中央位置的一面镜子里，映出了菲利普四世夫妇的影子，他们正摆出姿势让委拉斯凯兹描绘，他们既是画中的委拉斯凯兹笔下的模特，又是画中场面的旁观者。(baike.baidu.com/item/宫娥/5804448?fromtitle=宫娥图&fromid=3979841)

畫家採用的透視法堪稱範例：如果說該畫的場景給人以「真實存在」的感覺，那是因為畫的空間並非是「被動」的：前景中的人物不是面向觀看者，而是面向觀眾後面的國王和王后。這就是為什麼觀眾會感到自己也屬於畫的一部分的原因，因為畫的構圖只有延伸到正在擺弄姿勢的國王夫婦。如此一來，讓人以為自己來到了畫家的畫室「參觀」，而畫室門框下的人物更加強了這一個效果，這裡是全畫透視線的匯集點，以表現一位畫室的參觀者，他穿過房間來到門口，正最後一次回顧這間畫室。

　因此這幅畫所表現不單是簡單的一個立方體，它所表現的是，包括場上觀眾在內的完整空間。在這裡，各種人物在活動、在呼吸，包括觀看者在內。這個空間不僅有著令人難以置信的縱深感，且畫框內外的人物及形體均栩栩如生，從而把我們帶到了四度空間之中！(caneis.com.tw)

Las Meninas. 1656. Oil on canvas Room 012
This is one of Velázquez`s largest paintings and among those in which he made most effort to create a complex and credible composition that would convey a sense of life and reality while enclosing a dense network of meanings. The artist achieved his intentions and Las Meninas became the only work to which the writer on art Antonio Palomino devoted a separate section in his history of Spanish painters of 1724, entitling it In which the most illustrious work by Don Diego Velázquez is described. Since then the painting has never lost its status as a masterpiece. From Palomino we know that it was painted in 1656 in the Cuarto del Príncipe in the Alcázar in Madrid, which is the room seen in the work. He also identifies most of the figures of the court servants grouped around the Infanta Margarita, who is attended by two of the Queen`s meninas or maids-ofhonour: María Agustina Sarmiento and Isabel de Velasco. In addition to that group, we also see the artist himself working on a large canvas, the dwarves Mari Bárbola and Nicolasito Pertusato, the latter provoking a mastiff, and the lady-in-waiting Marcela de Ulloa next to a guardadamas (attendant), with the chamberlain José Nieto standing in the doorway in the background. Reflected in the mirror are the faces of Philip IV and Mariana of Austria, the Infanta`s parents who are watching the scene taking place. The figures inhabit a space that is modelled not just through the laws of scientific perspective but also through aerial perspective. In the definition of this space the multiplication of the light sources plays an important role.

Las Meninas has one meaning that is immediately obvious to any viewer: it is a group portrait set in a specific location and peopled with identifiable figures undertaking comprehensible actions. The painting`s aesthetic values are also evident: the setting is one of the most credible spaces depicted in western art; the composition combines unity and variety; the remarkably beautiful details are divided across the entire pictorial surface; and finally, the painter has taken a decisive step forward on the path to illusionism, which was one of the goals of European painting in the early modern age, given that he has gone beyond transmitting resemblance in order to successfully achieve the representation of life or animation. However, as is habitual with Velázquez, in this scene in which the Infanta and the court servants pause in their actions on the arrival of the King and Queen, there are numerous underlying meanings that pertain to different fields of experience and which co-exist in one of the masterpieces of western art that has been the subject of the most numerous and most varied interpretations. One study, for example, has focused on the royal status of the Infanta, which thus endows the entire painting with a political content. There are also, however, important references of an art-historical nature that are expressed through the presence of the painter himself and the paintings hanging on the rear wall, while the inclusion of the mirror makes this work a consideration on the act of seeing and ensures that the viewer reflects on the laws of representation, the limits between painting and reality and his or her own role within the painting.

This richness and variety in the content, combined with the complexity of the painting`s composition and the variety of actions depicted, make Las Meninas a portrait in which the artist deploys representational strategies and pursues aims that go beyond the habitual ones in this genre, bringing it closer to history painting. In this sense, it is one of the key works through which Velázquez championed the potential of the pictorial genre to which he had devoted his activities since he arrived at court in 1623.

Portus, Javier, Diego Velázquez 'Las Meninas'. En :. Velázquez y la familia de Felipe IV, [1650-1680], Madrid, Museo Nacional del Prado, 2013, p.126-129 n.16

ngsunyu

小心1938年的委拉斯开兹极限明信片大多是倒戳，因为他们的明信片是1938年以后版。

ngsunyu

这幅画是1655~1660年委拉斯开兹《 織女們,  西班牙語：Las hilanderas》。  這幅畫在描寫馬德里一間壁氈工廠的一個場面。委拉斯开兹將畫面分成前景與後景。前景有一群女工正在編織壁氈，左邊一位年長的婦人轉動紡車，右邊一位較年輕的拿著線球整理紡線，並且伸出左手指向左方與紡車的轉動形成一種視覺的動勢，其他三位婦女則分別整理零頭線料。後景則是踏過台階之後的一間凹室，在充滿陽光的空間站著幾位衣著華麗的女人，其中一位帶著頭盔舉起右手的是正義之神雅典娜﹝Athena﹞，面對他站著的是阿拉克妮﹝Arachne﹞，她企圖與女神比較編織技巧，這是一種褻瀆神明的舉動。背後是一件參加比賽的壁氈，圖面描述天神朱比特﹝Jupiter﹞強暴歐羅巴﹝Europa﹞的情愛故事。(caneis.com.tw)

The Spinners, or the Fable of Arachne 1655 - 1660. Oil on canvas Room 015A

This painting is the result of two acts carried out in different periods. First, Velázquez painted the surface occupied by the figures and the tapestry in the background. Later, in the 18th century, a wide strip (with the arch and oculus) was added to the top, along with narrower ones on the left, right and bottom (these additions are not visible in the current presentation of this work). Those alterations affected the reading of the work`s content, making what occurs in front of the tapestry appear farther away. Consequently, viewers have long seen it as a representation of an everyday scene in a tapestry workshop, with spinning activities represented by Velázquez in the foreground and ladies standing before a tapestry in the background. In the nineteen thirties and forties, various critics and historians expressed their belief that this apparently costumbrista work actually had a mythological content. The discovery of the inventory of Alcázar employee, Pedro de Arce`s property confirmed their suspicions. Drawn up in 1664, it lists a Fable of Arachne by Velázquez with dimensions quite close to those of this painting`s oldest fragment. There, the main elements of this mythological story are in the background, where the goddess, Pallas, wearing her helmet, argues with Arachne as the two compete to show their respective skills in the art of weaving. The tapestry behind them bears the image of The Rape of Europa that Titian painted for Philip II (now at the Isabella Stewart Gardner Museum in Boston), which Rubens also copied during his stay in Madrid in 1628-1629. This was one of the erotic stories of Pallas` father, Jupiter, that Arachne had dared to weave, and it furnished Pallas with an excuse to turn her into a spider.  

The importance of the work and the number of figures, actions and objects depicted have all contributed to innumerable interpretations of this painting, as has Velázquez`s indirect approach to the narrative, confining the main event to the small space in the background. Some critics have read a political content into this composition, seeing it as a warning against pride, while the fact that one of the painting`s main images is a tapestry, and moreover, a representation of a work by Titian, has also led to art-historical readings. In that sense, it has been observed that the work represents the passage from material (the process of weaving) to form (the tapestry) through the power of art, which would make this work a defense of the nobility of painting. Also, the perfect transmission of a sense of motion in the spinning wheel has led some authors to recall Pliny`s affirmation that one of the greatest accomplishments to which painting can aspire is the imitation of movement. Such interpretations are supported by the fact that Siglo de Oro mythologist Pérez de Moya (whose work was in Velázquez`s library) interpreted the story of Arachne as a demonstration of the idea that art can always advance. Thus, through a mythological story whose key element is a tapestry that reproduces an original painting by Titian copied, in turn, by Rubens, Velázquez builds a narrative on artistic progress and competitiveness. This work appears to be from the final decade of Velázquez`s career, around the same time as Las Meninas or Mercury and Argos, with which it has much in common. It is one of the artist`s most complex works, and it marks the culmination of his tendency to create compositions that are sophisticated and ambiguous in terms of both form and content, demanding the active participation of the viewer.  Fábulas de Velázquez. Mitología e Historia Sagrada en el Siglo de Oro / edición a cargo de Javier Portús Pérez, Madrid, Museo Nacional del Prado, 2007, p.337

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小心1938年的委拉斯开兹极限明信片大多是倒戳，因为他们的明信片是1938年以后版。

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在阿姆斯特丹国家博物馆，我们看到了伦勃朗和委拉斯开兹画展《Rembrandt-Velázquez: Dutch and Spanish Masters》。两幅画并排展出。一幅画是 17世纪荷兰黄金时代画家伦勃朗 完成于1662年的群体肖像名画《制布商协会之质量检察官员》現收藏在荷兰首都阿姆斯特丹的荷兰国家博物馆 。 有关详细信息，请参考第22楼。一幅画是17世纪西班牙黄金时代画家 委拉斯開茲完成于1630年的罗马神话名画《火神的熔爐》現收藏在西班牙首都马德里的 普拉多博物館 。有关详细信息，请参考第29~30楼。  明眼的访客可以一目了然看出这不是策展人的理想组合。哪幅画是理想的组合? 当然是17世纪西班牙黄金时代画家 委拉斯開茲完成于1656年的宫廷生活名画《宫娥》現收藏在西班牙首都马德里的 普拉多博物館 。为什么《宫娥》比《 火神的熔爐》更佳？
第一, 《制布商协会之质量检察官员》与《宫娥》两幅画中人物是真有其人, 不是神仙。
第二,   也是最重要的关键类似点, 两幅画或多或少帶有複雜且難解的構圖，引起了關於實景與虛景的難題；並建構了觀察者與畫中人物間的微妙關係。《 火神的熔爐》中每个人都感到惊讶，因为太阳神阿波罗出现在他们的锻武廠中并公布隐私。《宫娥》中有几个人转移注意力，也许是因为國王與王后进入了房间，也许是因为觀畫者进入了房间。《制布商协会之质量检察官员》中每个人都转移注意力，也许是因为有旁人进入了房间。

为什么阿姆斯特丹国家博物馆沒有借到《宫娥》？  因为《宫娥》是普拉多博物館的 镇馆之宝。加上今年庆祝普拉多博物馆成立200周年。有关《宫娥》详细信息，请参考  普拉多博物馆 (西班牙语：Museo Nacional del Prado) 成立200周年 第十九楼。

后来我发现 本·卢克（Ben Luke）和我有相同的看法。

One unites one of Velázquez’s breakthrough paintings, made on his first visit to Italy, Vulcan’s Forge (1630) with Rembrandt’s The Syndics (1662) as evidence of their prowess in multi-figure compositions. But while each is a masterpiece of psychology and technique, as a pair they fall flat—Velázquez’s figures are full-length, semi-naked, thronging with Italian classical movement and mythological imagination; Rembrandt’s are seated at a table, austerely dressed, restrained in countenance, despite their evident human warmth. Perhaps a far more instructive companion for The Syndicswould have been Las Meninas, but, of course, Velázquez’s masterwork will never travel. (excerpts from Rembrandt-Velázquez: a match made in curatorial heaven by Ben Luke in the art newspaper)

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《葡萄牙的伊莎貝拉, Empress Isabella of Portugal》由提齊安諾·維伽略 繪於1548年。收藏於 西班牙馬德里的普拉多美術館。  

伊莎贝拉（英語：Isabella，1503年10月24日－1539年5月1日）是神圣罗马帝国皇后、意大利兼西班牙王后和葡萄牙王國公主。她的丈夫是神圣罗马帝国皇帝查理五世。

她的家庭希望葡萄牙能和西班牙结成联盟，于是伊莎贝拉在1526年3月和表哥查理五世结婚。虽然两人是政治联姻，但查理对美丽的伊莎贝拉却一见钟情。他们的婚姻生活十分和谐，她也先后诞下七名孩子（只有三位活到成年）。1539年，她诞下一名死胎并在两周后因难产逝世。查理在她死后终身只穿黑色衣服以怀念爱妻。(zh.wikipedia.org/葡萄牙的伊莎貝拉)

The portraits that Titian painted of Isabella (1503-1539), daughter of King Manuel of Portugal and wife of Charles V from 1526, constitute one of the most moving episodes within Renaissance art. When the empress died, Charles found that he did not have her portrait, so he tried to recover the one that his deceased wife had sent years earlier to Margaret of Austria. In November 1539 he received this portrait from his sister Mary, but was not happy with it as he considered that it did not resemble his wife. It was probably at this point that he had the idea of commissioning a portrait from Titian if he could find a suitable model. In 1543 Charles sent to the artist in Busseto a small portrait of Isabella probably by William Scrots(Poznan, National Museum), molto simile at vero, benché di trivial` pennello, according to Aretino. In 1545 Titian finished a portrait of Isabella dressed in black with flowers in her lap and with the imperial crown behind her; it was destroyed in the fire in the Palace of El Pardo in 1604 and is known through copies and prints. Charles had it brought to Augsburg in 1547 so that the artist could retouch the nose. This lost portrait acted as a model for the present version, also painted in Augsburg and which we know, from a letter from the artist to Granvelle, was completed on 1 September 1548. In the letters, Titian also refers to a double portrait of Charles and Isabellaof which there is a copy by Rubens (Madrid, Fundacion Casa de Alba Collection), and which was a curious combination of the seated portrait of Charles (Munich, Alte Pinakothek) and the first one of the empress.

These three portraits constitute further chapters in the fascinating process of the recovery of the empress through her image, culminating in the double portrait which united the emperor with his absent spouse. In these works Charles was not seeking a faithful reproduction of her appearance (given that he already had one molto simile al vero), but rather wished to visualise his own memorised one, which would explain the episode of the nose. Charles asked Titian to retouch this feature, not because it was badly painted, but rather because Titian had painted it as it really was. The portraits of Isabellamade during her lifetime show her with an aquiline nose, a feature also remarked on by contemporary commentators, and not with the improbably straight and classically perfect nose which Titian painted. With this correction, Titian repeated with Isabella′s nose the cosmetic operation he had carried out Charles′ protruding jaw in his portraits. The moving, personal nature of the portrait explains why it was one of the few paintings that Charles always had with him, and it is documented in Brussels in 1556 and Yuste in 1558.

The portrait follows a model by Raphael/ Giulio Romano(Isabel de Requesens; Paris, Louvre) which Titian had looked to in 1536 for his portrait of Eleonora Gonzaga, Duchess of Urbino. The sitter is seated with an open window next to her through which is a landscape. A sonnet by Pietro Aretino celebrating the portrait of Eleonora Gonzaga and the way in which the painter emphasises her virtues (her modesty in being seated and the purity implied by covering her breast and hair with a veil, elements also used for the empress), highlight the conventional nature of the formulae used in such images. Isabella′s portrait, however, is more hieratic, not because she did not actually pose for it, but rather because it deliberately conveys a sense of distant majesty evident in other imperial portraits. It is not so much the imperial eagle embroidered on the curtain -the only concession to imperial iconography- but rather Isabella′s distant gaze, focused neither on the Book of Hours that she holds or on a possible viewer, which gives her image gravity and dignity. The work is in good condition. The X-radiograph has revealed no alterations but has shown that Titian reused a canvas with a female figure painted on it.

Philip II lent this portrait to his sister the empress Mary for the Descalzas Reales Convent, where it is mentioned by Carducho in 1633. In 1636 it was hanging in the Alcazar in Madrid, where it remained until the fire of 1734. It then passed to the Palacio Real Nuevo, entering the Museo del Prado in 1821. (Falomir Faus, Miguel, Tiziano, Madrid, Museo Nacional del Prado, 2003, p.208)

提齊安諾·維伽略（Tiziano Vecelli或Tiziano Vecellio，1488年（一說為1490年）– 1576年8月27日），英語系國家常稱呼為提香（Titian），他是意大利文艺复兴后期威尼斯画派的代表画家。

提香曾应教皇保罗三世和神圣罗马帝国皇帝查理五世的邀请到罗马和皇帝的宫廷中画了许多肖像画。但他漫长的一生主要都在威尼斯度过的，留下了大量的作品。他主要的作品是一些宗教和古罗马神话的题材，充满戏剧性的气氛和动感的人体线条。
提香的肖像画能揭示人物内心世界。中年画风细致，稳健有力，色彩明亮；晚年则笔势豪放，色调单纯而富于变化。在油画技法和绘画风格上对后期欧洲油画的发展，有较大影响。(zh.wikipedia.org/提齊安諾·維伽略)

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《在米尔贝格的查理五世, Emperor Charles V at Mühlberg》由提齊安諾·維伽略 繪於1548年。收藏於 西班牙馬德里的普拉多美術館。  

1545年特倫托會議的召开宣告了欧洲天主教势力反对宗教改革的浪潮的开始。查理五世决心惩罚德意志的新教王公。1546年查理五世与施马尔卡尔登联盟（德語：Schmalkaldischer Bund)开战。在施马尔卡尔登战争的第一阶段（1546年－1548年）他打败了萨克森选侯约翰·腓特烈 (德語：Johann Friedrich I. von Sachsen)，并将投降的黑森伯爵（慷慨的）腓力一世(德語：

Philipp I. (Hessen) 监禁起来（1547年－1552年）。然而，他先胜后败。新的战事于1552年爆发后，查理五世遭到一系列失利，遂与诸侯签订1555年的奥格斯堡宗教和约 （德語：Augsburger Reichs- und Religionsfrieden)。(zh.wikipedia.org/查理五世_(神圣罗马帝国)

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This portrait commemorates Charles V’s victory over the Schmalkaldic League at Mühlberg on 24 April 1547. The Emperor is equipped in the manner of  the light cavalry with a half pike and wheel-lock pistol. His suit of  armour was made around 1545 by Desiderius Helmschmid and has an image of the Virgin and Childon the breastplate, as was customary with Charles’ armour from 1531. Panofsky  pointed to the combination of two non-exclusive concepts to be found in  this image, which depicts Charles as the heir to the Roman tradition  and also as the incarnation of the miles christianus, as he was described by Erasmus in the Enchiridion (1503). The significance of the lance connects with both interpretations, referring to both Longinus and Saint George  (the Christian knight par excellence) but also functioning as a symbol  of the supreme power of the Roman emperors. However, the circumstances  and period at which the portrait was painted mean that the religious  connotations of this work are not as significant as the political ones.  Imperial propaganda presented the campaign against the Schmalkaldic League  as a political rather than a religious conflict, intended to punish  those who had risen up against their legitimate ruler. In fact, leading Lutheran nobles such as Maurice of Saxony supported Charles, whose army was primarily made up of Protestants. In addition, while Titian was painting the portrait in Augsburg, Charles was giving his support to the Interim,  which concluded on 12 March 1548, in a last attempt to bring Catholics  and Protestants together. In such a context the Court did not wish to  project an image of Charles as the champion of Catholicism  or the arrogant victor over his own subjects, but rather as an emperor  capable of ruling over a heterogeneous group of states and religions.  Hence the lack of any references in the painting to the battle and the  rejection of the ideas proposed by Pietro Aretino, who suggested that Titian depict the defeated trampled under the hoofs of the horse. We should also bear in mind that the portrait was owned by Mary of Hungary,  in whose posthumous inventory of 1558 the painting is described in  political rather than religious terms, stating that Charles is shown in the manner in which he went against the rebels.

The Emperor Charles V at Mühlberg lacks precedents in Italian art and scholars have thus generally made reference to classical and Renaissance sculpture, such as Marcus Aurelius on Horseback and Verrocchio’s Colleoni, as well as to German art, particularly Dürer’s Knight, Death and Devil of 1513-4. Above all it has been associated with Hans Burgkmair the Elder, who in 1508 produced a woodcut of Maximilian I on Horseback, and in 1509-10 a Project for an Equestrian Sculpture of Maximilian I (Vienna, Graphische Sammlung Albertina). The reference to Maximilian is particularly apt as it points to a tradition of equestrian portraits of the head of the Holy Roman Empire  with which Charles V had previously been associated at Mühlberg. Images  of Charles of this type included the reliefs of 1522 by Hans Daucher and the coloured engravings produced by Hans Liefrinck the Elder in Antwerp  in 1542-4. It can be assumed that Charles must have intentionally  sought out these affinities. Immediately after the battle of Mühlberg he  commissioned an equestrian sculpture from Leone Leoni which, although ultimately unexecuted, recalls the project for the sculpture of Maximilian referred to above and which, along with the present work by Titian, was intended to reinforce the image of Charles as Emperor in a way appropriate to the particular political situation of Germany in 1547-8. Titian  translated into painting and monumentalised these formal and  ideological precedents, which were easily identifiable by anyone looking  at this painting in Augsburg, the same city in which Burgkmair had worked for Maximilian some decades before, in close collaboration with the Helmschmid  family, the imperial armourers. Despite its seminal nature, this truly  exceptional work did not find immediate echoes in art, and the  equestrian portrait had to wait until the early decades of the 17th  century and the hand of Rubens before it came to occupy a place of honour in court art. (El retrato del Renacimiento, Museo Nacional del Prado, 2008, p.388-389 )