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注释： ①See Eric Karpeles,Paintings in Proust:A Visual Companion to In Search of Lost Time,London:Thames & Hudson,2008. ②1921年5月，当此画连同维米尔的《戴珍珠耳环的少女》一起在巴黎的国立网球场现代美术馆展出时，普鲁斯特曾特地让专门研究美术史的朋友陪同前往一起观摩，而且在名画前显得兴奋不已(Anthony Bailey,Vermeer:A View of Delft,New York:Henry Holt and Co.,2001,pp.248-249.) ③Francoise Barbe-Gall,How to Understanding a Painting:Decoding Symbols in Art,London:Frances Lincoln,2011,p.4. ④需要明确的是，并非所有绘画作品中的细节都应该诉诸阐释上的苦读细品，尤其是完全装饰性的画作。以英国19世纪画家爱德华·科利·伯恩—琼斯(Edward Coley Burne-Jones)描绘了十八个宛如精灵般的女性形象的名作《金楼梯》为例，艺术家的兴趣与其说是叙述某一故事，还不如说是渲染某种心绪而已。 ⑤Kenneth Clark,One Hundred Details from the National Gallery,London:National Gallery Company,2008,p.7. ⑥⑩Celia Fisher,Flowers of the Renaissance,Los Angeles:J.Paul Getty Museum,2011,p.17,p.50. ⑦ ⑧http://www.essentialvermeer.com/catalogue/girl_with_a_pearl_earring.html. ⑨Marjorie E.Wieseman,A Closer Look:Deceptions & Discoveries,London:National Gallery,2010,pp.36-37. (11)确实，将鲁特琴微凹面板予以准确再现的画家屈指可数。早于亨德里克·特·布鲁根的，可推意大利画家巴托洛梅奥·威尼托(Bartolomeo Veneto)的两幅《鲁特琴演奏者》、帕拉西奥·米凯里(Parrasio Micheli)的《弹奏鲁特琴的少女》。 (12)Souron Melikian,"If Music be the Food of Love…",International Herald Tribune,Saturday-Sunday July 20-21,2013; Marjorie E.Wieseman,Vermeer and Music:The Art of Love and Leisure,London:National Gallery London,2013. (13)(14)Anna Tummers,The Eye of the Connoisseur:Authenticating Paintings by Rembrandt and His Contemporaries,Los Angeles:J.Paul Getty Museum,2011,p.72,p.72. (15)参见帕特里克·德·莱克《解码西方名画》，丁宁译，生活·读书·新知三联书店2011年版，第346—347页。 (16)Esther Singleton(ed.& trans.),Famous Paintings as Seen and Described by Famous Writers,New York:Dodd,Mead & Company,1903,pp.5-6.另外，此作其实被认为是拉斐尔和其杰出的弟子朱里奥·罗马诺(Giulio Romano)合作完成的。 (17)Robert Herbert,"Method and Meaning in Monet",Art in America,Vol.67,No.5(September 1979):90-108; Paul Tucker,Monet in the'90s.The Series Paintings,Boston:Museum of Fine Art,1989,chapter 4. (18)有关《圣杰隆之梦》一画的阐释，其实争论极多。这里，仅仅提及一种可能较为合理的解释而已(参见帕特里克·德·莱克《解码西方名画》，第60—61页)。 (19)http://www.nationalgallery.org.uk/paintings/research/paintings-index. (20)James Heard,Close Examination:Fakes,Mistakes & Discoveries,in one DVD,London:the National Gallery of Art,2010. (21)Nick Squires,"Smirking face of the Devil discovered in Giotto fresco",The Telegraph,6 November,2011. (22)John Varriano,"At Supper with Leonardo",Gastronomica:The Journal of Food and Culture,Vol.8,No.1(2008):75-79; Daily Mail Reporter,"Revealed:Jesus was eating eel in the Last Supper painting,not bread or lamb,according to art historian",Daily Mail,1 October,2008,http://www.dailymail.co.uk/news/worldnews/article-1065948/Revealed-Jesus-eating-EEL-Last-Supper-painting-bread-lamb-according-art-historian.html#ixzz0v44z4TqF. (23)(24)Alessandra Rizzo,Uffizi High-Resolution Images,http://artandhistory.wordpress.com/2010/10/04/uffizi-highresolution-images. (25)http://www.artfortune.com/caravaggio-self-portrait; http://www.telegraph.co.uk/culture/art/art-news/6468623/Tiny-Caravaggio-self-portrait-revealed-by-technology.html. (26)http://www.nationalgallery.org.uk/paintings/pietro-longhi-a-lady-receiving-a-cavalier. (27)Marjorie E.Wieseman,Vermeer's Women:Secrets and Silence,Cambridge,New Haven and London:The Fitzwilliam Museum in association with Yale University Press,p.104. (28)参见《不列颠百科全书》第10卷，中国大百科全书出版社2002年版，第531—532页。 (29)Mieke Bal,Reading Rembrandt:Beyond the Word-Image Opposition,Cambridge,New York,Port Chester,Melbourne and Sydney:Cambridge University Press,1991,p.22,224-230; Mieke Bal,"Reading Bathsheba:from Mastercodes to Misfit",in A Mieke Bal Reader,Chicago:The University of Chicago Press,2006 . (30)多少有点奇怪的是，伦勃朗的《芭思希芭阅读大卫王的信》并没有被收录在恩斯特·凡·维特林牵头编纂的多卷本《伦勃朗绘画汇编》中，而只是简略地一笔带过(Cf Ernst van de Wetering(ed.),A Corpus of Rembrandt Paintings,Vol.V：Small-scale History Paintings,(Springer,2010):200,242,524)。 (31)Bernard Berenson,Aesthetics and History,New York:Doubleday & Company,1948,p.149. (责任编辑：admin) |