马里亚诺·福图尼Fortuny, Mariano

马里亚诺·福图尼(Marià Fortuny 1838－1874）是西班牙著名画家，出生于西班牙加泰罗尼亚，当他还是婴儿时父亲去世,母亲在他12岁的时候也离开了，从此跟随祖父生活，祖父教他做蜡像。福图尼运用印象派的观察方法捕捉瞬间的场面和动作，利用摄影化的效果，表现某种光影瞬间的精彩形象。

中文名马里亚诺·福图尼
外文名Fortuny, Mariano
性别男
国籍西班牙
出生地塔拉戈纳
出生日期1838年6月11日
逝世日期1874年11月21日
职业画家

传记

他出生在Reus附近的一个小镇,塔拉戈纳,在加泰罗尼亚,西班牙。玛丽亚是一个婴儿时父亲去世,他的母亲在他12岁。因此,玛丽亚是由他的祖父,一位不妨教他做蜡像。9岁时,在一个公共竞争他的镇上,当地的画家,老师和赞助人,Domenec君主白兰地酒我城区,鼓励进一步的研究。14岁时,他搬到巴塞罗那他的祖父。雕刻家Domenec Talarn让他获得了一份养老金让他参加巴塞罗那的学院(La Llotja艺术学院)。在那里,他学习了四年Claudi Lorenzale和加索尔米拉我Fontanals(西文)1857年3月,他获得了奖学金《他两年的研究罗马从1858年开始。他学习绘画和宏伟的方式风格,加上约瑟头盔我Portanell,学术界Giggi。

1859年,他被政府称为巴塞罗那省(Diputacio de巴塞罗那)描述的活动西班牙-摩洛哥联合研究战争。他去了摩洛哥从2月到4月,使景观和战斗的草图,他显示马德里和巴塞罗那当他回来了。这些后来事奉他为他的初步草图,之战-(La batalla de - 1862 - 64,位于Nacional de加泰罗尼亚艺术品,见下一段)。

以来的日子委拉斯凯兹在西班牙,有传统(和欧洲)纪念战斗和胜利的油漆。他的经验的基础上,Fortuny委员会委托进行的巴塞罗那(Diputacio de巴塞罗那)画一个大帆布西洋景Muley-el-Abbas的营地和捕获的Muley-el-Hamed西班牙军队。他开始他的作文-战斗的画布上15米长,但是,尽管他在这工作,在接下来的十年中,它从来没有完成。

这次旅行的更大的影响力Fortuny是他后来对世界的奇异的主题摩洛哥、绘画个人和想象的法庭场景。1868年他去了巴黎,不久之后结婚塞西莉亚•德•Madrazo的女儿费德里科•德Madrazo,谁会成为馆长普拉多博物馆在马德里。在一起,他们有了一个儿子,马里亚诺·Fortuny y Madrazo成为一个著名的时尚和挂毯设计师。另一个访问巴黎在1870年之后两年呆在格拉纳达,但后来他回到罗马,有点突然去世11月21日,1874年从间日疟的攻击,或疟疾在露天,简约而画那不勒斯和Portici在1874年的夏天。他的一个学生Attilio Simonetti.

遗产

Fortuny绘画丰富多彩,活泼的一笔,有时回忆起柔软的洛可可风格绘画也预计印象派绘画。理查德·Muther状态:

他不可思议地敏感眼睛…看见摩尔carpet-sellers的摊位,没有数据群集,和富人显示东方编织东西;古老的阿拉伯人坐在阳光下疲惫的态度的,忧郁的,沉思的脸奇怪的蛇人,魔术师。这不是巴黎东部…每一个在这里讲阿拉伯语。

Fortuny经常画场景当代生活仍未摆脱古老传统的肩章和装饰品如“埋葬一个斗牛士”和夫妻签订婚姻合同(La Vicaria)。每个人都有耀眼的小摆设^[1]点缀,但作为模型的判断,他的画的绘画装饰空气洛可可和浪漫主义衰落到形成主义,面对赤裸裸的代表对象的现实。他继承了戈雅的眼睛和现实矛盾的仪式。

English Introduction

Biography

He was born in Reus, a town near Tarragona, in Catalonia, Spain. His father died when Marià was an infant, and his mother by the time he was 12. Thus, Marià was raised by his grandfather, a cabinet-maker who taught him to make wax figurines. At the age of 9, at a public competition in his town, a local painter, teacher and patron, Domènec Soberano i Mestres, encouraged further study. At the age of 14 he moved to Barcelona with his grandfather. The sculptor Domènec Talarn secured him a pension allowing him to attend the Academy of Barcelona (La Llotja school of art). There he studied for four years under Claudi Lorenzale and Pau Milà i Fontanals (es), and in March 1857 he gained ascholarship that entitled him to two years of studies in Rome starting in 1858. There he studied drawing and grand manner styles, together with Josep Armet i Portanell, at the Academia Giggi.

In 1859, he was called by the Government of the Province of Barcelona (Diputació de Barcelona) to depict the campaigns of the Spanish-Moroccan War. He went to Morocco from February to April of that year, making sketches of landscapes and battles, which he showed in Madrid andBarcelona when he returned. These would later serve him as preliminary sketches for his monumental piece, The Battle of Tetuan (La batalla de Tetuan, 1862–64, Museu Nacional d'Art de Catalunya, see next paragraph).

Since the days of Velázquez, there had been a tradition in Spain (and throughout Europe) of memorializing battles and victories in paint. On the basis of his experiences, Fortuny was commissioned by the Council of the Province of Barcelona (Diputació de Barcelona) to paint a large canvas diorama of the capture of the camps of Muley-el-Abbas and Muley-el-Hamed by the Spanish army. He began his composition of The battle of Tetuan on a canvas 15 metres long; but, though he worked on it off and on during the next decade, it was never finished.

The greater influence of this travel on Fortuny was his subsequent fascination with the exotic themes of the world of Morocco, painting both individuals and imagined court scenes. He visited Paris in 1868 and shortly afterwards married Cecilia de Madrazo, the daughter of Federico de Madrazo, who would become curator of the Prado Museum in Madrid. Together, they had a son, Mariano Fortuny y Madrazo, who became a well-known fashion and tapestry designer. Another visit to Paris in 1870 was followed by a two years' stay at Granada, but then he returned to Rome, where he died somewhat suddenly on November 21, 1874 from an attack of tertian ague, or malaria, contracted while painting in the open air at Naples and Portici in the summer of 1874. One of his pupils was Attilio Simonetti.

Legacy

Fortuny paintings are colorful, with a vivacious iridescent brushstroke that at times recalls the softness of Rococo painting but also anticipates impressionist brushwork. Richard Muther states:

his marvellously sensitive eye … discerned the stalls of Moorish carpet-sellers, with little figures swarming, and the rich display of woven stuffs of the East; the weary attitude of old Arabs sitting in the sun; the sombre, brooding faces of strange snake-charmers and magicians. This is no Parisian East…every one here speaks Arabic.

Fortuny often painted scenes where contemporary life had still not shaken off the epaulets and decorations of ancient traditions such as the ‘’Burial of a matador’’ and couples signing marriage contracts (La Vicaria). Each has the dazzle of bric-a-brac^[1] ornament, but as in his painting of the Judgement of the model, that painterly decorative air of Rococo and Romanticism was fading into academicism and left to confront the naked reality of the represented object. He inheritedGoya's eye for the paradox of ceremony and reality.

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美术百科参考资料

1、Marià Fortuny