弗朗西斯科 ·阿耶Francesco Hayez

弗朗西斯科 ·阿耶Francesco Hayez（1791年2月10日——1882年12月21日），意大利画家。

中文名弗朗西斯科 ·阿耶
外文名Francesco Hayez
性别男
国籍意大利
出生地威尼斯
出生日期1791年2月10日
逝世日期1882年12月21日
职业画家

传记

Hayez来自一个相对贫穷的家庭威尼斯。乔凡尼,他的父亲是法国血统,而他的母亲,Chiara Torcella是从慕拉诺岛。孩子弗朗西斯科,最小的五个儿子,是由他的母亲的妹妹,谁娶了乔凡尼Binasco,小康船东和艺术收藏家。从小他画的倾向,所以他的叔叔跟他一个艺术恢复。后来他成为画家的一个学生弗朗西斯科·Maggiotto他继续他的研究三年了。被画的新美术学院在1806年,在那里他学习了特奥多罗·Matteini。1809年,他赢得了竞争学院的威尼斯一年的研究学院迪圣卢卡在罗马。他直到1814年才在罗马,然后搬到那不勒斯他受命于哪里约阿希姆Murat画一个主要工作描述《尤利西斯》在法庭上的Alcinous。在1830年代中期,他参加了“Salotto Maffei”沙龙在米兰主持的,克拉拉马费伊(其肖像Hayez画她的丈夫),而且他还在米兰在1850年他被任命为主管布雷拉学院在那里。

弗朗西斯科·Hayez住长和多产。他输出了历史性的绘画,包括那些会吸引顾客的爱国情感。其他反映渴望陪伴新古典主义的风格主题,从圣经或古典文学。他还画场景戏剧展示他的一天。明显缺乏从他的输出,然而,圣坛雕刻为虔诚的显示。然而,在拿破仑入侵deconsecrated许多教堂和修道院在意大利北部,该地区并不乏宗教艺术作品被博物馆或宗教机构集中在剩余的活跃。Corrado里奇形容他开始作为一个古典学者但然后进化到一个风格的情感波动。

他的肖像与强度安格尔和拿撒勒人运动。经常坐着,穿着简朴,通常是黑色和白色的衣服,没有装备。虽然他完整的肖像了贵族,其他科都是艺术家和音乐家。在他职业生涯的后期,他曾使用照片。

他最喜欢的主题之一是一个衣衫半露女性。经常他们,喜欢他宫女的东方主题,唤起了最喜欢的话题浪漫的画家。的描述一夫多妻制和他们的性让他们画场景的能力在他们的社会不能接受的。甚至他的抹大拉的马利亚有更多比宗教热情性感。

在他的作品中,他的绘画《吻》同时代的人被认为是他最好的作品,只有获得尊重。匿名,影响动作的夫妇不需要神话的知识或文学解释,现代的目光和上诉。

评估职业Hayez是复杂的事实,他经常没有迹象或约会他的作品。通常的注明日期的证据是,收购或出售,不成立。此外,他经常用最小涂几次相同的成分变化,甚至没有变化。

在他的学院的学生安吉洛Pietrasanta,卡洛Belgioioso,Amanzio均,安吉洛Pietrasanta,亚历山德罗Focosi,弗朗西斯科·Valaperta,Ismaele Teglio拉Antonio Tavella Giovanni Lamperti,安东尼奥筒仓和Livo佩科拉。

English Introduction

Biograph

Hayez came from a relatively poor family fromVenice. His father, Giovanni, was of French origin while his mother, Chiara Torcella, was from Murano. The child Francesco, youngest of five sons, was brought up by his mother's sister, who had married Giovanni Binasco, a well-off shipowner and collector of art. From childhood he showed a predisposition for drawing, so his uncle apprenticed him to an art restorer. Later he became a student of the painter Francesco Maggiotto with whom he continued his studies for three years. He was admitted to the painting course of the New Academy of Fine Arts in 1806, where he studied under Teodoro Matteini. In 1809 he won a competition from the Academy of Venice for one year of study at the Accademia di San Luca in Rome. He remained in Rome until 1814, then moved to Naples where he was commissioned by Joachim Murat to paint a major work depicting Ulysses at the court of Alcinous. In the mid-1830s he attended the "Salotto Maffei" salon inMilan, hosted by Clara Maffei (whose portrait Hayez painted for her husband), and he was still in Milan in 1850 when he was appointed director of the Academy of Brera there.

Francesco Hayez lived long and was prolific. His output spanned both historic paintings, including those that would have appealed to the patriotic sensibility of his patrons. Others reflect the desire to accompany a Neoclassic style to grand themes, either from biblical or classical literature. He also painted scenes from theatrical presentations of his day. Conspicuously lacking from his output, however, are altarpieces intended for devotional display. However, after the Napoleonic invasions deconsecrated many churches and convents in Northern Italy, the region was not lacking for religious artworks that were removed either to museums or concentrated in the remaining active religious institutions. Corrado Ricci describes him as starting as a classicist but then evolving to a style of emotional tumult.

His portraits have the intensity seen with Ingres and the Nazarene movement. Often sitting, the subjects dress in austere, often black and white clothing, with little to no accoutrements. While he did complete portraits for the nobility, other subjects are artists and musicians. Late in his career, he is known to have worked using photographs.

One of his favorite themes was a semi-clothed female. Often they were, like hisOdalisque, evocative of oriental themes, which had been a favorite topic of Romanticpainters. The depictions of harems and their women allowed them the ability to paint scenes not acceptable in their society. Even his Mary Magdalene has more sensuality than religious fervor.

Among his works, his painting The Kiss was considered among his best work by contemporaries, and has only gained in esteem since then. The anonymous, unaffected gesture of the couple does not require knowledge of myth or literature to interpret, and appeals to a modern gaze.

Assessment of the career of Hayez is complicated by the fact that he often did not sign or date his works. Often the date indicated from the evidence is that at which the work was acquired or sold, not of its creation. Moreover, he often painted the same compositions several times with minimal variations, or even with no variation.

Among his pupils from the Academy were Angelo Pietrasanta,Carlo Belgioioso, Amanzio Cattaneo, Angelo Pietrasanta, Alessandro Focosi, Francesco Valaperta, Ismaele Teglio Milla, Antonio Tavella, Giovanni Lamperti, Antonio Silo and Livo Pecora.

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美术百科参考资料

1、Francesco Hayez