坎皮.文森佐Campi, Vincenzo（1530年—1591年），意大利画家。
皮出生于一个著名的艺术家的家庭。他是意大利文艺复兴时期画家的儿子Galeazzo皮和弟弟的画家朱里奥和安东尼奥。Vincenzo和安东尼奥都认为培训研讨会的哥哥朱里奥,一位著名的画家和建筑师在克雷莫纳工作。Vincenzo早年的一些记录存在,这位艺术家的作品的第一张唱片的肖像(现在失去)奥地利大公欧内斯特和他的哥哥鲁道夫画在1563年期间在克雷莫纳。
Campi Vincenzo、基督被钉在十字架上。1577年,布面油画,210 x 141厘米,博物馆普拉多电影院,马德里
而他的兄弟朱里奥和安东尼奥密切合作在对阵矫饰主义风格,Vincenzo为他庆祝自然主义和描述性的绘画方式 所描述的菲利波Baldinucci在他的Notizie博物学家(a)好,保持总是真实的模仿。[4]Vincenzo风格的发展被认为是出于他哥哥的死朱里奥在1573年,和一个重要的委员会收到的影响。Vincenzo委托壁画的能克雷莫纳大教堂剩下未完成的画家Pordenone大约五十年以前。建议通过风格指导他的兄弟的损失,影响Pordenone的原始和富有表现力的壁画,Vincenzo开始合并对阵的风格习惯动作,力求避免习惯性口头语伦巴第自然主义在他的绘画。
尽管这不是他最出名的是什么,Vincenzo和他的兄弟是最活跃的宗教题材的画家。Pordenone的影响力可以清楚地看到在Vincenzo 1575装饰画基督受难之前显示艺术家的伦巴第自然主义发展。与基督受难是不依惯例地描绘尴尬的站在十字架上,而他的手臂被刽子手的地面的手将他的两腿之间。从早期绘画特有的姿势是挪用Il Pordenone描绘基督的热情。
皮最出名的是他的重大贡献意大利北部风俗画的诞生。风格突然出现在1580年和1585年之间在克雷莫纳和博洛尼亚,和其发展深受类似风格的画作佛兰德的艺术家Pieter Aertsen和约阿希姆Beuckelaer. 访问这些作品是由进口佛兰德流派绘画,尤其是Beuckelaer,从安特卫普克雷莫纳,有钱的商人包括Affaitati银行业家族控股在这两个城市。 很有可能,皮访问这些进口通过他的时间画油画法尔家在皮亚琴察家庭举行重要的收藏这些进口佛兰德类型场景。 皮是一个关键人物在风俗画的诞生在意大利北部,因为他是第一个画一系列画作描绘屠夫,鱼供应商和家禽卖家作为富人的委员会依靠奥格斯堡的家庭。
这种发展了远离矫揉造作“Anti-Mannerist”自然主义 艺术史学家所描述的沃尔特Friedlaender,作为一个健康的脚踏实地的精神(未来)的存在,并联一个有力的治疗形式通过有目的的工作,重新接触现实生活。”
Campi Vincenzo、鱼贩子,c。1580年,布面油画,145×215厘米,Pinacoteca di布雷拉,米兰
1580年Campi Vincenzo、意大利乳清干酪吃,油画,里昂美术博物馆
皮的描写villano或农民插图和强化当代意大利北部话语认为某些食物只适合那些高贵的公民和其他出身。 皮的鱼贩子描绘对象吃豆子,黑暗的面包,和葱,确切的食物列为只适用于工人阶级在巴特Pisanelli颇具影响力的Trattato德拉自然de”研究所等del大麦的一种出版于1585年。奶酪也被视为合适的营养为下层阶级,”(世卫组织)没有办法为自己提供其他更多的健康食品。 皮说明了奶酪的低站在他的作品中,意大利乳清干酪的食客,该剧描绘了“贪吃的农民”笑着搂抱新鲜奶酪不紧密接触的嘴。
尽管皮选择描绘下层工人阶级,他对这些科目处理既不是同情,也不是故事。与食物的大量使用隐喻和建立角色比喻,皮经常描绘他的臣民为原油,傻瓜和可用性。 艺术史学家Barry风看到这些作品作为一个当代的古典思想的延伸pitture ridicole,或者漫画绘画,绘画作为的“持续的下流的玩笑” 和受过教育的人与低的幽默感。”
其他艺术家一起工作在克雷莫纳皮在1580年至1585年之间巴特洛Passarotti和他的学徒,Annibale Carracci谁都为意大利北部的发展做出了重要的贡献风俗画。艺术历史学家通常描述这些1580年代的前兆卡拉瓦乔更进步的现实主义新兴在接下来的十年。
Campi was born into a family of prominent artists. He was the son of Italian Renaissance painter Galeazzo Campi, and younger brother of painters Giulio and Antonio. Vincenzo and Antonio are thought to have trained in the workshop of their older brother Giulio, a prominent painter and architect working in Cremona Few records exist of Vincenzo's early years, with the first record of the artist’s work being a portrait (now lost) of Archduke Ernest and his brother Rudolf of Austria painted during their stay in Cremona during 1563.
While his brothers Giulio and Antonio worked closely within the Cremonese Mannerist style, Vincenzo was celebrated for his naturalism and ‘descriptive mode of painting’ as described by Filippo Baldinucci in his Notizie as, ‘(a) good naturalist, keeping always to the imitation of the real.’ Vincenzo's development in style is thought to have been motivated by both the death of his brother Giulio in 1573, and the influence of an important commission received in that same year. Vincenzo was commissioned to fresco the spandrels of the Cremona Cathedral left unfinished by painter Il Pordenonesome fifty years previously. It is suggested that it was through the loss of the stylistic guidance of his brother, and the influence of Pordenone’s raw and expressive frescos, that Vincenzo began to merge the styles of Cremonese Mannerism and Lombard naturalism in his painting
Although it is not what he is best known for, Vincenzo and his brothers were most active as painters of religious subjects. Pordenone’s influence can be clearly seen in Vincenzo’s 1575 altarpiece, Christ Before the Crucifixion that shows the artist’s developing Lombard naturalism. The crucifixion is unconventionally depicted with Christ standing awkwardly over the cross while his arm is pulled to the ground by the hand of the executioner poised between his legs. The peculiar pose was appropriated from an early drawing by Il Pordenone depicting the Passion of Christ.
Campi is best known for his significant contribution to the birth of northern Italian genre painting. The style appeared quite suddenly between 1580 and 1585 in Cremona and Bologna, and its development was heavily influenced by similar genre paintings by Flemish artists Pieter Aertsen and Joachim Beuckelaer.[7] Access to these works was made possible by the import of Flemish genre paintings, in particular those of Beuckelaer, from Antwerp to Cremona by wealthy merchants including the Affaitati banking family who had holdings in both cities.[8] It is highly likely that Campi had access to these imported paintings through his time painting for the House of Farnese in Piacenza where the family held significant collections of these imported Flemish genre scenes.[9] Campi was a key figure in the birth of genre painting in northern Italy as he was the first to paint a series of paintings depicting butchers, fish vendors and poultry sellers as a commission for the wealthy Fugger family of Augsburg.
This development saw a move away from Mannerism towards an “Anti-Mannerist” naturalism described by Art HistorianWalter Friedlaender, as, 'A healthy down-to-earth spirit (coming) into existence, paralleling a vigorous treatment of form achieved through purposeful work and renewed contact with living reality.'
Campi’s depictions of the villano, or peasant illustrated and reinforced a contemporary northern Italian discourse that argued certain foods were only appropriate for high-born citizens and others for low-born. Campi’s Fishmongers depicts its subjects eating beans, dark bread, and scallions, which were the exact foods listed as only suitable for the working classes in Bartolomeo Pisanelli’s influential Trattato della natura de’ cibi et del bere published in 1585. Cheese was also seen to be suitable nourishment for the lower classes, '(who) do not have the means to provide themselves with other more healthy foods’. Campi illustrates the low standing of cheese in his work, The Ricotta Eaters, which rather unflatteringly depicts "gluttonous peasants" laughing and spooning fresh cheese into their gapping mouths.
Despite Campi’s choice to depict the lower working classes, his treatment of these subjects was neither sympathetic nor romanticised. With the heavy use of food metaphors and established character tropes, Campi often depicts his subjects as crude, dim-witted, and sexually available. Art Historian Barry Wind sees these works as a contemporary extension of the classical idea of pitture ridicole, or comic painting, where the painting served as a ‘”sustained bawdy joke”[16] for and educated man with a low sense of humour.’
Other artists working alongside Campi in Cremona between 1580 and 1585 includeBartolomeo Passarotti and his apprentice, Annibale Carracci who both made significant contributions to the development of northern Italian genre painting. Art historians often describe these 1580s works as a precursor to Caravaggio’s more progressive realism emerging in the following decade.
1、本站美术网信息均来自于美术家自己或其朋友、网络等方式，本站无法确定每条信息或事件的真伪，仅做浏览者参考。
2、只要用户使用本站则意味着该用户以同意《本站注册及使用协议》，否则请勿使用本站任何服务。
3、信息删除不收任何费用，VIP会员修改信息终身免费(VIP会员点此了解)。
4、未经本站书面同意，请勿转载本站信息，谢谢配合！
