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The Portrait of Bindo Altoviti is a painting finished around
1515 by the Italian High Renaissance painter Raphael. It is housed
in the National Gallery of Art of Washington, D.C., United
States.
Bindo Altoviti was a rich banker born in Rome in 1491 of
Florentine origin. He was a cultured man who liked the arts.
The graceful, almost effeminate position of the subject along
with the heavy contrast between light and shadow are atypical of
Raphael's work, particularly of his portraits of men, demonstrating
the artist's experimentation with different styles and forms in his
later Roman period. The influence of the works of Leonardo, which
Raphael studied astutely during this period of his career, is
strikingly evident in this particular piece.
The painting was a property of Altoviti’s descendants until
1808, when it was sold to Ludwig I of Bavaria. It remained at the
Alte Pinakothek until 1936, when, after many debates about its
attribution, the painting was lured out of Nazi Germany by "canny
English dealers".Acquired by Samuel Henry Kress, the portrait
subsequently became property of the National Gallery of Art in
Washington, D.C..
A bronze bust of Altoviti by Benvenuto Cellini is exhibited in
Boston at the Isabella Stewart Gardner Museum.
 拉斐尔 宾多·阿托维蒂肖像 Bindo
Altoviti
参考译文
《宾多·阿托维蒂肖像》是文艺复兴全盛时期画家拉斐尔于1515完成的一幅画。藏于美国华盛顿特区的国家美术馆。
宾多·阿托维蒂是一位富有的银行家，于1491年出生于罗马，来自佛罗伦萨。他是一个喜欢艺术的有文化的人。
这个主题的优雅、几乎柔弱的姿态以及光与影之间的强烈对比是拉斐尔作品的典型特征，特别是他的人物肖像，展示了艺术家在后来的罗马时期以不同的风格和形式进行的实验。拉斐尔在其职业生涯中精明地研究的莱昂纳多作品的影响在这篇特别的作品中非常明显。
这幅画是阿托维蒂后代的财产，直到1808年才出售给巴伐利亚的路德维希一世。它一直留在德国老绘画陈列馆，直到1936年，经过多次关于其归属的辩论之后，这幅画被“精明的英国经销商”从纳粹德国引诱出来。山缪·亨利·卡瑞斯(Samuel
Henry Kress)收购后，肖像随后成为华盛顿特区国家美术馆的财产。
本韦努托·切利尼（Benvenuto
Cellini，1500-1571）的宾多·阿托维蒂青铜半身像在伊莎贝拉斯图尔特加德纳博物馆的波士顿展出。
作品细节
 拉斐尔 宾多·阿托维蒂肖像 Bindo Altoviti  拉斐尔 宾多·阿托维蒂肖像 Bindo Altoviti  拉斐尔 宾多·阿托维蒂肖像 Bindo Altoviti  拉斐尔 宾多·阿托维蒂肖像 Bindo
Altoviti
 拉斐尔 宾多·阿托维蒂肖像 Bindo Altoviti  拉斐尔 宾多·阿托维蒂肖像 Bindo Altoviti  拉斐尔 宾多·阿托维蒂肖像 Bindo Altoviti  拉斐尔 宾多·阿托维蒂肖像 Bindo Altoviti  拉斐尔 宾多·阿托维蒂肖像 Bindo Altoviti  拉斐尔 宾多·阿托维蒂肖像 Bindo Altoviti 拉斐尔 宾多·阿托维蒂肖像 Bindo Altoviti 拉斐尔 宾多·阿托维蒂肖像 Bindo Altoviti 拉斐尔 宾多·阿托维蒂肖像 Bindo Altoviti 拉斐尔 宾多·阿托维蒂肖像 Bindo Altoviti 拉斐尔 宾多·阿托维蒂肖像 Bindo Altoviti 拉斐尔 宾多·阿托维蒂肖像 Bindo Altoviti 拉斐尔 宾多·阿托维蒂肖像 Bindo Altoviti 画家简介
拉斐尔出生于意大利乌尔比诺公国，其父乔瓦尼·桑蒂（Giovanni
Santi）是乌尔比诺大公的御用画师，也是拉斐尔的第一个老师。拉斐尔8岁时母亲去世，11岁时父亲去世，由大公的妻子艾丽萨维塔·贡萨戈收养。拉斐尔年少时师从乌尔比诺画家彼得罗·佩鲁吉诺（Pietro
Perugino，1446-1523）和蒂莫特奥·维蒂（Timoteo
Viti，1469-1523），从1500年开始担任佩鲁吉诺的助手，佩鲁吉诺冷静精致技术和抒情风格深刻影响了拉斐尔的早期创作。1504年，拉斐尔离开佩鲁吉诺移居佛罗伦萨，在那里他深受意大利画家弗拉巴托洛梅奥、列奥纳多达芬奇、米开朗基罗和马萨乔的作品的影响。通过研究他们的作品，拉斐尔融汇众长，形成了更富有表现力的个人风格。1508年拉斐尔移居罗马，在教皇朱利叶斯二世的赞助下，在梵蒂冈斯坦兹宫（
Raphael Rooms
）作画。在这里，他和他领导的团队创作了对罗马艺术产生惊人的影响的最伟大的杰作，包括《雅典学院》、《诗坛》和《圣礼之争》。拉斐尔率领的创作团队由五十名来自意大利各地的知名画家组成，其中许多人（如朱里诺·罗马诺、詹弗朗西斯科·彭尼、佩里诺·德·瓦加）后来成为了重要的艺术家，这个团队的规模是史无前例的。1514年，教皇聘请拉斐尔为首席建筑师，设计了罗马的人民圣母教堂、圣埃利焦·德·奥雷菲奇教堂和圣彼得新教堂内广场，他的宫殿设计决定了文艺复兴晚期和早期巴洛克时期的建筑风格。
拉斐尔的绘画充分体现了安宁、和谐、协调、对称以及完美和恬静的秩序，他的画面上始终洋溢着明净的色彩、柔和的光线和宁静而优雅的节奏感。他所画的圣母，典雅优美，超凡脱俗，令人沉浸在神秘优雅的意境中。拉斐尔于1520年37岁去世后，他的学生把他的艺术传播到意大利各地，之后形成的矫饰主义
(Mannerism，亦称“风格主义”)推动和影响了巴洛克时期的绘画风格。有学者认为，拉斐尔高超的艺术造诣代表了“人文主义及文艺复兴世界的顶峰”。他的作品在后来的几个世纪中一直被视为学院派绘画的经典。
（阴山工作室根据《不列颠百科全书》和维基百科编写）
作品资料
Raphael
Marchigian, 1483 - 1520
Bindo Altoviti
c. 1515
oil on panel
overall: 59.7 x 43.8 cm (23 1/2 x 17 1/4 in.)
framed: 86.2 x 70.8 x 8.4 cm (33 15/16 x 27 7/8 x 3 5/16
in.)
Samuel H. Kress Collection
1943.4.33
On View:West Building, Main Floor - Gallery 20
PROVENANCE
Commissioned by the sitter, then by inheritance in the
Altoviti family, Rome and later Florence;[1] sold November 1808 via
Johann Metzger to Ludwig I, King of Bavaria [1786-1868]; presented
to the Alte Pinakothek, Munich; traded September 1938 to (Thos.
Agnew and Sons, Ltd., London);[2] sold October 1938 to (Duveen
Brothers, Inc., London, New York, and Paris);[3] sold 1940 to the
Samuel H. Kress Foundation, New York; gift 1943 to NGA.
[1] The complete provenance of this painting is described in
David Alan Brown and Jane Van Nimmen, Raphael & the Beautiful
Banker, New Haven and London, 2005.
[2] Regarding deaccessions from the Pinakothek, see also
Jonathan Petropoulos, The Faustian Bargain, Oxford, 2000:
31+.
[3] The painting is listed in the General Stock Book of Duveen
Brothers that covers the period 1 June 1937 to April 1941 (copy in
NGA curatorial files; Duveen Brothers Records, Accession No.
960015, Getty Research Institute, Los Angeles, Reel 66, Box
186).
展览历史
1983 Raphael and America, National Gallery of Art, Washington,
D.C., 1983, no. 98, repro.
2003 Raphael, Cellini & A Renaissance Banker: The
Patronage of Bindo Altoviti, Isabella Stewart Gardner Museum,
Boston; Museo Nazionale del Bargello, Florence, 2003-2004, no. 8,
fig. 35, frontispiece.
2009 From Raphael to the Carracci: the Art of Papal Rome,
National Gallery of Canada, Ottawa, 2009, no. 11, repro.
相关文献
1941 Duveen Brothers. Duveen Pictures in Public Collections of
America. New York, 1941: nos. 136-137, repros.
1941 Preliminary Catalogue of Paintings and Sculpture.
National Gallery of Art, Washington, 1941: 163, no. 534.
1942 Book of Illustrations. National Gallery of Art,
Washington, 1942: 250, repro. 175.
1944 Cairns, Huntington, and John Walker, eds., Masterpieces
of Painting from the National Gallery of Art. New York, 1944: 50,
color repro.
1944 Frankfurter, Alfred M. The Kress Collection in the
National Gallery. New York, 1944: 37, repro.
1945 Paintings and Sculpture from the Kress Collection.
National Gallery of Art, Washington, 1945 (reprinted 1947, 1949):
116, repro.
1956 Walker, John. National Gallery of Art, Washington. New
York, 1956: 20, repro.
1959 Paintings and Sculpture from the Samuel H. Kress
Collection. National Gallery of Art, Washington, 1959: 98,
repro.
1961 Walker, John, Guy Emerson, and Charles Seymour. Art
Treasures for America: An Anthology of Paintings & Sculpture in
the Samuel H. Kress Collection. London, 1961:, 107, repro. 97,
color pl. 98
1962 Neugass, Fritz. "Die Auflösung der Sammlung Kress." Die
Weltkunst 32 (1 January, 1962): 4.
1963 Walker, John. National Gallery of Art, Washington, D.C.
New York, 1963 (reprinted 1964 in French, German, and Spanish):
306, repro.
1965 Summary Catalogue of European Paintings and Sculpture.
National Gallery of Art, Washington, 1965: 107.
1966 Cairns, Huntington, and John Walker, eds. A Pageant of
Painting from the National Gallery of Art. 2 vols. New York, 1966:
1:132, color repro.
1968 Shapley, Fern Rusk. Paintings from the Samuel H. Kress
Collection: Italian Schools, XV-XVI Century. London, 1968: 105-106,
fig. 255-256.
1975 European Paintings: An Illustrated Summary Catalogue.
National Gallery of Art, Washington, 1975: 280, repro.
1979 Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2
vols. National Gallery of Art, Washington, 1979: I:394-396, II:pl.
280
1982 Alsop, Joseph. The Rare Art Traditions: The History of
Art Collecting and Its Linked Phenomena Wherever These Have
Appeared. Bollingen series 35, no. 27. New York, 1982: 452.
1984 Walker, John. National Gallery of Art, Washington. Rev.
ed. New York, 1984: 180, no. 200, color repro.
1985 European Paintings: An Illustrated Catalogue. National
Gallery of Art, Washington, 1985: 326, repro.
1990 Campbell, Lorne. Renaissance Portraits: European
Portrait-Painting in the 14th, 15th, and 16th Centuries. New Haven,
1990: 101, fig. 118.
2005 Brown, David Alan and Jane Van Nimmen. Raphael & the
Beautiful Banker: The Story of the Bindo Altoviti Portrait. New
Haven and London, 2005.
2006 Rosenberg, Pierre. Only in America: One Hundred Paintings
in American Museums Unmatched in European Collections. Milan, 2006:
16, 17, color fig. 16.
2013 Harris, Neil. Capital Culture: J. Carter Brown, the
National Gallery of Art, and the Reinvention of the Museum
Experience. Chicago and London, 2013: 465.
2013 Hodge, Susie. Raphael: His Life and Works in 500 Images.
Wigston, Leicestershire, 2013: 205, color fig.
2013 "Vasari and the National Gallery of Art." National
Gallery of Art Bulletin 48 (Spring 2013): 16-17, repro.
2014 Jordan de Urries y de la Colina, Javier. "El primer
autorretrato de Mengs." Ars Magazine 7, no. 24 (octubre-diciembre
2014): 68, color fig
2014 Mims, Bryan. "Asheville's Fortress of Art." Our State
Down Home in North Carolina (1 October 2014): 40-42, 44,
repro.
2015 Brown, David Alan. "Looking Backward; Americans Collect
Italian Renaissance Art." In A Market for Merchant Princes:
Collecting Italian Renaissance Paintings in America ed. Inge Reist.
(The Frick Collection Studies in the History of Art Collecting in
America, 2) University Park, Pennsylvania, 2015: 8.
2016 Jaques, Susan. The Empress of Art: Catherine the Great
and the Transformation of Russia. New York, 2016: 398.
阴山工作室
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