艺术品展示 / 油画
《花童》(The Flower Girl)

名家名作

《花童》
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画作名称：

The Flower Girl
中文名称：
 花童
画 家：
 巴托洛梅·埃斯特万·牟利罗（Bartolomé Estéban Murillo）
作品年份：
 1665-1670 年
原作材质：
 布面油画
画作尺寸：
 120.7 x 98.3 cm
馆藏链接：
 多维茨画廊 (Dulwich Picture Gallery)
备注信息：

       An x-ray of the painting, reveals a completely different image beneath the paint surface. When the painting is positioned on its side, the bottom half of the figure of the Virgin Mary is visible, a composition that corresponds almost exactly to another painting by Murillo, The Immaculate Conception of El Escorial now in the Prado, Madrid. This is the first time evidence has been found of Murillo recycling his canvases, and while the Prado painting was not dated by the artist, we know from surviving drawings that Murillo was exploring variants of this composition from 1664 onwards. The warm, diffused lighting and the fluid, intuitive handling of the paint, particularly in the slashed sleeves of the girl’s dress, are characteristic of Murillo's 'soft focus' style when he was at the height of his career, suggesting a date of c.1665-70.

       This period was to be a significant marker in Murillo's life, as in 1671 his only daughter, Francisca María (1655-1710), who was born deaf, entered a Dominican convent, taking the name Sister Francisca María de Santa Rosa after Saint Rose of Lima, the very first South American saint, who was beatified in 1667 and canonised in 1671. Given these connections, it is tempting to view this painting as a portrait of the painter's daughter in the guise of a flower girl, whose roses are symbolic of the new name she has taken, thus combining in a single image his own religious and familial references, along with allusions to hope and new beginnings that accompany representations of Spring.

     

    百度翻译：http://fanyi.baidu.com

       This is Murillo's most celebrated depiction of a single female figure, a subject comparatively rare in his work. The painting is usually dated to the late 1660s, and the model may be Murillo's only daughter, Francesca, who became a nun in 1671.

       This figure’s youth, smile and lapful of flowers suggest that she is best understood as a personification of Spring - presumably one of a set of four seasons. It has recently been suggested that a painting at the National Gallery of Scotland, showing a similar, male, figure may be Summer.

     

    百度翻译：http://fanyi.baidu.com

 

画作细部研究

 

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   Hogarth once said that he had seen English cookmaids more beautiful than greek statues. Murillo here presents us with just such a below stairs ideal. It is as if he is saying that an artist's skill lies not in inventing beauty but in recognising it in unlikely places. This peasant girl spreads open her shawl with an instinctive grace; her sleeves and head-scarf crumple rhythmically, like rose-petals. Reality is further sweetened by a downy surface and slight soft-focus, achieved by dragging thick paint over a coarse weave of canvas. But this is still earthly beauty; it could never be confused with Murillo's heavenly 'Madonna of the Rosary' . Even her smile is more mischievous than angelic. The cheap colours - oranges and browns - contrast with the costly blues and golds of the 'Madonna'. A dull greyness lingers round the figure, as if ash had been mixed into the shadows. The drabness of this world is shown up by the radience of the next. 'The Flower Girl' is a meditation on transience - on a beauty as fragile as a plucked flower, threatened by a smoky dusk of decay. The model recurs in other works by Murillo and is possibly his daughter; Francisca. Angulo suggests a date of c.1670. The picture was one of the most extensively copied at the Gallery in the nineteenth century.