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画作名称:
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Susanna Fourment and Her Daughter |
中文名称:
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苏姗娜·芙尔曼和她的女儿 |
画 家:
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安东尼·凡·戴克(Sir Anthony van Dyck) |
作品年份:
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1621 年 |
原作材质:
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布面油画 |
画作尺寸:
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172 × 117 cm |
馆藏链接:
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美国国家美术馆(National Gallery of Art,Washington,DC) |
备注信息:
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A young girl stands next to and holds the hand of an elegantly dressed woman sitting in a wooden armchair near stone columns, in front of a crimson-red curtain pulled up to reveal a distant landscape view in this vertical portrait painting. The child and woman have smooth, light skin, and the fabric of their dresses has a silken sheen.
To our right, the woman sits with her knees angled slightly to our left, and she looks at us with dark blue eyes under faint brows. Her brown hair is pulled back from her high forehead under a hair covering set with pearls. Her pointed chin is slightly pulled back, and her pale pink lips are closed. A teardrop-shaped pearl hangs from the ear we can see, and she wears two strands of pearls like a choker, above a thick, pleated lace ruff. The fabric of the long-sleeved bodice has a gold-on-gold pattern, and is lined with a row of buttons down the front. Filmy lace cuffs extend back over her forearms from her wrists. Her full, floor-length skirt is scarlet red with a gold, brocade-like pattern, and has silvery-gray stripes down the front and around the lower hem. The cloak she wears over the dress has a black-on-black floral pattern. Three thick gold chains hang across her bodice, and she wears a square-cut, gray stone set in a gold ring on the third finger of her left hand.
To our left, the young girl stands next to the wooden arm of the chair and holds the woman’s hands with both of hers. The child looks at us with gray eyes, and her pale pink lips are parted in a slight smile. Her light brown hair is pulled back under a gray band, perhaps of fur, around her head, over an apricot-colored head covering that matches her dress. The tight-fitting, long-sleeved bodice is striped with bands of alternating gold and pink geometric designs against the apricot-peach background. A lace-edged collar lies across her shoulders. A red, oval pendant hangs from her three-standed pearl necklace, and she wears three pearl bracelets on one wrist. A thick gold chain falls across her chest and around one hip. The floor-length, full skirt has buttercup-yellow and shell-pink highlights on the coral-colored background.
Behind the pair, the red curtain has been pulled up so it seems to flutter behind the woman’s head, in front of stone columns that frame a distant landscape view with trees. A blocky structure, presumably a building, sits on the far distant, hazy horizon. Light pours down in streaks from steel-gray clouds against a pale blue sky.
In this tender image of a mother and daughter, Anthony van Dyck has conveyed the full extent of his artistic abilities. Even in a formal portrait like this one, he has ably captured the warmth, love, and reassurance of the parent-child relationship through gaze, gesture, and even bearing. The woman is almost certainly Susanna Fourment, identified by a drawing of Van Dyck's one-time mentor and frequent collaborator Peter Paul Rubens, and her only daughter, Clara. Rubens was married to Susanna's sister-in-law Isabella Brant, and it was probably through Rubens that Van Dyck received the commission for this portrait.
With its combination of informality and grandeur, as well as the extraordinary naturalism of the figures' expressions and gestures, the painting bears close stylistic associations with Van Dyck's other work of around 1621. He had returned to his hometown of Antwerp from England in March of that year, but left again the following October to go to Italy. Unfortunately, nothing is known about the 17th-century provenance of Susanna Fourment and Her Daughter. Although it can be assumed that the large-scale portrait was painted for Susanna's home, most likely intended for the voorkamer (front room), there are no references to the painting until 1762. When Andrew Mellon purchased the work in 1930, the painting had been attributed to Rubens, owing to its close stylistic relationship with the master's work. However, by 1941 it had been given to Van Dyck, and it has never been questioned since.