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花束的女士半身像》,1475年前后,大理石,60cm。佛罗伦萨,巴杰罗美术馆。

从习作的细节来看,右手起初轻轻搭在左手上面,之后慢慢上抬,似乎想要握住什么,这一点与上文提到的韦罗基奥的《捧花束的女士半身像》的手部动作极为相似。

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这幅习作让我们看到,“手”在达·芬奇的艺术创作中扮演着特殊角色,它不仅表现了“灵魂的动作”,更是一种隐藏的字符。

《吉内薇拉·班琪》

Portrait of Ginevra de’ Benci

1475年前后,华盛顿国家美术馆

《吉内薇拉·班琪》是市面上最后几幅确定为达·芬奇的作品之一(画作自1733年以来es flowers in most lovely colours, rosered and blue and green, peasant patterns—and sometimes fantastic animals, beasts, in dark wool again. So that these striped zebra bags, some wonderful, gay with flowery colours on their stripes, some weird with fantastic, griffin-like animals, are a whole landsters the city, such a rippling sound. Well, it must be morning, even if one shivers at it. And at least it does not rain.

That pale, bluish, theatrical light outside, of the first dawn. And a cold wind. We come on to the wide, desolate quay, the curve of the harbour Panormus. That horrible dawn-p