Brera Art Gallery：The Most Romantic Gallery in ...
35.Brera Art Gallery：The Most Romantic Gallery in the World 布雷拉画廊——最有情调的画廊
The Brera Art Gallery is an art collection in Milan, Italy. It contains one of the foremost collections of Italian paintings, an outgrowth of the cultural program of the Brera Academy, which shares the site in the Palazzo Brera.It is the world's most romantic gallery, featuring many masterpieces of ancient and modern painters.
布雷拉画廊是意大利米兰的一座美术馆，是意大利绘画的最重要的收藏地之一，与布雷拉学院一同设在布雷拉宫。它是世界上最有情调的画廊，展出很多古代和现代画家的杰作。
●The Romantic Gallery in the Fashion City 时尚之都的情调画廊
The Brera Art Gallery is a famous gallery in Milan, the fashion city, designed and extended by the architect Righini in 1651 and completed by his sons finally. The Brera Art Gallery was originally a Christian school, and the National Library of Milan in 1870，and later became an art museum, a planetarium, and now a gallery.
The whole building is a square courtyard. In the courtyard there is a tall bronze statue of Napoleon I, holding a symbol of victory in the right hand, and a stick in the left hand.It was sculpted by the neoclassical master Ann Canova in 1809.It is surrounded by many statues of scientists and artists.
The whole house consists of 40 rooms, a collection of various paintings of various romances. In the 4th room, featuring many works of Tintoretto, the important figure of Venetian School, such as Saint Helen Testing the True Cross, the Miracle of St Mark, etc.In the 23rd room, the most eye-catching portrait is Raphael's The Marriage of Virgin.In the painting, the wedding is held in a sunny plaza.Joseph is putting the ring on Maria's arm.The remaining characters are in both sides, forming a symmetrical composition.The picture is harmonious and full of music, as if the marriage ceremony is performed in music.It shows fully the painter's artistic attainments.In the 31st，32nd and 33rd room, there are works of famous painters from Lombardy school and other art styles of Italyand other European countries, such as Rubens, Rembrandt and so on.
布雷拉画廊是时尚之都米兰的一座著名画廊，由建筑师里基尼于1651年设计扩建，由其子最后建成。布雷拉画廊原为基督教会学校，1870年曾为米兰国家图书馆，后成为美术馆、天文馆，现为画廊。
整座建筑呈四方形庭院，庭院中有一座拿破仑一世的高大铜像，右手握有胜利的象征，左手拿着权杖，铜像由新古典主义大师安·卡诺瓦于1809年铸成。四周有许多科学家、艺术家的石像。
整个大厦共分40室，收有各种名画，别有一番情调。在第4室中，展出威尼斯画派重要人物丁托列托的很多作品，如《圣海伦持十字架与圣者》、《圣马可的奇迹》等。在第23室内中，最醒目的画像是拉斐尔的《圣洁圣母的婚礼》。画中的婚礼在阳光明媚的广场举行，约瑟正将戒指戴到玛丽亚手上。其余人物分列两侧，形成对称构图。画面和谐，充满乐感，似乎婚礼在乐曲中进行，充分显示了画家的艺术造诣。在第31、32和33展室，则珍藏着伦巴第画派、意大利及欧洲其他国家画派如鲁本斯、伦勃郎等著名画家的作品。
●The Romantic Collection Highlights 别有风味的收藏集锦
The Lamentation of Christ 《哀悼基督》
The Lamentation of Christ is a painting by the Italian Renaissance artist Andrea Mantegna. While the dating of the piece is debated, is generally believed to have been completed between 1475 and 1501.It portrays the body Christ supine on a marble slab.He is watched over by the Virgin Mary, St.John and somebody in the upper left hand corner just behind Virgin Mary who are weeping for his death.
The theme of the Lamentation is common in medieval and Renaissance art, although this treatment, dating back to a subject known as the Anointing of Christ is unusual for the period. Most Lamentations show much more contact between the mourners and the body.Rich contrasts of light and shadow abound, infused by a profound sense of pathos.The realismand tragedy of the scene are enhanced by the violent perspective, which foreshortens and dramatizes the recumbent figure, stressing the anatomical details：in particular, Christ's thorax.The holes in Christ's hands and feet, as well as the faces of the two mourners, are portrayed without any concession to idealism or rhetoric.The sharply drawn drapery which covers the corpse contributes to the dramatic effect.Unique to this painting is a design that places the central focus of the image on Christ's genitals-an artistic choice that is open to a multitude of interpretations.Mantegna managed to paint a very specific representation of physical and emotional trauma.
《哀悼基督》是一幅由意大利文艺复兴艺术家安德里亚·曼坦那创作的图画。鉴于这部作品的问世时间存在争议，一般认为这是于1475～1501年完成的画作。它描绘的是一幅基督的身体仰卧在大理石板上的情景。圣母玛丽和圣约翰都在看着他，圣母玛丽旁边的左上角还有人为他的死亡而哭泣。
哀歌的主题是中世纪和文艺复兴时期很普通的艺术，虽然这幅画作可以追溯一个叫做“基督的恩膏”的并不普通的主题。大多数哀歌更喜欢描述送葬者与尸体之间的接触。光线和阴影之间的丰富烘托比比皆是，注入了意义深刻的悲情。现实和悲剧场景都强加了暴力视角，将横卧的雕像进行透视缩短和戏剧化处理，强调和解剖了其中的细节：特别是耶稣的胸膛。耶稣手脚上的洞和哀悼者的面孔，都不加任何美化或修辞。覆盖尸体的大幅画布料有助于戏剧效果。这种绘画的独特之处在于这个设计将形象的焦点集中在耶稣的生殖器——这是一种可以有多种诠释的艺术选择。曼坦那成功地塑造了一幅有关身体和感情创伤的非常具体的代表作。
The Kiss 《吻》
The Kiss is an 1859 painting by the Italian artist Francesco Hayez. It is possibly his best known work.This painting conveys the main features of Italian Romanticism and has come to represent the spirit of the Risorgimento.
The painting represents a couple from the Middle Ages, embracing while they kiss each other. The girl leans backwards, while the man bends his left leg so as to support her, simultaneously placing a foot on the step next to him as though poised to go at any moment.The couple, though at the center of the painting, are not recognizable.In the left part of the canvas shadowy forms lurk in the corner to give an impression of conspiracy and danger.
《吻》是意大利画家弗朗西斯科·海耶兹于1859年创作的一幅画作。这可能是他最著名的作品。这幅画传承的是意大利浪漫主义的主要特点，代表的是精神的复兴运动的精神。
这幅画描绘了中世纪的一对夫妻互相亲吻拥抱的场景。女人的身子向后弯曲，男人用左腿支撑着她，同时跨出一步，好像随时准备去亲吻的样子。这对夫妻虽然就在画面的中央，却无法辨认他们的真面貌。在帆布左侧的阴暗角落里，潜伏着阴谋和危险的黑影形象。
The Finding of the body of St Mark 《发现圣马可尸体》
The Finding of the body of St Mark is a painting by Tintoretto. Dated to between 1562 and 1566，it is part of a cycle of paintings of the patron saint of Venice.
Like its companion piece, St Mark's Body Brought to Venice, the composition exemplifies Tintoretto's preference for dramatic effects of perspective and light. According to the art historian Thomas Nichols，"the linear logic of the emptied, boxlike perspective vistas is undermined by an irrational play of light and shade.Both paintings suggest the simultaneousexistence of different levels of reality through the use of a range of pictorial techniques."
《发现圣马克尸体》是由丁托列托于1562～1566年创作的一幅画。它是有关威尼斯守护神的系列画作的组成部分。
就像它的姊妹篇《圣马克的尸体带到威尼斯》一样，画作证实了丁托列托作品的偏好角度和光线的戏剧性效果。根据历史学家托马斯·尼克尔斯所言，“空洞的箱式透视景观的线性逻辑被一种不合理的光和阴影破坏了。这两幅画表明，通过使用一系列的绘画技巧，可以呈现出不同程度的现实。”
The San Luca Altarpiece 《圣卢克祭坛画》
The San Luca Altarpiece, also known as the San Luca Polyptych, is a polyptych panel painting by Northern Italian Renaissance painter Andrea Mantegna. The altarpiece is a polyptych panel painting featuring 12 figures each in his or her own arch.The seven figures in the top row flank the central figure of Jesus Christ.The five beneath flank Saint Luke.
On August 10，1453，Mantegna signed a contract to paint the work for the monastery of Santa Giustina in Padua. In return for 50 ducats, Mantegna agreed to complete the work, providing paints with which to depict the figures and the azzurro Todesco（a blue pigment derived from copper）with which to inlay them.The work was completed within that or the following year.The polyptych is located in Pinacoteca di Brera, Milan.
《圣卢克祭坛画》又称《圣卢克多联画屏》，是一幅由意大利文艺复兴时期的画家安德烈亚·曼特尼亚创作的多联画屏面板绘画作品。整个祭坛画就是一幅由12个站立在各自的拱门中的人物像组成的多联画屏面板画。最上面一行的七个人物以耶稣像为中心，分站在两侧。下面的五个人物则以圣卢克为中心分两侧站立。
1453年8月10日，曼特尼亚签署了一项合同，为帕多瓦的圣儒斯蒂娜修道院画一幅画。为了换取50金币，他接受了这份工作。他按照要求画出人物像，并用罗尼蓝带（用铜制作的蓝色颜料）来镶嵌其上。如今，这幅多联画屏收藏在米兰的布雷拉画廊里。
