William-Adolphe Bouguereau法国, 1825–1905但丁和维吉尔
Dante and Virgil in Hell
关于这幅画
《但丁和维吉尔》（Dante et Virgile）是威廉·阿道夫·布格罗的一幅布面油画，创作于1850年。这幅画作保存在巴黎的奥赛博物馆。
威廉·阿道夫·布格罗的灵感来自但丁·阿利吉耶里的《神曲》地狱第三十篇的启发，讲述但丁和他的向导维吉尔穿越地狱的旅程。在这一幕中，作者和他的向导看见两个灵魂在永恒的战斗中纠缠在一起。其中一个是炼金术士和异教徒，名叫卡波乔。骗子詹尼·斯基奇咬住他的脖子。他利用欺诈手段来夺取他人的遗产。
“这里我看见两个影子，苍白而裸露。他们跑着，遇见东西便咬，好像猪圈里放出的饿猪一般。其中一个跑近卡波乔，咬在他的颈项上。”（王维克译）
这是布格罗第三次尝试赢得梦寐以求的罗马大奖，不过没有成功。同年晚些时候，他的《牧羊人在阿拉克斯河岸发现芝诺比亚》获得了年度二等奖。
法国诗人、小说家和艺术评论家泰奥菲尔·戈蒂耶（Théophile Gautier）欣赏这幅画所表现出的力量。
作品信息
- 馆藏编号
- RF 2010 8
已收入目录
出处
- 维基数据
- 图片： 奥赛博物馆 — William-Adolphe Bouguereau · Public domain · Wikimedia Commons
William-Adolphe Bouguereau当时的生活
完整生平1846–1850 · 求学
Beaux-Arts de Paris
1848–1850
The Prix de Rome: three attempts
In April 1848 Bouguereau enters the Prix de Rome competition for the first time, but soon riots break out in Paris and he enrols in the National Guard; he fails to win in 1848 (third place by some accounts, second prize by others) or in 1849. In 1850 his “Zenobia Found on the Banks of the Araxes” wins a joint first prize: it receives fewer votes than Paul Baudry’s work, but because of the revolution of 1848 no one was sent to Italy and a vacancy has arisen at the French Academy in Rome.
1850
The Salon of 1850: attacks on “Dante and Virgil”
The large canvas “Dante and Virgil in Hell” (281 × 225 cm), apparently inspired by Delacroix’s painting of the same subject, is meant to surpass Delacroix in the rendering of passions, and its naturalism to make viewers believe in the cruelty of the forces ruling Hell; at the Salon of 1850 it provokes attacks from critics and the disgust of the public.
1851–1853 · 求学
French Academy in Rome
1851–1854
Through Italy with Curzon: copies of Raphael, Titian, Assisi
At the French Academy in Rome Bouguereau meets G. Boulanger and J. Lenepveu, but becomes closest friends with the landscape painter P. Curzon; together they make many journeys through Italy — Naples, Pompeii, Siena, Perugia, Assisi, Florence, Pisa, Milan, Ravenna. Bouguereau visits almost all the museums and private collections, copies ancient Roman monuments, makes a replica of the complete cycle of frescoes in the basilica of San Francesco in Assisi, and copies Raphael’s “Triumph of Galatea” and Titian’s “Triumph of Flora”.
1851–1854
His tastes and the “discovery” of Giotto
In Italy Bouguereau’s tastes take shape: he names Michelangelo, Raphael and Leonardo as his chief authorities, finds Botticelli too “nervous”, counts Correggio among the geniuses but denies that status to Mantegna, whom he finds “soulless”. In Padua and Assisi he immerses himself in Giotto and discovers in his gestures and faces a link between Proto-Renaissance painting and French gallant painting of the eighteenth century — a “discovery” that will shape his work for the rest of his life and shows in two paintings called “Idyll” (1850 and 1851), reminiscent of Rococo pastorals.
