特尔·布鲁根《圣马太蒙召》与朱斯蒂尼亚尼私藏的关系再考

刘晓彤

doi:10.70693/rwsk.v2i7.617

Authors

刘晓彤广州美术学院

DOI:

https://doi.org/10.70693/rwsk.v2i7.617

Abstract

针对亨德里克·特尔·布鲁根早年罗马经历记载缺失的困境，本文以其两幅《圣马太蒙召》（约1619–1621年）为焦点，通过图像细读与比较，提出新的渊源判断。研究发现，画中圣马太形象的诸多细节——如秃顶、鹰钩鼻、特定耳型及抬头纹——并非源于卡拉瓦乔广为人知的公共祭坛画《圣马太蒙召》或其被接受的《圣马太与天使》，而是与藏于朱斯蒂尼亚尼宫、曾遭拒收的那一版《圣马太与天使》高度吻合。这一选择性借鉴，揭示了特尔·布鲁根对罗马私人收藏圈而非公共艺术资源的接触与吸收，为其神秘的罗马轨迹提供了关键图像线索。本研究亦实践了一种方法：在文献空白处，以画面为“社交文本”，通过视觉证据逆向推断艺术家的交往网络与学习路径。

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