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The first great colourist to set Venetian art on this path
第一位将威尼斯艺术推上这条色彩之路
and to do it with a dazzling luminousness of oils on wood
并将绚烂多姿的油彩绘上了木头的色彩画家
was Giovanni Bellini.
就是乔凡尼.贝利尼
In his masterpiece, The Sacred Conversation,
在贝利尼位于圣匝加利亚教堂的名作
in the church of San Zaccaria,
《神圣的对话》中
Bellini shows he can do Renaissance perspective to perfection
他完美展现了文艺复兴的艺术视角
but it's the intensity of the saturated colours
但真正传达出贝利尼思想的
that delivers what Bellini really wants,
则是强烈而饱满的色彩
harmony experienced physically,
所达到的一种和谐体验
so that the figures, even these very still ones,
即便是这些静止不动的人物
seem naturally alive.
看来也是栩栩如生
Bellini has thought about how different colour tones
贝利尼曾思考过不同的色调
work with each other.
如何相互辉映
St Peter's golden ochre on the left
左边圣彼得的金赭石色
balanced with St Jerome's vermilion on the right.
与右边圣哲罗姆的朱红色相平衡
St Catherine's rose and green
圣凯瑟琳的玫红和绿色
with St Lucy's vision of blue and gold.
则与圣露西的蓝色与金色相平衡
And in the centre,
而在画面中心
the Virgin and Child swathed in ultramarine,
圣母和圣童则被深蓝色所围绕
a pigment so precious
这种颜料非常珍贵
that it was most often reserved for the Madonna.
通常都会省下来用于绘制圣母像
If Bellini's colour music pulls you into a devotional trance,
如果说贝利尼的色彩乐章令人不禁心生神往
his pupil Titian would use that same glow of colour to flatter
那他的学生提香则用同样的色彩技巧
the self-admiring world of the elite.
来讨好自我感觉良好的贵族社会
Painted when Titian was in his 20s,
此画创作于提香二十多岁时
this isn't just a portrait of a Venetian noble,
这不仅仅是一幅威尼斯贵族的肖像画
but a painterly mission statement.
更是画家的宗旨宣言
There, outrageously front and centre,
画面前方正中用色狂放
painted in ultramarine mixed with some rose and white
用混合着些许玫红和白色的深蓝色
is a waterfall sleeve of Venetian colour
画就了一只如瀑的袖子
drowning classical stone.
仿若威尼斯碧水下的沉石
Ten years later, Titian would unleash this same colour
十年后 提香又将同样的颜色
with even fuller force in his stupendous masterpiece
更大胆地用在了他的惊世之作
