國立臺灣師範大學藝術史研究所 碩士論文 National Taiwan Normal University Graduate Institute of Art History Master‘s Degree Thesis 游移於宗教與自然之間: 威廉戴斯的〈提香第一堂色彩習作〉 Between Nature and Religion Titian’s First Essay in Colour by William Dyce 指導教授 Advisor: Professor Dr. Candida Syndikus 吳品慧 Wu, Pin-Hui 中華民國 104 年 1 月 January 2015 Table of Contents English Abstract.....................................................................................................................2 Chinese Abstract....................................................................................................................5 Acknowledgement.................................................................................................................7 1. Introduction.......................................................................................................................8 2. State of Research...............................................................................................................9 3. William Dyce‘s Career as an Artist.................................................................................11 4. William Dyce‘s Titian’s First Essay……………………………………………............12 4.1. The Painting‘s Composition………………………………………………………..12 4.2. Visual Sources.........................................................................................................14 4.3. Titian’s First Essay and its Literary Sources..........................................................17 5. Dyce and Ridolfi‘s Maraviglie dell’arte.......................................................................20 5.1. Dyce‘s Experience with Italy…..……………………………….….………………21 5.2. Dyce and Charles Lock Eastlake…………………………………….……….........22 6. The Exploration of Renaissance in Nineteenth Century................................................25 7. Titian as Subject in Nineteenth-Century Painting………………………………………28 7.1. Titian and Rulers……………………………………………………………….......29 7.2. Titian and His Comtemporary Artists.....................................................................35 7.3. Titian with His Friends and Mistress......................................................................43 7.4. Titian‘s Death……………………………………………………………………....47 8. Titian’s First Essay: William Dyce‘s View on Titian…………………….....................55 8.1. Dyce and Titian………………………………………………………….................55 8.2. Titian as a Thinker between Nature and Religion……………................................63 8.3. The Dual Images: St. Luke and Melencolia I………………………………….....79 9. Conclusion......................................................................................................................90 10. Bibliography................................................................................................................ 92 Appendix: Figures............................................................................................................111 1 Abstract In the focus of this thesis is William Dyce‘s (1806–1864)picture Titian Preparing to Make his First Essay in Colouring (Aberdeen Art Gallery and Museums), which was presented in 1857 at the Royal Academy Exhibition in London. The painting was inspired by the biography of Titian in the Maraviglie dell’Arte (The Marvels of Art), published in 1648 by the Baroque artist and writer Carlo Ridolfi (1594–1658). Dyce‘s visualization of the Venetian master‘s childhood apparently reinterprets Ridolfi‘s text. By means of examining Dyce‘s experience with Italy, and his friendship with the artist and director of the National Gallery of London Charles Lock Eastlake (1793–1865), it can be demonstrated that the gap between Dyce‘s painting and Ridolfi‘s writing was made with purpose and after mature deliberation. The aim of this thesis is to discuss Dyce‘s motive to adapt his source, and to analyze the significance bestowed upon this painting. The historical background of Titian’s First Essay in nineteenth century will be taken into account. Under the influence of the popular cultural issue regarding the history between the fourteenth and sixteenth centuries, European artists showed interest in the lives of the Italian Renaissance artists. The anecdotes of the Venetian master Titian (c. 1485/90–1576) became the prominent topic for nineteenth-century painters to explore. Titian‘s biographies were presented in the Vite de’ piu eccellenti Pittori, Scultori, e Architettori (Lives of the Most Eminent Painters, Sculptors and Architects) by the sixteenth-century Florentine artist and art historian Giorgio Vasari (1511–1574) and Ridolfi‘s Le Maraviglie dell’Arte, both of which revealed the broad reception of Titian‘s œuvre at that time and offered sufficient materials for nineteenth-century painters. 2 In order to illuminate the picture‘s iconographic background, chapter seven will discuss the different images of Titian proposed by nineteenth-century artists. They paid attention particularly to four facets, Titian‘s relationship with rulers, Titian‘s interaction with contemporary artists, the leisure moment of Titian and his friends and mistress and Titian‘s death. Their renderings of Titian‘s life episodes are intriguing and display various aspects of the Venetian artist. The painters weaved historical facts, anecdotes and imagination together to manifest the master‘s immortal status, and they attempted to disclose the private life and the engaging personality of Titian, which were seldom mentioned in the biographies. The final chapter will focus on Dyce and Titian’s First Essay. Titian‘s influential role in the artistic course of Dyce‘s self-study will be considered. The Victorian painter created this work, when he was in his early fifties, while he reached the apex of his artistic career. He introspected his ideas of Christian art and nature, which were the pivot in his art creation. By virtue of reviewing his religious paintings, from the earlier icon Madonna and Child (1827–1830) to the later work The Garden of Gethsemane (1855), his conception of the two vital factors takes shape, and the change and hesitation of his attitude reflected in Titian’s First Essay will be analyzed. At the end of this thesis, Dyce‘s comprehension and interpretation of the anecdote from Ridolfi‘s account will be discussed. Comparing with other nineteen-century painters, Dyce drew attention to Titian‘s connection with his art. He adopted two traditional iconographical subjects in the Western art history, St. Luke and Albrecht Dürer‘s (1471–1528) Melencolia I (1514), to demonstrate his realization of the textual source. Through the iconography of the dual images, Dyce shows young Titian immersed in contemplation, and accents the deep religious inspiration blessing the gifted sixteenth-century artist. His representation of Titian marks an illustrious position in nineteenth century painting, and founded the status of the Venetian master 3 on the religious and intellectual level. Keywords: William Dyce, Titian Preparing to Make his First Essay in Colouring, Carlo Ridolfi, Titian, St. Luke, Melencolia I 4 中文摘要 William Dyce (1806–1864) 是十九世紀中葉維多利亞時期的畫家，本論文主要討論 他於 1857 年在英國皇家藝術學院所展的〈提香準備他的第一堂色彩習作〉(Titian Preparing to Make his First Essay in Colouring)。此作品取材於十七世紀巴洛克畫家 與作家 Carlo Ridolfi (1594–1658) 在 1648 年所著的 Le Maraviglie dell’Arte (The Marvels of Art)，Dyce 運用畫筆再度詮釋 Ridolfi 筆下的威尼斯大師。然而，其畫 作與十七世紀文本之間，卻有明顯的差距存在。透過檢視 Dyce 的義大利經驗、 以及他與藝術家及英國國家藝廊館長 Charles Lock Eastlake (1793–1865) 之間的 交情，顯示他在〈提香準備他的第一堂色彩習作〉中的改編是出自於刻意以及有 意義性的詮釋。本文主旨試圖理解 Dyce 改編其文本的動機，以及探討此作品所 被賦予的涵義。 首先必須理解 Dyce 創作〈提香準備他的第一堂色彩習作〉的時代背景，在 十八世紀八零年代到十九世紀中葉這段期間，由於受到了當時人們熱烈討論文藝 復興時期歷史文化的風潮影響，西方世界的畫家們對於十四到十六世紀義大利畫 家們的生活充滿興趣，威尼斯文藝復興大師—Titian (1485/90–1576) 的軼事，在十 九世紀成為畫家們喜愛的題材。十六世紀佛羅倫斯藝術史家 Giorgio Vasari (1511–1574) 所著的 Vite de’ piu eccellenti Pittori, Scultori, e Architettori (Lives of the Most Eminent Painters, Sculptors and Architects)以及 Ridolfi 的 Le Maraviglie dell’Arte 提供了 Titian 傳記，幫助十九世紀畫家們認識此威尼斯藝術家的生命事 跡，並且做為他們創作的材料來源。 為了對於〈提香準備他的第一堂色彩習作〉的圖像涵義有更寬廣的理解，下 一章節將討論提香在十九世紀畫家筆下不同的面貌。畫家們主要從四個方向去描 繪 Titian 的軼事與生活：Titian 與君王的相處、Titian 與同時代藝術家們的互動、 Titian 與其友人及情婦的相聚時刻，以及 Titian 的葬禮。這些作品呈現饒有趣味並 且互異的 Titian 風貌，畫家們編織想像力、史實與軼事，不僅將十六世紀大師 Titian 5 崇高化為不朽的藝術家，同時也試圖構造史料傳記中少有著墨的私生活區塊，展 現出 Titian 鮮明的性格以及其畫室以外的生活片段。 在最終章，回歸到 Dyce 與〈提香準備他的第一堂色彩習作〉上，首先探討 Titian 在 Dyce 摸索藝術的過程，所扮演的關鍵角色。Dyce 約莫是在五十歲左右 創作此畫，而此時他藝術家的名望恰好也達到了高峰，在此作品中 Dyce 回顧其 藝術創作歷程中兩個重要元素: 大自然以及基督教藝術，文中將專注在 Dyce 歷年 來的宗教畫作，從其早期於 1827–1830 所創作的〈聖母子圖〉(Madonna and Child) 出發，到 1855 年所創作的〈基督在客西馬尼花園〉(The Garden of Gethsemane)， 透過檢視其一系列的宗教作品，以了解 Dyce 如何看待自然與基督教藝術之間的 關係，並且分析他對於兩者態度的變化與游移如何反映在此作中。 此章最後分析 Dyce 對於 Ridofli 文本的理解與詮釋，試圖明白其改編的用 意。Dyce 不同於其它十九世紀畫家所呈現的 Titian 形象，他使焦點聚集於提香本 身，專注於畫家與藝術間的關係，並且在此作運用兩個西方繪畫的傳統圖像: St. Luke 與 Albrecht Dürer (1471–1528) 的 Melencolia I (1514)，以展現他對於文本充 分的掌握。藉由巧妙地選擇花朵、安排擺佈位置以及運用花朵在基督教傳統的象 徵意涵和十九世紀花語，以呼應其所參引的 St. Luke 與 Melencolia I 的圖像。透 過雙重圖像的安排，Dyce 賦予 Titian 如哲人般沉思的姿態以及強調其與基督教信 仰緊密的關連，試圖發掘 Titian 在創作藝術之時浸沐於內在思考的樣貌，不僅在 一連串十九世紀的 Titian 圖像中獨占了一席之地，更使 Titian 提升為一名兼具宗 教虔誠與充滿智慧的藝術家境界。 關鍵字: 威廉戴斯，〈提香準備他的第一堂色彩習作〉，卡羅 ．里道非，提香，聖 路加，憂鬱 I 6 Acknowledgement致謝詞 寫論文是一場漫長的馬拉松賽，需要堅強的毅力與腦力方可跑完全程，很高 興我終於抵達終點了。非常感謝我的指導教授辛蒂庫斯 Professor Syndikus，在研 究上給予我許多的幫助以及指引，並且不斷給予我充分的信心與肯定，好幾次都 覺得自己快要放棄之時，和老師談完之後，又能得到滿滿的靈感與力量。此份論 文的完成也要感謝兩位論文口試委員—諾斯邦老師 Professor Nussbaum 與謝佳 娟老師，精準地指出此論文優缺點，也提點我可以繼續發展延伸的方向。在兩次 論文口試之後，深深覺得自己又上了一門精彩的藝術史。 另外，謝謝曾曬淑老師不斷的關心，還有安排豐富紮實的藝術史訓練，這幫 助我能夠從不同的角度去思考與分析我的論題。謝謝Professor Bonnet、Professor Michalski與Professor Richter-Bernburg的密集課程，讓我接觸到以往較少碰觸到的 藝術史領域。也非常感謝所上的助教們，常常提供行政作業上的幫助以及解惑。 謝謝圖書館幫助我在文獻蒐集上能夠取得最新的資訊，尤其感謝林玉鶯阿姨，由 於研究需要必須和外校圖書館借大量的書籍，總是非常有耐心的替我處理，並提醒借 閱的相關事項，並且不斷的給予我溫暖的鼓勵。