杰勒德·大卫（Gerard David，1460 -1523年8月13日）是早期的尼德兰画家，是15世纪布鲁日（Bruges）最后一位伟大的画家。他的绘画以使用色彩灿烂而闻名。他出生于荷兰奥德沃特（Oudewater），现在位于乌得勒支。杰勒德·大卫的作品继承了凡.爱克所奠定的现实主义风格。他熟练地运用色彩，使之为他的画营造出一种特殊的气氛。大卫的作品在很长一段时间内都受到批评，但由于其出色的技巧，朦胧的神秘，而受到今人的高度重视。
中国美术网 09-17 浏览
其余的航班上到埃及,c。1510年,国家美术馆的艺术,华盛顿特区
他出生在Oudewater,现在位于该省乌特勒支。他的出生年份是近似1460 c的基础上他看起来大约50年1509年的自画像中发现他的“处女处女”。他花了他成熟的职业生涯在布鲁日,他是一个成员画家行会。的死亡汉斯·梅姆林一样1494年,大卫成为布鲁日的著名画家。他在1483年搬到布鲁日,大概哈勒姆,在那里,他成立了他早期的风格阿尔伯特·范Oudewater,加入了公会的圣路加福音1484年在布鲁日。他在1501年成为公会院长,并于1496年结婚科妮莉亚Cnoop院长的女儿金斯密斯学院行会。大卫是一个小镇领先的公民。
Ambrosius本森完成了他的学徒生涯与大卫,但他们来到纠纷1519左右的油画和素描本森已经收集了来自其他艺术家。因为大量债务本森,大卫拒绝返回的材料。本森追求合法并赢得,导致大卫在监狱服刑。
他死于1523年8月13日,葬的圣母教堂在布鲁日。
大卫已经完全遗忘了在1860年代初他获救的遗忘威廉·亨利·詹姆斯威尔的研究在布鲁日的档案的主要事实曝光画家的生活和重建了大卫的艺术个性,开始只承认大卫的记录工作,圣母在处女在鲁昂。
三联Sedano大家庭的一员c。1495年的一个例子东方地毯在文艺复兴时期的绘画.罗浮宫博物馆.
大卫的幸存的工作主要由宗教场景。永恒的,他们的特点是大气,几乎梦喜欢宁静,通过柔软,温暖,微妙的colourisation和娴熟的处理的光线和阴影。他在重铸是创新的传统景观主题和在他的方法,当时只有一个新兴流派在北欧绘画。他的能力与景观中可以看到详细的树叶三部曲的洗礼和森林场景的纽约诞生。
虽然可能20世纪早期的艺术历史学家,包括Erwin Panofsky和马克斯·雅各布·弗里德兰德看到他作为一个画家并没有但提取别人的风格和画在一个古老的和缺乏想象力的风格。但是今天大多数认为他掌握配色师,和一个画家大都会艺术博物馆在“进步,甚至进取模式,摆脱他的中世纪晚期遗产并参与一定纯度的视力在一个过渡的时代。”
在他的早期作品大卫哈勒姆艺术家等德克发作阿尔伯特·范·Oudewater和Geertgen合计它们Jans,尽管他已经给上级权力的证据作为配色师。属于这一早期的圣约翰理查德·冯·考夫曼在柏林和集合盐圣杰罗姆。在布鲁日直接的影响下梅姆林一样,主人他跟着最密切。从他这是大卫获得了庄严的治疗,更大的现实主义在人类形态的呈现,数字和有序的安排。
他在1515年访问了安特卫普的工作,给我留下了深刻印象昆汀Matsys,曾引入了一个更大的活力和亲密神圣的概念主题。
处女和儿童的新月罗斯柴尔德Prayerbookc,1500 - 20
大卫是最著名的作品圣坛雕刻画在他访问安特卫普:圣凯瑟琳的婚姻在国家美术馆,伦敦;三部曲的麦当娜为和圣徒的Brignole-Sale集合在热那亚;Sigmaringen收集的报喜;最重要的是,圣母与天使和圣徒,他捐赠的迦密修女在布鲁日的锡安和现在鲁昂博物馆。
只有少数的作品仍在布鲁日:冈比西斯的判断,剥皮Sisamnes和基督的洗礼Groeningemuseum,圣母教堂的变形。
其余都分散在世界各地,这可能是由于他名字的遗忘了;这一点,事实上,一些相信所有的美丽和充满感情的他的工作,他没有任何创新增加艺术的历史。
婚姻在迦南,c。1500。卢浮宫、巴黎
即使在他最好的作品只有给他更新的变化他的前辈和同时代的艺术。他跻身大师,然而,当许多他的画作被聚集在1902年的Gruuthusemuseum,布鲁日早期佛兰德画家的展览.
他还与领先的紧密合作手稿照明系统天,似乎已经把油漆具体重要的微缩模型,其中一个处女的处女摩根图书馆、处女和儿童的新月罗斯柴尔德Prayerbook,和皇帝马克西米利安在维也纳的一幅画像。他的几个图纸还生存,和元素从这些出现在其他画家的作品,在他死后几十年照明系统。
在大卫的死亡,布鲁日的荣耀,画家逐渐衰落:安特卫普已经成为领导艺术以及政治和商业的重要性。大卫的学生在布鲁日,只有Isenbrant,艾伯特Cornelis和Ambrosius本森实现重要性。佛兰德的画家,约阿希姆Patinir和Jan Mabuse在某种程度上受到他的影响。
He was born in Oudewater, now located in the province of Utrecht. His year of birth is approximate as c 1460 on the basis that he looks to be around 50 years in the 1509 self-portrait found in his "Virgin among the Virgins".He spent his mature career in Bruges, where he was a member of the painters' guild. Upon the death of Hans Memling in 1494, David became Bruges' leading painter. He moved to Bruges in 1483, presumably from Haarlem, where he had formed his early style under Albert van Oudewater, and joined the guild of St Luke at Bruges in 1484. He became dean of the guild in 1501,and in 1496 married Cornelia Cnoop, daughter of the dean of the goldsmiths' guild.David was one of the town's leading citizens
Ambrosius Benson served his apprenticeship with David, but they came into dispute around 1519 over a number of paintings and drawings Benson had collected from other artists. Because of a large debt owed to him by Benson, David had refused to return the material. Benson pursued the matter legally and won, leading to David serving time in prison.
He died on 13 August 1523 and was buried in the Church of Our Lady at Bruges.
David had been completely forgotten when in the early 1860s he was rescued from oblivion by William Henry James Weale, whose researches in the archives of Bruges brought to light the main facts of the painter's life and led to the reconstruction of David's artistic personality, beginning with the recognition of David's only documented work, theVirgin Among Virgins at Rouen.
David's surviving work mainly consists of religious scenes. They are characterised by an atmospheric, timeless, and almost dream like serenity, achieved through soft, warm and subtle colourisation, and masterful handling of light and shadow. He is innovative in his recasting of traditional themes and in his approach to landscape, which was then only an emerging genre in northern European painting.His ability with landscape can be seen in the detailed foliage of his Triptych of the Baptism and the forest scene in the New York Nativity.
Although may of the art historians of the early 20th century, includingErwin Panofsky and Max Jakob Friedländer saw him as a painter who did little but distill the style of others and painted in an archaic and unimaginative style. However today most view him as a master colourist, and a painter who according to the Metropolitan Museum of Art, worked in a "progressive, even enterprising, mode, casting off his late medieval heritage and proceeding with a certain purity of vision in an age of transition."
In his early work David followed Haarlem artists such as Dirk Bouts, Albert van Oudewater and Geertgen tot Sint Jans, though he had already given evidence of superior power as a colourist. To this early period belong the St John of theRichard von Kaufmann collection in Berlin and the Salting's St Jerome. In Bruges came directly under the influence of Memling, the master whom he followed most closely. It was from him that David acquired a solemnity of treatment, greater realism in the rendering of human form, and an orderly arrangement of figures.
He visited Antwerp in 1515 and was impressed with the work of Quentin Matsys,who had introduced a greater vitality and intimacy in the conception of sacred themes.
The works for which David is best known are the altarpieces painted before his visit to Antwerp: the Marriage of St Catherine at the National Gallery, London; the triptych of theMadonna Enthroned and Saints of the Brignole-Sale collection in Genoa; the Annunciation of the Sigmaringen collection; and above all, the Madonna with Angels and Saints, which he donated to the Carmelite Nuns of Sion at Bruges, and which is now in the Rouenmuseum.
Only a few of his works have remained in Bruges: The Judgment of Cambyses, The Flaying of Sisamnes and the Baptism of Christ in the Groeningemuseum, and the Transfiguration in the Church of Our Lady.
The rest were scattered around the world, and to this may be due the oblivion into which his very name had fallen; this, and the fact that, some believed that for all the beauty and the soulfulness of his work, he had nothing innovative to add to the history of art.
Even in his best work he had only given newer variations of the art of his predecessors and contemporaries. His rank among the masters was renewed, however, when a number of his paintings were assembled at the seminal 1902Gruuthusemuseum, Bruges exhibition of early Flemish painters.
He also worked closely with the leading manuscript illuminators of the day, and seems to have been brought in to paint specific important miniatures himself, among them a Virgin among the Virgins in the Morgan Library, aVirgin and Child on a Crescent Moon in the Rothschild Prayerbook, and a portrait of the Emperor Maximilian in Vienna. Several of his drawings also survive, and elements from these appear in the works of other painters and illuminators for several decades after his death.
At the time of David's death, the glory of Bruges and its painters was on the wane: Antwerp had become the leader in art as well as in political and commercial importance. Of David's pupils in Bruges, only Isenbrant, Albert Cornelis and Ambrosius Benson achieved importance. Among other Flemish painters, Joachim Patinir and Jan Mabuse were to some degree influenced by him.
1、本站美术网信息均来自于美术家自己或其朋友、网络等方式，本站无法确定每条信息或事件的真伪，仅做浏览者参考。
2、只要用户使用本站则意味着该用户以同意《本站注册及使用协议》，否则请勿使用本站任何服务。
3、信息删除不收任何费用，VIP会员修改信息终身免费(VIP会员点此了解)。
4、未经本站书面同意，请勿转载本站信息，谢谢配合！
