继拉斐尔的阿贾克斯和卡桑德拉之后的版画和另一个古董浮雕

IF 0.1 2区艺术学 0 ART

JOURNAL OF THE WARBURG AND COURTAULD INSTITUTES Pub Date : 2014-01-01 DOI:10.1086/jwci24396009

David Ekserdjian

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摘要

作为一个特定的个体而存在的因此，j. Bartsch XIV.343.461, Marcantonio学派的人物并不鼓励肖像学，Raimondi (attr。阿agostino Veneziano)以拉斐尔的好奇心命名。第二个威慑是，直到拉斐尔的绘画和奎里纳尔·迪奥斯库里的重新出现，并没有进一步看正如鲁宾斯坦所解释的那样，红玛瑙是一颗古老的宝石，在她的文章中似乎复制了浮雕(图4)，简单地假设它的姿势不是作为具体的来源来说明的，战士是根据其中一幅画改编的，但“表明宝石是Bartsch XIV。”[343.461 .]马尔康托尼奥·雷蒙第学院以拉斐尔命名的阿戈斯蒂诺·维内齐亚诺

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A Print after Raphael's Ajax and Cassandra and Another Antique Cameo

intended as a particular individual. As such, j. Bartsch XIV.343.461, school of Marcantonio the figure does not encourage iconographie Raimondi (attr. Agostino Veneziano) after Raphael curiosity. The second deterrent is that until the re-emergence of Raphael's drawing and Quirinal Dioscuri, and to look no further.4 Rubinstein's identification of its source as As Rubinstein explained, the sardonyx an antique gem, it would have seemed cameo reproduced in her article (Fig. 4) plausible simply to assume that the pose of was illustrated not as the specific source the Warrior was adapted from one of the for the drawing, but 'to show that a gem i. Bartsch XIV. 343.461, school of Marcantonio Raimondi (attr. Agostino Veneziano) after Raphael

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JOURNAL OF THE WARBURG AND COURTAULD INSTITUTES ART-

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