维基百科

弗朗西斯科·哈耶兹

弗朗西斯科·哈耶兹（意大利语：Francesco Hayez 意大利语：[franˈtʃesko ˈaːjets]；1791年2月10日—1882年2月12日），是一位意大利画家。他被认为是米兰19世纪中期浪漫主义的主要艺术家之一，并以其宏伟的历史画、政治寓言和肖像画而闻名[1]。

弗朗西斯科·哈耶兹
88岁自画像，1879年
出生(1791-02-10)1791年2月10日
威尼斯共和国威尼斯
逝世1882年2月12日(1882岁—02—12)（91岁）
意大利共和国米兰
国籍意大利
知名于绘画
运动浪漫主义
弗朗西斯科·哈耶兹： 吻 (1859)
  • 71岁自画像
    71岁自画像
  • Reclining Odalisque (1839)
    Reclining Odalisque (1839)
  • Portrait of Gian Giacomo Poldi Pezzoli
    Portrait of Gian Giacomo Poldi Pezzoli
  • Destruction of Temple of Jerusalem (1867)
    Destruction of Temple of Jerusalem (1867)
  • Crusaders Thirsting near Jerusalem (1836–1850)
    Crusaders Thirsting near Jerusalem (1836–1850)
  • Refugees of Parga (1831)
    Refugees of Parga (1831)
  • Scene from Byron's drama The Two Foscari (Antonio Bernocchi family collection, today in the Museum of Fondazione Cariplo)
    Scene from Byron's drama The Two Foscari (Antonio Bernocchi family collection, today in the Museum of Fondazione Cariplo)
  • Sicilian Vespers scene 1 (1821–22)
    Sicilian Vespers scene 1 (1821–22)
  • Sicilian Vespers scene 3 (1821–22)
    Sicilian Vespers scene 3 (1821–22)
  • Meeting of Esau and Jacob
    Meeting of Esau and Jacob
  • New Favorite in Harem
    New Favorite in Harem
  • Portrait, Ballerina Carlotta Chabert as Venus (1830)
    Portrait, Ballerina Carlotta Chabert as Venus (1830)
  • 路得 (1835)
    路得 (1835)
  • Odalisque (1867)
    Odalisque (1867)
  • Susanna at her Bath (1859)
    Susanna at her Bath (1859)
  • Nude Bather
    Nude Bather
  • Odalisque with Book (1866)
    Odalisque with Book (1866)
  • The Meditation (1851)
    The Meditation (1851)
  • Ciociara[2]
    Ciociara[2]
  • Samson and the Lion (1842)
    Samson and the Lion (1842)
  • Portrait, Matilde Juva-Branca (1851)
    Portrait, Matilde Juva-Branca (1851)
  • Portrait, Princess di Sant' Antimo (1840–1844)
    Portrait, Princess di Sant' Antimo (1840–1844)
  • Portrait, Antonietta Tarsis Basilico (1851)
    Portrait, Antonietta Tarsis Basilico (1851)
  • Portrait, Felicina Caglio Perego di Cremnago (1842)
    Portrait, Felicina Caglio Perego di Cremnago (1842)
  • Portrait, Antonietta Vitali Sola (1823)
    Portrait, Antonietta Vitali Sola (1823)
  • Portrait, Antonio Rosmini (1835)
    Portrait, Antonio Rosmini (1835)
  • Portrait, Camillo Benso, Conte of Cavour (1864)
    Portrait, Camillo Benso, Conte of Cavour (1864)
  • Portrait, Massimo d'Azeglio (1860)
    Portrait, Massimo d'Azeglio (1860)
  • Portrait, Alessandro Manzoni (1841)
    Portrait, Alessandro Manzoni (1841)
  • Portrait, Conte Ninni (1823)
    Portrait, Conte Ninni (1823)
  • Levite Ephraim (1842–1844)
    Levite Ephraim (1842–1844)
  • 《胜利的运动员》(1813)
    《胜利的运动员》(1813)
  • 《复仇三联画：复仇誓言》 (1851)
    《复仇三联画：复仇誓言》 (1851)
  • 《复仇三联画：秘密指控》 (1847–1848)
    《复仇三联画：秘密指控》 (1847–1848)
  • 《复仇三联画：对手的复仇》 (1853)
    《复仇三联画：对手的复仇》 (1853)

延伸阅读 编辑

  • M. Albertario, Lettere dalla periferia dell'Impero. Enrico Banzolini e Francesco Hayez, in Musei lombardi a tre colori. Materiali tra arte e storia, Torino 2012, pp. 41–69.

参考文献 编辑

  1. ^ PITTORI e SCULTORI ITALIANI. [2021-12-12]. （原始内容存档于2021-12-13）. 
  2. ^ A derogatory term used in Rome in the nineteenth century to ridicule the poor shepherds of the mountain regions; the term was then used by the painters of the time for their portraits.
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