Nicolas Poussin 自畫像中的自我形象與論述

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Department & Graduate Institute of Fine Arts, NTNU


本文旨在探究巴洛克時期古典主義畫家Nicolas Poussin1649 年與1650 年自畫像的自我形象與論述。文中首先提及自畫/雕像的由來與演變,並且說明Poussin為法國贊助者繪製自畫像的緣由。再者本文藉由Poussin 的藝術理念、傳記,以及藝術史學者的詮釋個別分析兩張自畫像,一來瞭解Poussin 強調自身為藝術學者/哲學畫家的身份認同,以及他意圖發展的方向-光與影,同時也探尋他承續文藝復興時期以來藝術理論家的繪畫理論與其它領域的知識。基於兩幅自畫像皆出於贊助性質,Poussin 在畫中傳遞出私密的友誼信息。在分析的過程中,筆者也交插比較兩幅自畫像在構圖、編造構思、與論述內容上的差異。本文最後分析Giovan Pietro Bellori《現代畫家、雕刻家與建築家列傳》一書中的銅版肖像與寓意卷首插畫,企圖找尋與兩幅自畫像相關的視覺線索。
The essay aims to investigate the self-image and discourse in Baroque classist Nicolas Poisson's self-portraits (1649, 1650). Firstly, it mentions about the origin and development of self-portrait, and explains the reason why Poisson made self-portraits for his French patrons. Secondly, two self-portraits are analyzed through Poussin’s artistic ideas, biographies, and art-historians’ interpretations. Poussin’s identity as an art theorist/ painter-philosopher is revealed. His intention to approach the study of “light and shade” is also examined. In the mean time, the art theories which he inherited from the Renaissance art theorists and the knowledge of other fields which he studied are explored. Due to patronage, Poussin left the message of friendship in two self-portraits. Moreover, two self-portraits are compared in terms of composition, invention and content in the analysis. Finally, visual clues related to two self-portraits are aimed for by analyzing the engravings of portrait of Poussin and allegorical frontispiece in Giovanni Pietro Bellary's Vite de’ pittori, scultori et architetti moderni(The Lives of Modern Painters, Sculptors and Architects).