朱迪思·莱斯特全部影视作品
首发于 qinglite.cn，统计截止日：2024-11-29
 自画像 | 朱迪思·莱斯特的自画像是荷兰黄金时代的油画，收藏在国家美术馆，1633年作为杰作提供给圣卢克的哈勒姆行会。几个世纪以来，它一直被认为是弗兰斯·哈尔斯的作品，直到1949年被博物馆买下后，才被认为是朱迪思·莱斯特的作品。这种风格确实可以和哈尔斯相媲美。 |
| 快乐的伙伴 | - |
| 演唱会 | 除了酒馆场景和亲密的家庭风格作品，朱迪思·莱斯特还经常画音乐表演场景。在音乐会中，雷斯特准确地描绘了巴洛克小提琴(制作时没有下巴托，通常靠在胸部)以及女人的歌本等元素。 这里显示的数字很可能是肖像。根据莱斯特其他画作中相似的人物，学者们初步确定这位歌手是艺术家本人，小提琴家是她的丈夫，而鲁特琴演奏者是她家的朋友。三人组的成员，像所有的音乐家一样，必须作为一个整体一起工作，“在协调中”，这使得一些作家认为这个场景象征着和谐的美德。 莱斯特经常把她的拍摄对象放在一个简单的、单色的背景上。因此，没有什么会分散人物的注意力，他们都在各种动作(弓、拨弦和打拍子)中被展示出来。琴的深度角度增加了乐曲的深度。音乐家凝视的不同方向为观众提供了不同的焦点。 |
| 吹长笛的男孩 | - |
| 拿着水壶的青年 | - |
| 戴草帽的女孩 | - |
| 纸牌游戏 | - |
| 女孩与琵琶 | - |
| 小丑 | - |
| 命题 | Meg Lota Brown, professor of English at the University of Arizona, and Kari Boyd McBride, professor of Women's Studies at the same, consider The Proposition to be "one of [Leyster's] most intriguing works from her period of greatest artistic output". Marianne Berardi, an art historian specializing in Dutch Golden Age painting, states that it is "perhaps her most notable painting". Its most distinctive feature is how different it is to other contemporary Dutch and Fleming "sexual proposition" paintings, many falling into the Merry company genre. The convention for the genre, a common one at the time, was for the characters to be bawdy, and clearly both interested in sex, for money. The dress would be provocative, the facial expressions suggestive, and sometimes there would be a third figure of an older woman acting as a procuress. Indeed, in The Procuress by Dirck van Baburen, an example of the genre, that is exactly the case.In contrast, in The Proposition the woman is depicted not as a whore but as an ordinary housewife, engaged in a simple everyday domestic chore. She isn't dressed provocatively. She does not display her bosom (but rather her blouse covers her all of the way to her neck). No ankles are visible. And she displays no interest in sex or even in the man at all. Contemporary Dutch literature stated the sort of activity in which she is engaged to be the proper behaviour for virtuous women in idle moments. Kirstin Olsen observed that male art critics "so completely missed the point" that the woman is, in contrast to other works, not welcoming the man's proposition that they mistakenly named the painting The Tempting Offer.The foot warmer, whose glowing coals are visible beneath the hem of the woman's skirt, was a pictorial code of the time, and represented the woman's marital status. A foot warmer wholly under the skirt indicated a married woman who was unavailable, as it does in The Proposition; a foot warmer projecting halfway out from under the skirt with the woman's foot visible on it indicated one who might be receptive to a male suitor; and a foot warmer that is not under the woman at all, and empty of coals, indicated a single woman. This code can also be seen in Vermeer's The Milkmaid and Dou's The Young Mother.The feminist reinterpretation of the picture largely originated with the work of Frima Fox Hofrichter who pointed out in 1975 (Hofrichter 1975) the difference between Leyster's painting and others of the genre and that it had served to set a precedent for other, later, artists, such as Gabriël Metsu in his An Offer of Wine. According to Hofrichter, the woman in The Proposition is an "embarrassed victim" presented sympathetically and positively.However, not all art historians agree unequivocally with Hofrichter. For example: Wayne Franits, professor of fine art at Syracuse University, later critiqued Hofrichter, observing that an offer of money was a common beginning of a courtship at the time, so the painting might depict a simple honest attempt at courtship. Franits suggests the "woman's unequivocally wholesome activity of sewing provided an important precedent for later genre paintings depicting domestic virtue". A number of later genre scenes remain ambiguous in a similar way, most famously The Gallant Conversation (or The Paternal Admonition) from circa 1654 by Gerard ter Borch (the Younger), and The Hunter's Gift by Metsu (both Rijksmuseum). |
| 花瓶里的花 | - |
| 郁金香 | - |
| 一个男孩和一个女孩与一只猫和一只鳗鱼 | - |
| 一个男人的肖像 | - |
| 一个女人的肖像 | - |
| 一个男人给一个年轻女孩钱 | - |
| 两位音乐家 | - |
| 乔利·托佩尔 | - |
| 三个男孩的狂欢 | - |
| 笑着的孩子与猫 | - |
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