essay 查重:绘画女王

10 6月 essay 查重:绘画女王

essay 查重:绘画女王

克里斯蒂娜女王不仅以她的皇室身份而闻名,而且以她的知识分子个性、她的行动、她在世界历史上的激进和不同的王室形象而闻名。她是国王古斯塔夫斯二世阿道夫斯和玛丽亚·埃利奥诺拉的女儿。国王古斯塔夫斯二世阿道尔弗斯是一位非常重要的领袖,被称为瑞典伟大时期的君主。这是17世纪,瑞典在文化上慢慢找到了前进的道路。瑞典通过贵族和统治者获得了文化艺术品,这是瑞典文化发展的时期。尽管男性在艺术收藏领域占据主导地位,但瑞典女王克里斯蒂娜、庞帕度夫人、伊莎贝拉•斯图尔特•加德纳和佩吉•古根海姆等少数人是例外。

这篇文章的目的是批判性地了解克里斯蒂娜女王通过她的绘画收藏。分析了藏家收藏这些艺术形式的动机和选择的不同表现形式。女王在她所处的时代被认为是一个矛盾体,许多历史记录把她描绘成专注于超越她所处时代的事物。克里斯蒂娜女王天生是个假小子,在成长过程中,她的思想被认为是叛逆和前卫的,这是她那个时代很多人无法理解的。本文认为,克里斯蒂娜女王的绘画收藏代表了一种提高国家文化资本的动机,同时也展现了她自己的身份。

收藏家的动机

在谈到女王的绘画收藏时,一个值得注意的因素是,尽管人们看到女王在收藏不同的画作,但她对风景画几乎没有兴趣。风景画或人们所熟知的风景画是关于一个人所居住的地方的风景。它是关于背景,城堡,天空,山脉等等。比如克劳德·洛兰等艺术家的作品就没有受到克里斯蒂娜女王的欢迎。另一方面,她对描绘人物或历史场景的艺术作品更感兴趣。然而,这一观点在其他研究来源中被认为是不同的。谈到收藏品,人们认为克里斯蒂娜女王把她的收藏品与文化联系在一起,因此她也同样致力于购买代表文化元素的风景画。Mikulas Teich在《波希米亚的历史》中的作品表明,女王非常有兴趣在鲁道夫国王统治时期从布拉格购买鲁道夫·法恩画家的画作。在皇帝去世后,这些画和其他艺术元素被带到布拉格,并与其他当代画家的作品一起被安置在鲁道夫的画廊里。泰克估计,这些画作的价格将达到数百万弗罗林。他把布拉格称为“收藏家和强盗的磁铁”。事实上,作者的论点是,热爱艺术的克里斯蒂娜女王是有组织地抢劫鲁道夫·法恩绘画收藏品的一部分,这也是为什么大多数绘画作品仍可在欧洲观赏的原因之一。克里斯蒂娜女王表现出的这种矛盾的兴趣或动机可能有两个原因。由于争论导致人们理解鲁道夫美术在其意义上是非常复杂和象征性的。景观艺术通常是对元素本身的一种表达,在诠释上并不会带来太多的复杂性;这是一幅需要体验的画,而不是一个需要解决的谜题。然而,鲁道夫美术被认为是复杂的,它不只是风景;这是一种文化内涵的混合。捷克文化、德国人文主义等文化内涵,以及体现这种文化的建筑形式的景观作品,都在这幅画中得以体现。其他研究人员还指出,克里斯蒂娜女王热衷于收集人体画作,而布拉格艺术家们所采用的风格则被认为符合她的天性。

essay 查重:绘画女王

Queen Christina is known not only for her royal identity but also with her intellectual personality, with her actions, with her radical and different royal appearance in world history. She was daughter of King Gustavus II Adolphus and Maria Eleonora. King Gustavus II Adolphus was very important leader and was known as the monarch that ruled during the time of greatness for Sweden. This was the seventeenth century when Sweden slowly found its way forward in culture. Sweden acquired cultural artefacts through its aristocracy and its rulers and this was a time of cultural development for the country. Although a male dominance existed in the art collecting areas a few such as Queen Christina of Sweden, Madame Pompadour, Isabella Stewart Gardner and Peggy Guggenheim were the exceptions.

The purpose of this essay is to critically understand Queen Christina through her paintings collections. The motivations of the collector in collecting these art forms and the different representations chosen are analyzed. The queen was considered a paradox in her times and many historical records paint her as being focused on things that were beyond her time. A tomboy by nature and upbringing, Queen Christina was considered rebellious and forward in her thinking, a nature many in her time could not relate to. This essay argues that Queen Christina’s painting collections stand to represent-a motivation to improve cultural capital held by her country and also present her own identity.

Motivations of the Collector

A notable element that is argued for when it comes to the Queen’s painting collections is that although the Queen was seen to be collecting different paintings, she showed little interest when it came to landscape work. Landscape paintings or landscape art as they are known are about the landscapes where one lived in. It was about the backgrounds, castles, the sky, the mountains and more. Works of art from artists like Claude Lorrain for instance were not entertained by Queen Christina. On the other hand, she was more interested in the artworks that portrayed the human figure or historical scenes. However, this argument is seen to differ in other research sources. When it came to collections Queen Christina was seen to associate her collections with culture and as such was also equally invested in acquiring paintings of landscapes that represented cultural elements. The work of Mikulas Teich in ‘Bohemia in History’ shows that the Queen was very much interested in acquiring the paintings of the Rudolfine painters from Prague during the reign of King Rudolf. After the Emperor’s death the paintings along with other artistic elements were taken to Prague and were installed in the gallery of Rudolf along with the works of other contemporary painters. Teich estimates that the price of such paintings would be in millions of florins. He calls Prague as a “magnet for collectors and robbers”. In fact, the argument made by the author was that art loving Queen Christina was part of an organized robbery of the Rudolfine painting collections and this was one reason that most of the paintings are still available for European viewing. The reason for this paradoxical interest or motivation that Queen Christina showed could be because of two reasons. As arguments lead one to understand the Rudolfine art was very much complex and symbolic in its meanings. Landscape art is usually a representation of elements as such and does not lead to much complexity in interpretation; it is a painting to be experienced and not a puzzle to be solved. However, Rudolfine art was seen to be complex, it was not just landscape; it was a mix of cultural connotations. Cultural connotations like that of Czech culture, German humanism and more were presented in the painting, along with the landscape work of architecture forms that bespoke this culture. Other researchers furthermore note that Queen Christina was motivated to collect paintings of human forms and the mannerism style that was used by the Prague artists was seen to appeal to her nature.