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最纯粹的画展为你展现最纯粹的大师第1张图片


纯粹的鲁本斯展馆
Pure Ruben / Ard de Vries Architecten

由专筑网芮万里,王帅编译

来自建筑事务所的描述。鹿特丹的博伊曼斯•范伯宁恩美术馆以及马德里的普拉多美术馆都收集有彼得•保罗•鲁本斯(Peter Paul Rubens,1577年——1640年)的油画草图。

多年以来,他们一直希望能够将这些绝世藏品连同其他博物馆的杰作汇集在一起,创造一场史无前例的展览。

鲁本斯是一位油画大师。他是第一位在画板上绘制草图的艺术家,他用这种方式准备了许多重要的作品。然而部分鲁本斯的一些大型画作有时会被认为是劣质作品,部分原因是该画作大都是由其助手完成的,而在大师本人绘制的油画草图中,我们可以真切地感受到这位艺术大师精湛的绘画功力,这些草图的艺术风格几乎已经接近印象派的高度。(译者注:据说是由于鲁本斯老年患有风湿病而手指畸形,因此其画作大部分需要由助手和学生协助完成,但作品的草图仍然由其亲手绘制)

Text description provided by the architects.Museum Boijmans Van Beuningen and the Museo Nacional del Prado in Madrid both have unique collections of oil sketches by Peter Paul Rubens (Siegen 1577-Antwerp 1640).
For years they have shared a wish to bring together the finest works from their collections and complement them with masterpieces from other museums to create an unprecedented overview.
Rubens was the master of the oil sketch. He was the first artist to prepare a great many of his important compositions by painting sketches on panel. Whereas Rubens’s large works are sometimes described as hackwork, in part because of the contributions often made by assistants, the brilliant, virtuoso – almost impressionistic – touch of the master himself is always present in his oil sketches.

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鲁本斯为准备其作品而在画板上绘制的草图画幅相对较小。这些草图均由他亲手绘制,与最终成形的大型画作相比,草图要小很多。当这些草图被放置在最终完成的作品旁时,也使得这些大型的画作不可避免的获得了最多的关注。

本次画展的重点是那些小型的油画草图。

建筑事务所通过调整空间的透视和方位,试图颠覆Bodon Wing中的层次结构,并且将草图放置于展览最显著的位置。

鲁本斯曾在1600年前往意大利,并在1604年到访了热那亚。他被那里美丽的宫殿所深深吸引,并且在1622年出版了两卷名为《Palazzi di Genova》的书。这是他对于建筑的研究和论述。他书中所绘制的建筑平面为本次展览的布局提供了灵感。

The oil sketches on panel Rubens made in preparation for his works are relatively small. Rubens painted all these sketches himself, and they are considerably smaller than the large works for which they were used. When the sketches are placed in proximity to the large paintings based on them, the large works inevitably command the most attention.
The aim of this exhibition was to focus on the oil sketches.
Using such spatial means as perspective and orientation, we have tried to reverse the hierarchy in the Bodon Wing and place the sketches in the foreground.
Rubens went to Italy in 1600 and visited Genoa in 1604. He was so affected by the beauty of the palaces there that he published a two-volume book entitled ‘Palazzi di Genova’ in 1622. This is his only purely architectural treatise.  It is the language of these plans that inspired the layout of the exhibition.

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博伊曼斯•范伯宁恩美术馆

博伊曼斯•范伯宁恩美术馆最初由Ad van der Steur 设计,在1971年,建筑师Alexander Bodon被委托加建该美术馆。该建筑事务所以经典的历史以及现代的故事作为设计的出发点,并将两者编织在一起。

Boijmans van Beuningen
In 1971 Alexander Bodon was allowed to add an extension to Museum Boijmans van Beuningen – designed by Ad van der Steur.  We took classical history and the modern story as the starting points.  We wanted to interweave them.

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故事

Ard de Vries建筑事务所试图将策展人Friso Lammertse讲述的关于鲁本斯的故事构建起来。

游客通过一段封闭的走廊进入展厅的入口,这使游客与参展的作品之间形成一段距离并且只能看见《Achilles Discovered among the Daughters of Lycomedes》这幅作品。

步入序厅后呈现的是一座方形空间,其顶部设有一盏圆形的灯。展现在右侧的是一幅来自于普拉多美术馆的绘画作品,该画作是基于鲁本斯绘制的the unmasking of Achilles草图完成的。左侧是前往核心展览区的三个入口。

Story
Ard de Vries Architecten tried to construct the story that curator Friso Lammertse told about Rubens.
From the entrance you walk through a closed corridor, which creates distance and only allows you a view of Achilles Discovered among the Daughters of Lycomedes.
You come into the prelude: a square space with a round light overhead. On the right you see the finished work derived from the oil sketch of the unmasking of Achilles, which comes from the Prado. On the left you see three entrances to the heart of the exhibition.

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穿过三个入口中的一个,就来到中心放置着摔跤手雕塑的核心展览区。圆形空间中挂着古典主义以及鲁本斯在意大利时期创作的艺术作品。在其周围的矩形空间中,厚实的展墙形成一种新的经典的尺度。我们在这些展墙中引入了壁龛,这增加了照亮展览作品的灯光使用效率。在展厅的一侧悬挂着巨大的挂毯,其上印有《 The Wrath of Achilles》;在另外一侧,有一座圆形的展示柜,里面装有九张小巧精美的油画草图,游客可以通过它俯瞰到《The Triumph of Bacchus》整幅画作的全貌。

当你准备离开展厅之前,鲁本斯所画的《Woman with a Parrot》中的鹦鹉将会目送你的离开。

When you walk though one of the three entrances you arrive at the heart of the exhibition with the sculpture of the wrestlers in the centre.
In the circle hang the works from the Classics and Rubens’s Italian period. In the rectangular space around it we made the walls thicker to introduce a new classical scale. We made niches in those walls in which we were able to light the works more effectively. Keep on walking and you encounter a square object with a circle in it. On one side hangs the large tapestry The Wrath of Achilles; on the other there is a circular display case with nine small oil sketches that overlook ‘The Triumph of Bacchus.”
Just before you leave the room, ‘A Parrot’ looks at you.

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建筑设计:Ard de Vries Architecten
地址:荷兰,鹿特丹
主创建筑师:Ard de Vries
业主:博伊曼斯•范伯宁恩美术馆
面积:1500.0 m2
项目年份:2018
摄影:Kim Zwarts

Architects: Ard de Vries Architecten
Location: Boijmans van Beuningen , Rotterdam, The Netherlands
Lead Architects: Ard de Vries
Client: Museum Boijmans van Beuningen
Area: 1500.0 m2
Project Year: 2018
Photographs: Kim Zwarts

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