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・ Equine dentistry
・ Equine drug testing
・ Equine encephalitis
・ Equine encephalosis virus
・ Equine exertional rhabdomyolysis
・ Equine gastric ulcer syndrome
・ Equine herpesvirus
・ Equestrian monument of Emmanuel Philibert, Turin
・ Equestrian Monument of Ferdinando I
・ Equestrian Monument of Niccolò da Tolentino
・ Equestrian monument to General Manuel Belgrano
・ Equestrian monument to Vittorio Emanuele II, Florence
・ Equestrian of Simón Bolívar
・ Equestrian perniosis
・ Equestrian Portrait of Charles I
Equestrian Portrait of Charles V
・ Equestrian Portrait of Elisabeth of France
・ Equestrian Portrait of Margarita of Austria
・ Equestrian Portrait of Philip III
・ Equestrian Portrait of Philip IV
・ Equestrian Portrait of Prince Balthasar Charles
・ Equestrian Portrait of the Count-Duke of Olivares
・ Equestrian Portrait of the Duke of Lerma
・ Equestrian Scouting and Guiding
・ Equestrian sport in India
・ Equestrian staircase
・ Equestrian statue
・ Equestrian statue of Absalon
・ Equestrian statue of Bartolomeo Colleoni
・ Equestrian statue of Charles I, Charing Cross


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Equestrian Portrait of Charles V : ウィキペディア英語版
Equestrian Portrait of Charles V

''Equestrian Portrait of Charles V'' (also ''Emperor Charles V on Horseback'' or ''Charles V at Mühlberg'') is an oil-on-canvas painting by the Italian Renaissance artist Titian. Created between April and September 1548 while Titian was at the imperial court of Augsburg, it is a tribute to Charles V, Holy Roman Emperor, following his victory in the April 1547 Battle of Mühlberg against the Protestant armies.
The portrait in part gains its impact by its directness and sense of contained power: the horse's strength seems just in check, and Charles' brilliantly shining armour and the painting's deep reds are reminders of battle and heroism. Titian recorded all of the foreground elements—the horse, its caparison, and the rider's armour—from those used in the actual battle. Both the armour and harness survive, and are kept at the Royal Armoury in Madrid.〔Grancsay, 123〕
It was acquired by the Museo del Prado in 1827.
==Commission==
The portrait was commissioned by Mary of Austria, Queen of Hungary, with Charles specifying how he wished to be presented.〔Museo del Prado website〕 The emperor was very aware of the importance of portraiture in determining how he was seen by others, and appreciated not only Titian's mastery as a painter, but also the artist's manner of presenting him as a ruler.〔Hackenbroch, 323〕
Titian came to know Charles V personally, and had painted a number of portraits of him by this time. A highly intelligent man, Titian was quick witted, humorous and easy company. He had developed such a strong friendship with Charles by the time of this portrait that the emperor's courtiers were uneasy at the extent that a lowly painter was allowed into his confidence.〔Their relationship lead, in part, to Paul III's commissioning of the 1543-45 series of portraits of him and his relatives, in an attempt to ingratiate himself to Charles.〕 While in Augsburg, Titian was given an apartment close to Charles' own, and allowed easy access and frequent meetings with the emperor.〔Kaminski, 36-37〕

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