《打呵欠的人（有争议的归因）》彼得·勃鲁盖尔(Pieter Bruegel the Elder)高清作品欣赏

彼得·勃鲁盖尔(Pieter Bruegel the Elder)高清作品《打呵欠的人（有争议的归因）》

作品名：打呵欠的人（有争议的归因）

艺术家：彼得·勃鲁盖尔

年代：c.1563

风格：北欧文艺复兴

类型：肖像,素描

介质：油画,面板

标签：休闲与睡眠

尺寸：12.6 x 9.2 cm

收藏：比利时比利时皇家美术馆，布鲁塞尔

这个小调一直被认为是长者Pieter Bruegel，但专家们最近一致认为这是他长子的手画的。这是一个旨在分析极端面部表情的脸的研究。在文艺复兴理论中，面部表情的正确渲染是一项重要的艺术要求。在此之前，勃鲁盖尔的专家们试图把打哈欠的脸解释为懒惰的寓言。这种罪通常被认为是“魔鬼的枕头”。这种表达形式的工作伦理远不是十六世纪前资本主义中产阶级社会的外来概念。艺术从这个时候使用讽刺形象乞丐和其他类型的人谁没有赚到他们的钱从工作。一个乡下人被描绘成打哈欠的事实无疑不是偶然的：城市中产阶级希望把自己从农民和乡下人实践的庸俗行为中分离出来。打呵欠，特别是露出牙齿，这样做被认为是粗鲁的。

Title:Yawning Man (disputed attribution)

artist:Pieter Bruegel the Elder

Date:c.1563

Style:Northern Renaissance

Genre:portrait, sketch and study

Media:oil,panel

Tag:leisure-and-sleep

Dimensions:12.6 x 9.2 cm

Location:Royal Museums of Fine Arts of Belgium, Brussels, Belgium

This little tondo was long attributed to Pieter Bruegel the Elder, but experts have more recently agreed that it was painted by the hand of his eldest son. It is a study of a face aimed at analysing extreme facial expressions. In Renaissance theory of art, the correct rendering of facial expressions was an important artistic requirement. Before this, Bruegel experts tried to interpret the yawning face as an allegory for Sloth. This sin was generally considered as “the Devil’s pillow”. The sort of work ethic which is portrayed by this expression was far from a foreign concept for the pre-capitalist middle-class society of the 16th century. Art from this time uses satirical images of beggars and other types of people who did not earn their money from working. The fact that a country man is depicted yawning is doubtless not by chance: the urban middle classes wished to set themselves apart from this vulgar behaviour practiced by peasants and country folk. Yawning, and particularly showing ones teeth whilst doing so was considered as rude.