阿卡迪亞的遺址 湯瑪士·科爾之義大利風景畫研究

渴望受益於義大利之自然與藝術瑰寶，英裔美國畫家、同時為哈德遜河派 (Hudson River School) 傑出創始人的湯馬士·科爾 (Thomas Cole，1801–48)，在其一生中，分別於1831–32 年和1841–42 年，兩度造訪義大利這美麗國度。科爾在其旅居義大利期間，不僅參與藝術課程以精進技藝，也參訪了各博物館與歷史名勝。更重要的，他還於旅遊中同時素描作畫，這對其事後的風景畫創作有著至關重要的影響。在義大利的旅途之後，科爾藉其素描紀錄，描繪了義大利風景與遺址。《羅馬附近之渡槽》(Aqueduct near Rome，1832；聖路易斯)、《羅馬坎帕尼亞》(Roman Campagna，1843；哈特福德)、《塞傑斯塔神廟與藝術家素描》(Temple of Segesta with the Artist Sketching，1842–43；波士頓) 以及《自陶爾米納觀埃特納火山》(Mount Etna from Taormina，1843；哈特福德) 都是這類工作室畫的例子，於本研究中有仔細的探討。這些畫作具有田園之主題，在此前提下，本文詳細探究科爾將義大利視為阿卡迪亞之境的議題。上述畫作與科爾兩次義大利旅行之間的關聯已被深入分析。為此，呼應藝術家旅行經驗的部分文字作品已被進一步研究。其結果與畫作視覺分析的結果相對，以仔細呈現相似的結構特性。對畫家科爾而言，義大利絕對是個理想境地，是富饒藝術、自然和文化的地方；他來自家鄉日常生活的壓力在那裡因而獲得釋放，也因此進一步醞釀、滋長了他理想風景畫的創作概念。

關鍵字

湯馬士·科爾 (Thomas Cole) ；哈德遜河派 (Hudson River School) ；義大利；美國風景畫；遺址

並列摘要

Motivated by the desire to benefit from the treasures in nature and art of Italy, the English-American artist Thomas Cole (1801–48), eminent leader of the Hudson River School, traveled to the bel paese twice in his life, in 1831–32 and 1841–42. During these visits, Cole not only took art classes in order to improve his skills, but also visited museums and historical places. Most importantly, he went on sketching trips, an activity essential for the creation of his future landscape paintings. After the journeys, Cole developed from his sketches paintings representing Italian landscapes with ruins. Aqueduct near Rome (1832; Saint Louis), Roman Campagna (1843; Hartford), Temple of Segesta with the Artist Sketching (1842–43; Boston) and Mount Etna from Taormina (1843; Hartford) are examples of such studio paintings which are closely examined in this study. Premised on the notion that the pastoral theme is present in these works, Cole’s understanding of Italy as an Arcadian realm has been scrutinized. The link between Cole’s works and the two Italian journeys has been profoundly analyzed. To that end, a selection of the artist’s literary accomplishments that echo the experiences made during the travels has been subjected to further examination. The results are confronted with outcome of the paintings’ visual analysis in order to present in detail similar structural features. For the painter, Italy was definitely an ideal realm, a place rich in art, nature and culture, where he could—liberated from pressure of daily life at home—develop further his concepts of ideal landscape.