William Dyce (1806–1864) 是十九世紀中葉維多利亞時期的畫家，本論文主要討論他於1857年在英國皇家藝術學院所展的〈提香準備他的第一堂色彩習作〉(Titian Preparing to Make his First Essay in Colouring)。此作品取材於十七世紀巴洛克畫家與作家Carlo Ridolfi (1594–1658) 在1648年所著的Le Maraviglie dell’Arte (The Marvels of Art)，Dyce運用畫筆再度詮釋Ridolfi筆下的威尼斯大師。然而，其畫作與十七世紀文本之間，卻有明顯的差距存在。透過檢視Dyce的義大利經驗、以及他與藝術家及英國國家藝廊館長Charles Lock Eastlake (1793–1865) 之間的交情，顯示他在〈提香準備他的第一堂色彩習作〉中的改編是出自於刻意以及有意義性的詮釋。本文主旨試圖理解Dyce改編其文本的動機，以及探討此作品所被賦予的涵義。
首先必須理解Dyce創作〈提香準備他的第一堂色彩習作〉的時代背景，在十八世紀八零年代到十九世紀中葉這段期間，由於受到了當時人們熱烈討論文藝復興時期歷史文化的風潮影響，西方世界的畫家們對於十四到十六世紀義大利畫家們的生活充滿興趣，威尼斯文藝復興大師—Titian (1485/90–1576) 的軼事，在十九世紀成為畫家們喜愛的題材。十六世紀佛羅倫斯藝術史家Giorgio Vasari (1511–1574) 所著的 Vite de’ piu eccellenti Pittori, Scultori, e Architettori (Lives of the Most Eminent Painters, Sculptors and Architects)以及Ridolfi 的 Le Maraviglie dell’Arte 提供了Titian 傳記，幫助十九世紀畫家們認識此威尼斯藝術家的生命事跡，並且做為他們創作的材料來源。
為了對於〈提香準備他的第一堂色彩習作〉的圖像涵義有更寬廣的理解，下一章節將討論提香在十九世紀畫家筆下不同的面貌。畫家們主要從四個方向去描繪Titian的軼事與生活：Titian與君王的相處、Titian與同時代藝術家們的互動、Titian與其友人及情婦的相聚時刻，以及Titian的葬禮。這些作品呈現饒有趣味並且互異的Titian風貌，畫家們編織想像力、史實與軼事，不僅將十六世紀大師Titian崇高化為不朽的藝術家，同時也試圖構造史料傳記中少有著墨的私生活區塊，展現出Titian鮮明的性格以及其畫室以外的生活片段。
在最終章，回歸到Dyce與〈提香準備他的第一堂色彩習作〉上，首先探討Titian在Dyce摸索藝術的過程，所扮演的關鍵角色。Dyce約莫是在五十歲左右創作此畫，而此時他藝術家的名望恰好也達到了高峰，在此作品中Dyce回顧其藝術創作歷程中兩個重要元素: 大自然以及基督教藝術，文中將專注在Dyce歷年來的宗教畫作，從其早期於1827–1830所創作的〈聖母子圖〉(Madonna and Child) 出發，到1855年所創作的〈基督在客西馬尼花園〉(The Garden of Gethsemane)，透過檢視其一系列的宗教作品，以了解Dyce如何看待自然與基督教藝術之間的關係，並且分析他對於兩者態度的變化與游移如何反映在此作中。
此章最後分析Dyce對於Ridofli文本的理解與詮釋，試圖明白其改編的用意。Dyce不同於其它十九世紀畫家所呈現的Titian形象，他使焦點聚集於提香本身，專注於畫家與藝術間的關係，並且在此作運用兩個西方繪畫的傳統圖像: St. Luke與Albrecht Dürer (1471–1528) 的Melencolia I (1514)，以展現他對於文本充分的掌握。藉由巧妙地選擇花朵、安排擺佈位置以及運用花朵在基督教傳統的象徵意涵和十九世紀花語，以呼應其所參引的St. Luke與 Melencolia I的圖像。透過雙重圖像的安排，Dyce賦予Titian如哲人般沉思的姿態以及強調其與基督教信仰緊密的關連，試圖發掘Titian在創作藝術之時浸沐於內在思考的樣貌，不僅在一連串十九世紀的Titian圖像中獨占了一席之地，更使Titian提升為一名兼具宗教虔誠與充滿智慧的藝術家境界。

關鍵字: 威廉戴斯，〈提香準備他的第一堂色彩習作〉，卡羅 ．里道非，提香，聖路加，憂鬱I

In the focus of this thesis is William Dyce’s (1806–1864)picture Titian Preparing to Make his First Essay in Colouring (Aberdeen Art Gallery and Museums), which was presented in 1857 at the Royal Academy Exhibition in London. The painting was inspired by the biography of Titian in the Maraviglie dell’Arte (The Marvels of Art), published in 1648 by the Baroque artist and writer Carlo Ridolfi (1594–1658). Dyce’s visualization of the Venetian master’s childhood apparently reinterprets Ridolfi’s text. By means of examining Dyce’s experience with Italy, and his friendship with the artist and director of the National Gallery of London Charles Lock Eastlake (1793–1865), it can be demonstrated that the gap between Dyce’s painting and Ridolfi’s writing was made with purpose and after mature deliberation. The aim of this thesis is to discuss Dyce’s motive to adapt his source, and to analyze the significance bestowed upon this painting.
The historical background of Titian’s First Essay in nineteenth century will be taken into account. Under the influence of the popular cultural issue regarding the history between the fourteenth and sixteenth centuries, European artists showed interest in the lives of the Italian Renaissance artists. The anecdotes of the Venetian master Titian (c. 1485/90–1576) became the prominent topic for nineteenth-century painters to explore. Titian’s biographies were presented in the Vite de’ piu eccellenti Pittori, Scultori, e Architettori (Lives of the Most Eminent Painters, Sculptors and Architects) by the sixteenth-century Florentine artist and art historian Giorgio Vasari (1511–1574) and Ridolfi’s Le Maraviglie dell’Arte, both of which revealed the broad reception of Titian’s œuvre at that time and offered sufficient materials for nineteenth-century painters.
In order to illuminate the picture’s iconographic background, chapter seven will discuss the different images of Titian proposed by nineteenth-century artists. They paid attention particularly to four facets, Titian’s relationship with rulers, Titian’s interaction with contemporary artists, the leisure moment of Titian and his friends and mistress and Titian’s death. Their renderings of Titian’s life episodes are intriguing and display various aspects of the Venetian artist. The painters weaved historical facts, anecdotes and imagination together to manifest the master’s immortal status, and they attempted to disclose the private life and the engaging personality of Titian, which were seldom mentioned in the biographies.
The final chapter will focus on Dyce and Titian’s First Essay. Titian’s influential role in the artistic course of Dyce’s self-study will be considered. The Victorian painter created this work, when he was in his early fifties, while he reached the apex of his artistic career. He introspected his ideas of Christian art and nature, which were the pivot in his art creation. By virtue of reviewing his religious paintings, from the earlier icon Madonna and Child (1827–1830) to the later work The Garden of Gethsemane (1855), his conception of the two vital factors takes shape, and the change and hesitation of his attitude reflected in Titian’s First Essay will be analyzed.
At the end of this thesis, Dyce’s comprehension and interpretation of the anecdote from Ridolfi’s account will be discussed. Comparing with other nineteen-century painters, Dyce drew attention to Titian’s connection with his art. He adopted two traditional iconographical subjects in the Western art history, St. Luke and Albrecht Dürer’s (1471–1528) Melencolia I (1514), to demonstrate his realization of the textual source. Through the iconography of the dual images, Dyce shows young Titian immersed in contemplation, and accents the deep religious inspiration blessing the gifted sixteenth-century artist. His representation of Titian marks an illustrious position in nineteenth century painting, and founded the status of the Venetian master on the religious and intellectual level.

Keywords: William Dyce, Titian Preparing to Make his First Essay in Colouring, Carlo Ridolfi, Titian, St. Luke, Melencolia I

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