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更新日 2025.04.14 | 14 April 2025

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常設展

ベルナルド・カヴァッリーノ

ナポリ, 1616年 - ナポリ, 1656年頃

Bernardo Cavallino

Naples, 1616 - Naples, c. 1656

ヘラクレスとオンファレ Hercules and Omphale

制作年	1640年頃
材質・技法・形状	油彩、カンヴァス
寸法（cm）	127 x 180.3
分類	絵画
所蔵番号	P.1999-0002

　この作品は画業半ばで生涯を終えたナポリ派の画家ベルナルド・カヴァッリーノの作品の中でもきわめてめずらしい世俗主題をあつかった作品です。暗い背景の中に左側から差す光によって生み出される危うげな空間は、ナポリ派カラヴァッジズムの優れた表現手法です。主題は十二の難行を終えた英雄ヘラクレスがリュディアの女王オンファレのもとで糸紬の労働をさせられるという物語。肉体に自信のあるヘラクレスも女性の仕事である糸紬に難儀をしているらしく、その不器用さを当時の普通の女性たちを映し出したかのような人物たちによって笑い種とされています。しかしこの出会いがきっかけで恋に落ちるヘラクレスとオンファレ、その行く末を陰から姿を見せている不安げな表情のアモールが暗示しています。ヘラクレスの粗野な肉体描写には当時ナポリで活躍していたフセペ・デ・リベーラ（1591-1652）の影響を認めることができます。（出典: 展示室作品解説パネル）

来歴

Allomello Collection, Roma, before 1957; Private Collection, Switzerland; Purchased by the NMWA, 2000.

展覧会歴

2014: 非日常からの呼び声：平野啓一郎が選ぶ西洋美術の名品, 国立西洋美術館, 2014年4月8日-2014年6月15日, cat. no. 18
2017: ［平成29年度国立美術館巡回展］国立西洋美術館所蔵　ミューズ(芸術の女神)：まなざしの先の女性たち, 福島県立美術館, 2017年4月22日-2017年7月2日, 秋田県立近代美術館, 7月15日-9月18日, cat. no. 20

文献歴

1957: Causa, Raffaello. La pittura napoletana dal XV al XIX secolo. Bergamo, 1957 , p. 42.
1972: Causa, Raffaello. La pittura del Seicento a Napoli dal naturalismo, al Barocco. Storia di Napoli. vol. 5, 1972, pp. 942, 982, n. 108.
1984: Lurie, A. T.; Percy, Ann (eds.). Bernardo Cavallino of Naples; 1616-1656 (exh. cat.). The Cleveland Museum & The Kimbell Art Museum, 1984, pp. 15-16, 93, no. 22.
1985: Bernardo Cavallino (1616-1656) (exh. cat.). Napoli, 1985, p. 209, c. 7 (only in catalogue).
2001: 国立西洋美術館年報. No. 34 (April 1999-March 2000), 2001, 高梨光正. 新収作品. pp. 12-15, 新収作品一覧. p. 44, col. repr.
2006: 国立西洋美術館名作選. 東京, 国立西洋美術館; 東京, 西洋美術振興財団, 2006, no. 20, col. repr.
2009: Masterpieces of The National Museum of Western Art, Tokyo. Tokyo, The National Museum of Western Art; Tokyo, The Western Art Foundation, 2009, no. 20, col. repr.
2013: 国立西洋美術館名作選. 東京, 西洋美術振興財団, 2013, no. 34, col. repr.
2017: 芸術の女神ミューズ：まなざしの先の女性たち：国立西洋美術館所蔵：平成29年度国立美術館巡回展 (exh. cat.). 中田明日佳責任編集. 東京, 国立西洋美術館, 2017, pp. 45, 139, cat. no. 20, col. repr.
2021: 山形で考える西洋美術|高岡で考える西洋美術—「ここ」と「遠く」が触れるとき (exh. cat.). 新藤淳責任編集. 東京, 国立西洋美術館, 2021, pp. 77, 178, cat. no. Y2_31 | T2_34, col. repr.

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On Display

Permanent collection

Bernardo Cavallino

Naples, 1616 - Naples, c. 1656

Hercules and Omphale

Date	c. 1640
Materials and Techniques	oil on canvas
Size（cm）	127 x 180.3
Credit Line	Purchased
Category	Paintings
Collection Number	P.1999-0002

This painting is an extremely rare example of a secular subject amongst the works of Bernardo Cavallino, a major, talented 17th-century Neapolitan painter who died at a young age. This work is thought to have been painted when the artist was about 34 years old. The rendering of light from the left and against a dark background is typical of the superb Carravaggist expression of the Neapolitan school. The subject tells the tale of Hercules, who has completed his twelve labors and is set to work spinning thread for the Lydian queen Omphale. It seems that the hero, confident in his physical prowess, is troubled by the women's work of spinning thread, and he becomes the butt of jokes in the face of his inability to carry out what was a simple task for the women of the day. This meeting between Hercules and Omphale led them to fall in love, but the uneasy expression on the face of Amore, seen in the shadows, suggests the unfortunate outcome of such love. The influence of Jusepe de Ribera can be seen in the roughhewn depiction of Hercules's body. Unlike the mathematically logical spatial compositions of the Renaissance, this painting reveals the strong influence of Caravaggio, in a Baroque space alive with contrasting light and darkness and pigments. (Source: Masterpieces of the National Museum of Western Art, Tokyo, 2009, cat. no. 20)

Provenance

Allomello Collection, Roma, before 1957; Private Collection, Switzerland; Purchased by the NMWA, 2000.

Exhibition History

2014: Voices Calling from the Unusual: Hirano Keiichiro's Selection of Western Art Masterpieces, National Museum of Western Art, Tokyo, 8 April 2014 - 15 June 2014, cat. no. 18
2017: [Traveling Exhibitions Presenting National Art Museum Collections, Fiscal 2017] Muse: Women before the Artists' Eyes: From the Collection of the National Museum of Western Art, Tokyo, Fukushima Prefectural Museum of Art, 22 April 2017 - 2 July 2017, Akita Museum of Modern Art, 15 July-18 September, cat. no. 20

Bibliography

1957: Causa, Raffaello. La pittura napoletana dal XV al XIX secolo. Bergamo, 1957 , p. 42.
1972: Causa, Raffaello. La pittura del Seicento a Napoli dal naturalismo, al Barocco. Storia di Napoli. vol. 5, 1972, pp. 942, 982, n. 108.
1984: Lurie, A. T.; Percy, Ann (eds.). Bernardo Cavallino of Naples; 1616-1656 (exh. cat.). The Cleveland Museum & The Kimbell Art Museum, 1984, pp. 15-16, 93, no. 22.
1985: Bernardo Cavallino (1616-1656) (exh. cat.). Napoli, 1985, p. 209, c. 7 (only in catalogue).
2001: Annual Bulletin of the National Museum of Western Art. No. 34 (April 1999-March 2000), 2001, Takanashi Mitsumasa. New Acquisitions. pp. 12-15, List of New Acquisitions. p. 44, col. repr.
2006: Masterpieces of The National Museum of Western Art, Tokyo. Tokyo, The National Museum of Western Art; Tokyo, The Western Art Foundation, 2006 (Japanese, preface in Japanese and English), no. 20, col. repr.
2009: Masterpieces of The National Museum of Western Art, Tokyo. Tokyo, The National Museum of Western Art; Tokyo, The Western Art Foundation, 2009, no. 20, col. repr.
2013: Masterpieces: The National Museum of Western Art, Tokyo. Tokyo, The Western Art Foundation, 2013 (Japanese, preface in Japanese and English), no. 34, col. repr.
2017: Muse: Women before the Artists' Eyes: from the Collection of the National Museum of Western Art, Tokyo: Traveling Exhibitions Presenting National Art Museum Collections, Fiscal 2017 (exh. cat.). Nakada, Asuka, ed. Tokyo, The National Museum of Western Art, Tokyo, 2017, pp. 45, 139, cat. no. 20, col. repr.
2021: When Here and Afar Meet: Western Art in Yamagata/Western Art in Takaoka (exh. cat.). Shinfuji, Atsushi, ed. Tokyo, The National Museum of Western Art, Tokyo, 2021, pp. 77, 178, cat. no. Y2_31 | T2_34, col. repr.

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