ABSTRACT

In early modern equestrian portraits of the European nobility, the apparent grace and control of the rider has occluded the culture that inspired the poses and postures of the subject. These depictions might be dismissed as a flattering fantasy of an elite effortlessly in control, illusions of power with little basis in corporeality. Rereading these images in the context of early modern equitational theory and practice suggests that these riding carriages reflect not only an achievable aspiration, but an ideal to be fulfilled. At the end of the sixteenth century, the rapid growth of an emerging equestrian culture (termed manège) involved a complex negotiation of social roles that partook of publishing, visual strategies for disseminating and understanding information, and the rise of formalized physical instruction. On the easel, expressions of grace and nonchalance have their roots in the phenomenal spread and influence of an evolving form of French equestrian culture.

摘要

在欧洲贵族的早期现代马术肖像中，骑手明显的优雅和控制已经掩盖了激发主题姿势和姿势的文化。这些描述可能会被认为是精英们毫不费力地控制的讨人喜欢的幻想，以及几乎没有肉体基础的权力幻觉。在早期现代马术理论和实践的背景下重读这些图像表明，这些马车不仅反映了一个可以实现的愿望，而且反映了一个有待实现的理想。在 16 世纪末，新兴的马术文化（称为 manège）的快速发展涉及到参与出版的社会角色的复杂协商、传播和理解信息的视觉策略以及正规体育教学的兴起。在画架上，