本文第一章首先探討《黛安娜盜取丘比特弓箭》呈現的肖像畫元素，爬梳雷諾茲在就任英國皇家藝術學院院長之前的創作歷程，逐步分析雷諾茲在《黛安娜盜取丘比特弓箭》作品中欲傳達的創作理念，並進一步論及在當時何種社會氛圍的影響下，促成曼徹斯特公爵夫人認同並接受此件母子肖像畫。第二章則從梳理阿爾巴尼《黛安娜的仙女盜取丘比特弓箭》的創作背景著手，探討其如何融合不同來源的構圖，並分析此類創新的構圖是如何從義大利開始傳播至英國。除此之外，本章亦將討論英國本土文學如何表述「黛安娜的仙女盜取丘比特弓箭」此一主題。第三章則確認雷諾茲實際接觸到阿爾巴尼的作品，與雷諾茲和曼徹斯特公爵夫人交會的時機點，以及曼徹斯特公爵夫婦的生活環境。最後則聚焦於後世對於《黛安娜盜取丘比特弓箭》的評價與討論的面向，探究雷諾茲的藝術理念和表現手法，在作品脫離特定時空之後，是否仍能為觀者所辨識與接受。;Diana Disarming Cupid is a mother-and-child portrait by Sir Joshua Reynolds. In this work, Reynolds not only portrayed the Duchess of Manchester and her son as Diana and Cupid, but also borrowed the attitude from Francesco Albani’s work. This thesis aims to explore Reynolds’s intention behind Diana Disarming Cupid. It also focuses on how the portrait was received by the Duchess of Manchester and audiences. Finally, it considers whether later critics and scholars have continued to view this mother-and-child portrait in the same light.
Chapter One discusses the concept Reynolds sought to express in Diana Disarming Cupid, and the social atmosphere that may have influenced the creation of this portrait. Chapter Two begins with an overview of the background of Francesco Albani’s Les Amours désarmés par les nymphes de Diane, and examines how this image was circulated from Italy to Britain. In addition, the chapter explores how the theme of “Diana’s nymphs disarming Cupid” was represented in British literature. Chapter Three investigates whether Reynolds was familiar with Albani’s work before producing Diana Disarming Cupid, and examines the social life of the Duke and Duchess of Manchester. The final section focuses on the later reception of Diana Disarming Cupid and the various perspectives through which it has been interpreted.
