亨利·克莱 - 美国大都会艺术博物馆展品查阅

品名（中）	亨利·克莱
品名（英）	Henry Clay
入馆年号	1995年，1995.599
策展部门	美国之翼（The American Wing）
创作者	Thomas Ball【1819 至 1911】【美国人】
创作年份	公元 1858
创作地区	制造于: 美国, 宾夕法尼亚（Made in: United States, Pennsylvania）
分类
尺寸	30 1/2 x 12 3/4 x 10 3/4 英寸 (77.5 x 32.4 x 27.3 厘米)
介绍（中）	受到他的"丹尼尔·韦伯斯特"小雕像（69.219.2）的商业成功的鼓舞，鲍尔在波士顿模仿了"亨利克莱"作为姊妹篇。通过将韦伯斯特和克莱配对，鲍尔暗示了他们在内战前时期的民族妥协谈判中最重要的角色。克莱（1777-1852）在他漫长的职业生涯中担任过许多联邦职位，并于1850年退休，策划了1850年的妥协，以防止南北之间因奴隶制扩张而公开敌对行动。鲍尔努力描绘克莱的真实形象，但他从未见过他本人，因此依靠保姆的照片和其他图像。鲍尔以现代服装和改良的对立姿势摆出克莱的姿势。他手里拿着一份卷起的文件，看向左边。他的左边是一根垂下的断柱，象征着坚韧。虽然这个人物的特点是宽阔的平面、光滑的表面和高抛光度，但也有动画脸和克莱额头中央凸起的静脉等自然主义细节。与"丹尼尔·韦伯斯特"一样，"粘土"是美国最早铸造的青铜小雕像之一。生产这件作品的马萨诸塞州奇科皮的艾姆斯铸造厂在 1850 年代掌握了砂型铸造工艺，生产出非常高质量的作品。"粘土"被铸造成几块 - 人物，柱子，底座 - 然后组装。大都会的演员保持其原始的漆型铜绿。
介绍（英）	Encouraged by the commercial success of his "Daniel Webster" statuette (69.219.2), Ball modeled "Henry Clay" in Boston as a companion piece." By pairing Webster and Clay, Ball was alluding to their foremost roles in the negotiation of national compromise in the pre-Civil War era. Clay (1777–1852) held many offices on the federal level during his long career and came out of retirement in 1850 to orchestrate the Compromise of 1850, an effort to prevent open hostilities between the North and the South over the expansion of slavery. Ball strove for a realistic representation of Clay, but he never saw him in person, and so relied on photographs and other images of the sitter. Ball posed Clay in contemporary dress and in a modified contrapposto stance. He grasps a rolled document in his hands and looks to his left. To his left is a draped broken column, which on a symbolic level represents fortitude. Although the figure is characterized by broad planes, smooth surfaces, and high polish, there are such naturalistic details as the animated face and the bulging vein in the center of Clay’s forehead. Along with "Daniel Webster," "Clay" is one of the earliest bronze statuettes cast in the United States. The Ames Foundry in Chicopee, Massachusetts, where this piece was produced, mastered the sand-casting process during the 1850s, producing works of remarkably high quality. "Clay" was cast in several pieces--figure, column, base--and then assembled. The Metropolitan’s cast maintains its original lacquer-type patina.