杯子（伊特鲁里亚杯）和酱汁 - 美国大都会艺术博物馆展品查阅

品名（中）	杯子（伊特鲁里亚杯）和酱汁
品名（英）	Cup (tasse à l'étrusque) and saucer
入馆年号	1990年，1990.101.1, .2
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者	Sèvres Manufactory【1740 至现在】【法国人】
创作年份	公元 1794
创作地区
分类	陶瓷-瓷器（Ceramics-Porcelain）
尺寸	高 (cup [.1]): 3 3/16 英寸 (8.1 厘米); Diameter (saucer [.2]): 6 5/8 英寸 (16.8 厘米)
介绍（中）	考虑到它被处决的日期，这个杯子和茶托的彩绘装饰令人惊讶，因为1794年，法国大革命后被称为恐怖的镇压和大规模处决时期刚刚结束。装饰方案由四个伪装成人类的蝴蝶保护区（面板）组成。他们的姿势和服装反映了一种明显的嬉戏精神，尽管在一个场景中描绘了决斗，他们的几个姿势和其中一个扮演哈勒昆的角色都引用了意大利喜剧的流行戏剧传统。四个场景中的三个是从1756年后不久出版的Charles Germain de Saint Aubin（1721–1786）的一套六幅蚀刻版画《人类乳头状物的本质》（Essai de papilloneies humaines）中复制的，并有一些变体，其中拟人化的蝴蝶以一种轻快的感觉嬉戏和比划，这是许多洛可可艺术的特征。令人惊讶的是，这种来自1750年代的近乎轻浮的装饰方案在本世纪末，即法国大革命之后，在一种克制的新古典主义占主导地位的时候，却受到了青睐。杯子的古典风格反映了流行的新古典主义品味，但装饰的顽皮和异想天开的本质战胜了形式的清醒。
介绍（英）	The lighthearted whimsy of the painted decoration of this cup and saucer is surprising considering the date at which it was executed, for in 1794 the period of repression and mass executions known as the Terror, which followed the French Revolution, was just ending. The decorative scheme is composed of four reserves (panels) of butterflies masquerading as humans. Their gestures and costumes reflect a decidedly playful spirit, despite the dueling depicted in one scene, and several of their poses and the portrayal of one as Harlequin are references to the popular theatrical tradition of the Italian Comedy. Three of the four scenes are copied, with some variations, from a set of six etchings entitled Essai de papilloneries humaines by Charles-Germain de Saint-Aubin (1721–1786) that were published shortly after 1756. The painter of the cup and saucer, Louis-Gabriel Chulot, has skillfully captured the spirit of Saint-Aubin’s compositions, in which the anthropomorphic butterflies cavort and gesticulate with a sense of levity that is characteristic of much Rococo art. It is surprising that this almost frivolous decorative scheme from the 1750s would have found favor at the very end of the century, just after the French Revolution and at a time when a restrained Neoclassicism predominated. The classically inspired form of the cup reflects the prevailing Neoclassical taste, yet the playful and whimsical nature of the decoration triumphs over the sobriety of form.