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美国纽约大都会艺术博物馆展品查阅
美国纽约大都会艺术博物馆展品查阅
美国大都会艺术博物馆中的24万件展品,图片展示以及中文和英文双语介绍(中文翻译仅供参考)
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品名(中)花瓶(花瓶哥特式弗拉戈纳尔)(一对之一)
品名(英)Vase (vase gothique Fragonard) (one of a pair)
入馆年号1992年,1992.23.2
策展部门欧洲雕塑和装饰艺术European Sculpture and Decorative Arts
创作者Alexandre Evariste Fragonard【1780 至 1850】【法国人】
创作年份公元 1832 - 公元 1844
创作地区
分类陶瓷-瓷器(Ceramics-Porcelain)
尺寸整体 (confirmed): 14 5/16 x 12 7/8 x 7 7/8 英寸 (36.4 x 32.7 x 20 厘米)
介绍(中)这两个装饰着新哥特式风格的花瓶体现了折衷主义,这是十九世纪中期法国艺术的特点。这个花瓶的模型是由Alexandre-Évariste Fragonard(法语,1780–1850)设计的,他是19世纪20年代和19世纪30年代Sèvres工厂最多产的设计师之一。考虑到Sèvres的标题花瓶gotique Fragonard,该模型改变了美第奇花瓶的形状(条目74),增加了突出的滚动手柄,手柄上点缀着三叶草和风格化的低浮雕植被。[1] 把手的精致轮廓削弱了花瓶形式的新古典主义特征,相反,这种形式与绘画的新哥特式装饰和谐地结合在一起,无论多么松散,都暗示着一件15世纪末的艺术品。[2] 尽管如此,花瓶设计的哥特式风格还是很轻微的。1823–24年,该模型在巴黎卢浮宫博物馆的新年展览上展出后不久,在生产期间,它被描述为具有十二世纪的形式,除了新哥特式风格外,还装饰了各种风格。[3]

博物馆的花瓶被漆成灰色和白色,在深蓝色的地面上有镀金的高光,这种方式有意让人想起16世纪的利摩日珐琅。这种风格上的借鉴在工厂得到了认可,画家的记录将这些花瓶描述为"模仿利摩日的珐琅"[4],这向塞夫尔的设计师和画家证明了晚期哥特式和文艺复兴风格是无缝合成的。[5] 两个花瓶的装饰方案通过描绘被认为对这些成就负有责任的四个人来庆祝四项重大发明或发现。在一个花瓶上,两侧分别描绘了尼古拉斯·哥白尼(波兰语,1473–1543)和约翰·古腾堡(德语,约1398–1468),每个图下方的一条带子分别表示行星系统的发现和印刷机的发明。另一个花瓶描绘了罗杰·培根(英语:Roger Bacon,约1214-1292)和弗拉维奥·乔亚(意大利语:Flavio Gioja,或Gioia,14世纪初),下面的带子分别归功于火药和指南针的发明[6]。四个人物,每个人由两名助手陪同,站在哥特式拱门内,让人想起唱诗班的屏幕,每个花瓶的蓝色地面上都涂有丰富的哥特式花饰和镀金亮点。正如克莱尔·勒·科贝勒(Clare Le Corbeiller)所观察到的那样,花瓶上丰富多样的装饰以一定程度的有序进行,尽管细节丰富,但整体构图仍具有一定的轻盈性和易读性。[7]

工厂厂长Alexandre Brongniart(法语,1770–1847)对化学、技术和一般科学问题非常感兴趣,他会确定花瓶的主题。此外,布朗尼亚特会选择他们的装饰风格。当这些作品被绘制出来时,法国的哥特式复兴正处于成熟期,它们是塞夫尔创作的最明显的新哥特式作品之一。虽然其他历史复兴风格,尤其是新文艺复兴风格,在工厂更受欢迎,但那些哥特式风格的作品完全融入了哥特式晚期的主题。1816年的两个杯子和茶托是Sèvres早期以这种风格制作的作品之一[8],直到19世纪40年代,才有更多以这种风格设计的作品问世。[9]

这些花瓶的一个显著特点是使用了与文艺复兴时期金属制品相关的技术,在瓷器上制作哥特式图案。伯纳德·切瓦利耶(Bernard Chevallier)认为,卢浮宫在19世纪20年代收购了包括利摩日珐琅在内的藏品,激发了人们对这种材料的兴趣[10],1830年在塞夫尔(sèvres)制作的gueridon(台座桌)是最早在瓷器上采用利摩日风格装饰的作品之一。[11] 这项技术在Sèvres的发展与工厂画家Jacob Meyer-Heine(法语,1805-1879)有着密切的联系,他在受雇于Sèrves之前曾接受过搪瓷师的培训。[12] Meyer-Heine的第一件利摩日珐琅风格的瓷器作品似乎是在一个1840年至41年的花瓶上[13],他在19世纪40年代初用这种技术装饰了一系列花瓶,包括正在讨论的花瓶。[14] Brongniart对使用这种风格装饰瓷器的过程感兴趣,因此在sèvres创建了一个专门在铜上施釉的新工作室。在法国国王路易·菲利普(1773-1850)的支持下,布朗尼亚特成立了专门的作坊,专门"以豪华轿车的方式生产搪瓷作品"[15],迈耶-海涅于1845年被任命为其负责人。由于Sèvres的新重点是在铜上施釉,工厂停止使用这种技术装饰瓷器,博物馆的花瓶是最后一批以这种风格生产的作品

这对花瓶于1844年12月31日进入工厂销售室。[16]1845年4月,这两个花瓶被交付给路易-菲利普作为礼物赠送,[17]但收件人不详。这些花瓶采用了哥特式图案和文艺复兴时期的灵感,向生活了四个多世纪的历史人物致敬,巧妙地反映了这个世纪对过去的迷恋,将其视为一种无限的资源,无论是内容还是风格都有待挖掘


脚注
(缩短参考文献的关键参见Munger的参考书目,大都会艺术博物馆的欧洲瓷器。纽约:大都会艺术馆,2018)
1这对花瓶由Clare Le Corbeiller详细出版,我非常感谢她的研究和观察。见Le Corbeiller 1999a
2在美学上同样成功的是一对装饰与Entre cour et j类似的哥特式Fragonard花瓶
介绍(英)These two vases decorated in the neo-gothic taste embody the eclecticism that characterizes so much of the art produced in mid-nineteenth-century France. The model for this vase was designed by Alexandre-Évariste Fragonard (French, 1780–1850), one of the most prolific designers at the Sèvres factory during the 1820s and 1830s. Given the title vase gothique Fragonard at Sèvres, the model transforms a Medici vase shape (entry 74) with the addition of prominent scrolling handles that are embellished with trefoils and stylized vegetation in low relief.[1] The elaborate profile of the handles diminishes the essentially Neoclassical character of the vase’s form, and instead, the form com-bines harmoniously with the painted neo- Gothic decoration to suggest, however loosely, a work of art made in the late fifteenth century.[2] Nonetheless, the Gothic quality of the vase’s design is slight. When the model was exhibited shortly after its introduction at the 1823–24 New Year’s exhibition at the Musée du Louvre in Paris, and during the years in which it was in production, it was described as having a twelfth- century form and decorated in a variety of styles in addition to neo-Gothic.[3]

The Museum’s vases are painted in gray and white with gilt high-lights on a dark blue ground in a manner that intentionally evokes Limoges enamels from the sixteenth century. This stylistic borrowing was acknowledged at the factory where the painters’ records describe these vases as “in imitation of Limoges enamels,”[4] and it is testimony to the designers and painters at Sèvres that the late Gothic and Renaissance styles are synthesized seamlessly.[5] The decorative scheme of the two vases celebrates four significant inventions or discoveries by portraying the four men believed to be responsible for these accomplishments. On one vase Nicolaus Copernicus (Polish, 1473–1543) and Johann Gutenberg (German, ca. 1398–1468) are depicted on the two sides, and a band below each figure indicates the discovery of the planetary system and the invention of the printing press, respectively. The other vase portrays Roger Bacon (English, ca. 1214–1292) and Flavio Gioja, or Gioia (Italian, early 14th century), with the bands below crediting the invention of gunpowder and of the compass,[6] respectively. The four figures, each accompanied by two assistants, stand within Gothic arches that evoke choir screens, and the blue ground of each vase is painted with a wealth of Gothic tracery and gilt highlights throughout. As has been observed by Clare Le Corbeiller, the profusion and variety of ornament on the vases have been executed with a degree of order that gives the overall composition a certain lightness and legibility despite the abundance of detail.[7]

Alexandre Brongniart (French, 1770–1847), the director of the factory, was keenly interested in chemistry, technology, and scientific matters in general, and he would have determined the subject matter for the vases. In addition, Brongniart would have selected their decorative style. The Gothic revival in France was in its maturity when these works were painted, and they are among the most overtly neo-Gothic works produced at Sèvres. While other historic revival styles, especially the neo- Renaissance, were more popular at the factory, those made in the Gothic style fully embraced the motifs associated with the late Gothic period. Two cups and saucers from 1816 are among the earlier works produced at Sèvres in this style,[8] and more designs in this idiom were produced until the 1840s.[9]

A distinguishing feature of these vases is the use of a technique associated with Renaissance metalwork to execute Gothic motifs on porcelain. It has been suggested by Bernard Chevallier the Louvre’s acquisition of collections in the 1820s that included Limoges enamels stimulated interest in this material,[10] and a gueridon (pedestal table) made at Sèvres in 1830 is among the earliest works to employ Limoges-style decoration on porcelain.[11] The development of this technique at Sèvres is closely linked to the factory painter Jacob Meyer- Heine (French, 1805–1879), who had trained as an enameler prior to his employment at Sèvres.[12] Meyer- Heine’s first work in the Limoges-enamel style on porcelain appears to be on a vase dated 1840–41,[13] and he decorated a series of vases in the early 1840s, including those under discussion, in this technique.[14] Brongniart’s interest in the process of decorating porcelain using this style led to the creation of a new workshop at Sèvres devoted to enameling on copper. With the support of French King Louis- Philippe (1773–1850), Brongniart established the specialized workshop specifically to “produce works enameled in the manner of the Limousins,”[15] and Meyer- Heine was appointed as its head in 1845. Due to the new focus of enameling on copper at Sèvres, the factory ceased to employ this technique for the decoration of porcelain, and the Museum’s vases are among the last works produced in this style.

The pair of vases entered the factory salesroom on December 31, 1844.[16] In April 1845 the two vases were delivered to Louis- Philippe to be presented as gifts,[17] though the intended recipient is unknown. In their use of Gothic motifs and a Renaissance- inspired technique to pay homage to historical figures who lived over a span of four centuries, the vases artfully reflect the century’s fascination with the past as an infinite resource to be mined for both content and style.


Footnotes
(For key to shortened references see bibliography in Munger, European Porcelain in the Metropolitan Museum of Art. NY: The Metropolitan Museum of Art, 2018)
1 This pair of vases has been published in detail by Clare Le Corbeiller, and I am much indebted to her research and observations. See Le Corbeiller 1999a.
2 Equally successful aesthetically are a pair of vases gothique Fragonard with similar decoration in Entre cour et jardin 2007, p. 189, no. 188, ill.
3 Tamara Préaud in Préaud et al. 1997, p. 299.
4 Archives, Cité de la Céramique, Sèvres, Vj’ 51 (1844), fol. 72, Meyer.
5 Le Corbeiller 1999a, p. 146.
6 Extremely little is known about Flavio Gioja, and his role, if any, in the invention of the compass is uncertain; ibid., pp. 148–50. 7 Ibid., p. 147.
8 Préaud in Préaud et al. 1997, pp. 356–57, nos. 142a, 142b.
9 Préaud in ibid., pp. 298–99, no. 97.
10 Chevallier 1991, p. 57.
11 Le Corbeiller 1999a, p. 147.
12 For an in- depth study of Meyer- Heine, see Massé 2011.
13 Faÿ-Hallé and Mundt 1983, ill. no. 198.
14 For example, see a pair of vases Adélaïde of 1844 now in the Musée du Louvre, Paris (Pierre Ennès in Âge d’or des arts décoratifs 1991, p. 410, no. 231), and a coupe Henri II, 1842–43, in the Wadsworth Atheneum, Hartford, Conn. (Roth 2007, p. 213).
15 “la fabrication des pièces émaillées à la manière des Limousins”; Exposition des manufactures royales 1846, p. 31, quoted by Ennès in Âge d’or des arts décoratifs 1991, p. 410.
16 Archives, Cité de la Céramique, Sèvres, Vv 4, fol. 34, no. 15 (feuille no. 80).
17 Archives, Cité de la Céramique, Sèvres, Vbb 11, fol. 2v, April 24, 1845, priced at 750 francs each.
  大都会艺术博物馆,英文 Metropolitan Museum of Art,是美国最大的艺术博物馆,世界著名博物馆,位于美国纽约第五大道的82号大街。
  大都会博物馆回顾了人类自身的文明史的发展,与中国北京的故宫、英国伦敦的大英博物馆、法国巴黎的卢浮宫、俄罗斯圣彼得堡的艾尔米塔什博物馆并称为世界五大博物馆。