微信公众号 
图码生活

每天发布有五花八门的文章,各种有趣的知识等,期待您的订阅与参与
搜索结果最多仅显示 10 条随机数据
结果缓存两分钟
如需更多更快搜索结果请访问小程序
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)
读取中
读取中
读取中
品名(中)来自四大洲的欧洲
品名(英)Europe from a set of The Four Continents
入馆年号1978年,1978.404.2
策展部门欧洲雕塑和装饰艺术European Sculpture and Decorative Arts
创作者Jean Jacques François Le Barbier【1738 至 1826】【法国人】
创作年份公元 1781 - 公元 1791
创作地区
分类纺织品挂毯(Textiles-Tapestries)
尺寸12 × 15 ft. (365.8 × 457.2 厘米)
介绍(中)这套由四幅挂毯及其协调的室内装潢(MMA 1978.404.4a-c–.18a-c]于1786年从博韦制表厂委托,并于1790年至1791年间编织。¹ 如前所述,"第一位出版该作品的学者提出了一个有吸引力且并非不可能的建议,即这套套装是路易十六国王送给乔治华盛顿的礼物......但它没有得到任何当代证据的支持。² 无论这套套房是否打算作为送给华盛顿总统的礼物,法国大革命介入了,挂毯被编织起来也许是奇迹。当它们完成时,法国国王无法向任何人赠送外交礼物。

正是美国作为一个看起来相当端庄的年轻女性的代表,使这个图像方案与四大洲的其他群体区分开来。在博韦挂毯套装中,美国已经从十六世纪代表中衣着暴露、手持长矛、骑犰狳、食人战士公主演变为依赖于保护自由和密涅瓦女性化身的女性(其盾牌上有法国的鸢尾花)。 除了这种代表性的转变之外,原本代表整个西半球的印度公主在这里只代表美国。法国以密涅瓦为幌子捍卫的这种美国观的概念是由本杰明富兰克林提出的,基于他的建议的奖章由奥古斯丁·杜普雷设计并于 1782 年在法国铸造。

因此,这些挂毯的生产是高卢人对美国殖民者争取从英国独立的斗争的热情的生动例子, 法国的长期敌人,存在于社会最高层。这不是该系列设计师让-雅克-弗朗索瓦·勒·巴比尔(1780年成为官方国王)的第一个美国主题。1782 年,他在第一届大陆会议上的序言出现在《盎格鲁-美洲历史和政治》(布鲁塞尔,1781-82 年)的卷首插画中,这只是 1780 年代初出现的关于美国事业主题的几本出版物之一

。他们用金钱、物资和士兵支持大陆军,其中包括富有的拉斐特侯爵(1757-1834),他对这项事业的热情如此之大,以至于他伪装成女人航行到美国以逃避侦查。

[梅琳达·瓦特,改编自《交织的地球仪》,《全球纺织品贸易,1500-1800》/阿米莉亚·派克编辑;纽约:大都会艺术博物馆;纽黑文:耶鲁大学出版社发行,2013年]

脚注

1。有关挂毯套件的完整说明,请参阅斯坦登,欧洲后中世纪挂毯,第 2 卷,第 572-605 页;斯坦登,"让-雅克-弗朗索瓦·勒巴比尔和两次革命",第258-65页。

2. 斯坦登,"让-雅克-弗朗索瓦·勒巴比尔和两次革命",第273页,第16页。斯坦登提到的最早的学术出版物是多尼奥尔,《参与法国美洲国家机构的历史》;见斯坦登,《欧洲后中世纪挂毯》,第2卷,第573页。

3. 有关十六世纪和十七世纪美国印刷品和素描中的代表,请参阅荣誉,《欧洲对美国的愿景》,第 114-23 页。

4. 斯坦登,"让-雅克-弗朗索瓦·勒巴比尔和两次革命",第 261、262 页,图 11; 大都会博物馆有两个这个奖章的例子,编号07.251.23和36.110.41。这是杜普雷设计的描绘美国独立战争主题的众多奖章之一。

5. 斯坦登:《让-雅克-弗朗索瓦·勒巴比尔与两次革命》,第255页。
介绍(英)This suite of four tapestries and its coordinating upholstery (MMA 1978.404.4a-c–.18a–c] were commissioned from the Beauvais manufactory in 1786 and woven between 1790 and 1791. ¹ As has been noted, "The attractive and not impossible suggestion that the set was intended to be a gift from King Louis XVI to George Washington was made by the first scholar to publish the work . . . but it is not supported by any contemporary evidence."² Regardless of whether the suite was intended as a gift to President Washington, the French Revolution intervened, and it is perhaps miraculous that the tapestries were woven at all. By the time they were complete, the French king was in no position to bestow diplomatic gifts on anyone.

It is the representation of America as a rather demure-looking young woman that sets this iconographic scheme apart from other groupings of the Four Continents. In the Beauvais tapestry set, America has evolved from the scantily clad, spear-toting, armadillo-riding, cannibalistic warrior princess seen in sixteenth century representations to the woman dependent on the protection of the female personifications of Liberty and Minerva (whose shield carries the fleur-de-lis of France).³ In addition to this representational shift, the Indian princess who had originally stood for the entire Western Hemisphere here represents only the United States. The concept for this view of America defended by France in the guise of Minerva was suggested by none other than Benjamin Franklin, and a medal based on his suggestion was designed by Augustin Dupre and struck in France in 1782.⁴

The production of these tapestries is thus a vivid example of the Gallic enthusiasm for the American colonists’ struggle for independence from Great Britain, France’s longtime foe, which existed at the highest levels of society. This was not the first American subject for the designer of the series, Jean-Jacques- Francois Le Barbier (an official peintre du Roi by 1780). In 1782 his llustration of the first Continental Congress appeared as the frontispiece in Essais historiques et politiques sur les Anglo-Américains (Brussels, 1781–82), just one of several publications on the subject of the American cause that appeared in the early 1780s.⁵

Of course, the French expressed their enthusiasm for the American struggle against the British with more than works of art and propaganda. They supported the Continental Army with money, supplies, and soldiers, including the wealthy marquis de Lafayette (1757–1834), whose fervor for the cause was so great that he sailed to America disguised as a woman to escape detection.

[Melinda Watt, adapted from Interwoven Globe, The Worldwide Textile Trade, 1500-1800/ edited by Amelia Peck; New York: Metropolitan Museum of Art; New Haven: distributed by Yale University Press, 2013]

Footnotes

1. For a complete account of the tapestry suite, see Standen, European Post- Medieval Tapestries, vol. 2, pp. 572–605; and Standen, "Jean-Jacques-Francois Le Barbier and Two Revolutions," pp. 258–65.

2. Standen, "Jean-Jacques-Francois Le Barbier and Two Revolutions," p. 273 n. 16. The earliest scholarly publication referred to by Standen is Doniol, Histoire de la participation de la France à l’établissement des États-Unis d’Amerique; see Standen, European Post-Medieval Tapestries, vol. 2, p. 573.

3. For a selection of sixteenth- and seventeenth-century representations of America in prints and drawings, see Honour, The European Vision of America, pp. 114–23.

4. Standen, "Jean-Jacques-Francois Le Barbier and Two Revolutions," pp. 261, 262, fig. 11; the Metropolitan Museum has two examples of this medal, acc. nos. 07.251.23 and 36.110.41. This was one of a number of medals depicting American Revolutionary War subjects designed by Dupre.

5. Standen, "Jean-Jacques-Francois Le Barbier and Two Revolutions," p. 255.
  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。