拿破仑半身像 - 美国大都会艺术博物馆展品查阅

品名（中）	拿破仑半身像
品名（英）	Bust of Napoleon
入馆年号	2015年，2015.489
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者	Antonio Canova【1757 至 1822】【意大利人】
创作年份	公元 1803 - 公元 1819
创作地区
分类	雕塑（Sculpture）
尺寸	wt confirmed: 29 × 19 × 17 英寸, 265 磅 (73.7 × 48.3 × 43.2 厘米, 120.2 kg)
介绍（中）	欧洲最著名的新古典主义艺术家安东尼奥·卡诺瓦（Antonio Canova）将拿破仑的半身像来源于他全身巨大的大理石雕像，雕像上的拿破仑是火星Pacificus（1803–1806年；伦敦，阿普斯利宫）。这尊半身像的规模、构图和截形都源于它是一尊全身雕像。拿破仑因雕像的裸体而拒绝了卡诺瓦将他塑造成火星的不朽形象，这是一个著名的例子。反过来，由其衍生的卡诺瓦半身像也成为了皇帝重要的官方形象之一。拿破仑半身像的许多巨大和真人大小的例子在整个欧洲传播。这是卡诺瓦生前唯一在罗马工作室外用大理石复制的模型《拿破仑巨像》展现了拿破仑帝国肖像的宏伟抱负和全部的威严。然而，几乎可以肯定的是，它不是由卡诺瓦亲手雕刻的，也可能不是在他的监督下雕刻的。尽管卡诺瓦的罗马工作室制作了巨大半身像的大理石版本，并出售石膏模型，但这种供应显然无法满足不断扩张的帝国的需求。1805年，拿破仑的妹妹、卢卡公爵夫人伊丽莎白·波拿巴·巴乔奇（Elisa Bonaparte Baciochi）在卡拉拉（Carrara）的采石场建立了一家美术学院和一家企业，专注于从包括洛伦佐·巴托里尼（Lorenzo Bartolini）、安托万·丹尼斯·肖德特（Antoine Denis Chaudet）和弗朗索瓦·博西奥男爵（Baron François Bosio）在内的雕塑家的模型中复制帝国大理石肖像。卡拉拉工作室国家批准使用卡诺瓦的石膏模型雕刻大理石复制品，想必大师是可以容忍的。1808年至1814年间，在巴黎收到了42枚卡拉拉作坊大理石，其尺寸为卡诺瓦的拿破仑半身像，巨大而逼真，博物馆可能就是其中之一 [丹妮丝·艾伦，2015年]
介绍（英）	Antonio Canova, the most celebrated Neoclassical artist in Europe, derived the Bust of Napoleon from his full-length colossal marble statue of Napoleon as Mars Pacificus (1803–1806; London, Apsley House). The bust’s scale, composition, and truncationare owed to its origins as a full-length figure. Napoleon famously rejected Canova’s monumental portrayal of him as Mars because of the statue’s nudity. The bust Canova derived from it conversely became one of the emperor’s important official images. Numerous colossal and life-sized examples of the Bust of Napoleon were disseminated throughout Europe. It was the sole model by Canova to have been reproduced in marble outside of his Roman workshop during the sculptor’s lifetime. The Colossal Bust of Napoleon captures the monumental ambition and all’antica majesty of Napoleon’s imperial portraits. Yet it is almost certainly not by Canova’s hand, and it might not have been carved under his supervision. Although Canova’s Roman studio produced marble versions of the colossal bust and sold plaster models of it, this supply apparently did not fill the expanding empire’s demands. In 1805 Napoleon’s sister, Elisa Bonaparte Baciocchi, Duchess of Lucca, established an Académie des Beaux-Arts and a business at the quarries at Carrara that focused on the reproduction of imperial marble portraits from models by sculptors that included Lorenzo Bartolini, Antoine Denis Chaudet, and Baron François Bosio. The Carrara workshop’s state-sanctioned use of Canova’s plaster models to carve marble replicas presumably was tolerated by the master. Between 1808 and 1814 forty-two Carrara workshop marbles of Canova’s Bust of Napoleon in colossal and life-sized scale were received for sale in Paris, and the Museum's example may have been one of them. [Denise Allen, 2015]