水晶宫，海德公园，耳堂 - 美国大都会艺术博物馆展品查阅

品名（中）	水晶宫，海德公园，耳堂
品名（英）	Crystal Palace, Hyde Park, Transept
入馆年号	2005年，2005.100.259
策展部门	摄影（Photographs）
创作者	Benjamin Brecknell Turner【1815 至 1894】【英国人】
创作年份	公元 1852
创作地区
分类	否定词（Negatives）
尺寸	图像: 30.2 x 40.1 厘米 (11 7/8 x 15 13/16 英寸)
介绍（中）	像许多早期从业者一样，特纳是一位绅士业余爱好者，对他来说，摄影是一种激情，而不是一种职业。1849年，他开始从事摄影工作，当时这一媒介还不到十年。他三十四岁，最近结婚，从十六岁起就在家里的蜡烛和马鞍肥皂店工作。他决定购买一台更大的相机，能够制作出像这台一样雄心勃勃的底片，这肯定是因为他在大展览上看到的照片，使他与英国同时代人不同。（由于19世纪50年代没有实际的放大手段，一张大照片需要一个同样大的底片和一台足够大的相机来容纳它，在600万游客离开，数千件展品被移走后，一座巨大的空温室围绕着一棵古老的榆树建造。树枝和铁桁架的花边网络构成了自然和工业、传统和现代问题的视觉隐喻，这些问题是维多利亚时代身份和艺术的核心。
介绍（英）	Like many early practitioners, Turner was a gentleman amateur for whom photography was a passion, not a profession. He took up photography in 1849, when the medium was barely a decade old. He was thirty-four, recently married, and had worked in the family's candle and saddle-soap business since age sixteen. His decision to purchase a larger camera, capable of making negatives as ambitious in scale as this one, was surely prompted by the photographs he had seen at the Great Exhibition and set him apart from his British contemporaries. (As no practical means of enlarging existed in the 1850s, a large photograph required an equally large negative and a camera big enough to accommodate it.) Turner's view shows the interior of the Crystal Palace, Joseph Paxton's vast iron and glass pavilion built to house the Great Exhibition, after its six million visitors had left and its thousands of exhibits had been removed-an enormous empty hothouse built around an ancient elm. The lacy networks of tree branches and iron trusses form a visual metaphor for nature and industry, tradition and modernity-issues central to Victorian identity and art.