划船回家 - 美国大都会艺术博物馆展品查阅

品名（中）	划船回家
品名（英）	Rowing Home the Schoof-Stuff
入馆年号	2005年，2005.100.726
策展部门	摄影（Photographs）
创作者	Peter Henry Emerson【1856 至 1936】【英国人，出生于古巴】
创作年份	公元 1886
创作地区
分类	照片（Photographs）
尺寸	图像: 13.8 x 27.9 厘米 (5 7/16 x 11 英寸) Mount: 28.6 x 41 厘米 (11 1/4 x 16 1/8 英寸) 页 (Interleaving Plate 页): 28.2 x 40.8 厘米 (11 1/8 x 16 1/16 英寸)
介绍（中）	爱默生沉浸在东安格利亚的文化中，在他十年的摄影生涯中，在六本摄影插图书中展示了伦敦东北部的沼泽沿海地区。这幅版画被收录在他的第一本出版物《诺福克大道上的生活与风景》中，该出版物由画家古道尔（Goodall）制作。爱默生和古道尔从对东盎格鲁乡村生活的环境和日常仪式的考察中汲取了他们的主题——既是个人的，也是人类学的。为了与他对自然主义的兴趣保持一致，爱默生试图通过在外围稍微失焦来模拟人类视觉。这种选择性聚焦的使用巧妙地加强了工人在回家的路上休息的隔离，与收获杂草（一根粗秸秆）的隔离。铂金印刷的柔和色调进一步为现场注入了一种安静的崇敬。通过坚持印象派的视野，爱默生扫清了一条被许多现代摄影师遵循的道路。
介绍（英）	Emerson immersed himself in the culture of East Anglia, featuring the marshy coastal region northeast of London in more than half a dozen photographically illustrated books during his ten-year photographic career. This print was included in his first publication, Life and Landscape on the Norfolk Broads, made with Goodall, a painter. Emerson and Goodall drew their subjects from an examination—at once personal and anthropological—of the environment and daily rituals of rural East Anglian life. In keeping with his interest in naturalism, Emerson tried to simulate human vision by rendering his views slightly out of focus at the periphery. This use of selective focus subtly intensifies the isolation of a laborer resting on his way home from harvesting schoof-stuff, a coarse straw. The muted tonality of platinum printing further infuses the scene with a hushed reverence. By insisting on an impressionistic vision, Emerson cleared a path that would be followed by many modern photographers.