[站立的女性裸体] - 美国大都会艺术博物馆展品查阅

品名（中）	[站立的女性裸体]
品名（英）	[Standing Female Nude]
入馆年号	2012年，2012.61
策展部门	摄影（Photographs）
创作者
创作年份	公元 1851 - 公元 1861
创作地区
分类	照片（Photographs）
尺寸	43.4 x 28.3 厘米 (17 1/16 x 11 1/8 英寸)
介绍（中）	这些大胆雄心勃勃的人物研究背后的最初冲动可能是为了帮助画家或雕塑家，但在早期摄影史上，它们是无与伦比的。放大到绘制的学院现场模型的大小，这是法国艺术教学的标准部分，仅其规模就将其与19世纪50年代瓦卢·德维伦纽夫、杜和其他艺术家的更为朴素的作品区分开来。更不寻常的是，图像被一种表面图案打断，这种图案给人的印象是，照片是在精细褶皱的丝绸上打印的，而不是纸上打印的——这可能是技术错误的结果。这位艺术家没有像几乎所有其他摄影师那样擦拭干净他的玻璃板底片并重新开始，而是意识到这种图案创造了一种面纱，就像时间或记忆一样，将图像从单纯的功利目的中移除，并将其从世俗提升到艺术领域。正如眼睛和思想可能在虚张声势的笔触和表面上的绘画主题之间愉快地撕裂一样，主题的美——披着薄纱的优雅女性——之间也存在着张力；男性严格的轮廓和几何设置，以及他们创作的可见痕迹，如流动的表面图案和女性强烈的渐晕，这表明了一种通过窥视孔窥视的景象。
介绍（英）	The original impulse behind these boldly ambitious figure studies may have been to aid a painter or sculptor, but they are nonetheless without parallel in the early history of photography. Enlarged to the size of drawn académies—drawings of the live model that were a standard part of art instruction in France—their scale alone sets them apart from the more modest productions of Vallou de Villeneuve, Durieu, and other artists of the 1850s. More unusually, the images are interrupted by a surface pattern that gives the impression that the photographs are printed on finely pleated silk rather than paper—likely the result of a technical error. Instead of wiping clean his glass-plate negatives and starting over as virtually all other photographers would have done, this artist recognized that the pattern created a veil that, like time or memory, removed the images from their merely utilitarian purpose and elevated them from the mundane to the realm of art. Just as the eye and mind may be pleasantly torn between bravura brushwork and the ostensible subject of a painting, there is a tension here between the beauty of the subject—the elegant female draped in gossamer; the strict profile and geometric setting of the male—and the visible traces of their creation, such as the flowing surface pattern and the strong vignetting of the female, which suggests a view spied through a peephole.