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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)
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品名(中)遗物:站立男性雕像
品名(英)Reliquary: Standing Male Figure
入馆年号2002年,2002.456.17
策展部门迈克尔·洛克菲勒之翼The Michael C. Rockefeller Wing
创作者
创作年份公元 1800 - 公元 1895
创作地区加蓬或刚果共和国(Gabon or Republic of Congo)
分类木雕(Wood-Sculpture)
尺寸高 32 1/4 × 宽 7 1/2 × 深 7 1/8 英寸 (81.9 × 19.1 × 18.1 厘米)
介绍(中)姆贝特雕塑家开发了一种具象的圣物箱形式,将祖先的圣器完全融入雕塑中。在这个传统中,一个中空的圆柱形躯干充当内部容器。这个核心是由两侧保持最小限度的手臂的姿势构成的,下方由弯曲在肌肉发达的小腿上方的膝盖支撑。这些人物紧张的姿势表明他们是圣物箱内容物的积极守护者。通过背部开口可以接触到内容物

这个高度集中的人物让人联想到一个活跃的哨兵。运动受阻的暗示源于躯干和下半身的轻微扭转。手在胃两侧的位置也有轻微的不对称。大腿在弯曲的膝盖处变窄,膝盖由肌肉发达的小腿支撑。从正面看,躯干看起来比实际情况窄得多;从侧面看,它的呼吸很饱满。反面有一块长方形的长面板,用作通向躯干中空内部的开口

在头顶、前额和面部形成的黑色、白色和红色颜料交替出现在颈部、躯干、大腿和小腿上。特别厚的白色高岭土在臂的空隙中保留了下来。面部的相对平坦度与头部的体积形状形成对比。一个突出的矢状嵴两侧是雕刻成一系列深刻平行线的侧发。前额光滑的新月状突起,略高于面部下半部分,张开的嘴内增加了一双贝壳状的眼睛和精细的金属牙齿,使其变得活跃起来

应用于这件作品表面的黑色、白色和红色颜料以及下刚果地区与文化相关的木雕构成了一个连贯的颜色象征系统,用于成人仪式。黑人被广泛用于与死亡、葬礼和哀悼联系在一起。祖先的领域以白色为特征,它最主要地表现在与视觉和提升意识有关的仪式上,如启蒙。红色绒头是一种地区化妆品,有时会在死者的尸体上摩擦,并涂抹在他们的徽章上,以赋予他们新的影响力和影响力

这幅姆贝特的画像是法国殖民地行政长官阿里斯蒂德·考特瓦为查尔斯·拉顿收集的一系列完整画像之一。拉顿是巴黎最重要的非洲艺术品经销商,他对美国市场的潜力很感兴趣。20世纪30年代,他将这幅作品和大量其他作品卖给了艺术家亨利·马蒂斯的次子皮埃尔·马蒂斯。1924年,皮埃尔在纽约举办了一场父亲的版画和绘画展览,开始了他的艺术经销商生涯。到1931年,皮埃尔·马蒂斯画廊代表了欧洲老牌现代主义者,如美国的马塞尔·格罗梅尔、安德烈·德莱恩、朱尔斯·帕金、乔治·鲁奥和马克·夏加尔。最终,画廊承担了促进和推进年轻艺术家职业生涯的角色,尤其是琼·米罗、亚历山大·卡尔德、巴尔蒂斯、阿尔贝托·贾科梅蒂和让·杜布菲

除了介绍他父亲那一代的艺术家外,马蒂斯还强调了他们从非西方来源获得的灵感,他定期展示当时在欧洲被称为"原始艺术"的各种传统。从3月30日到4月20日,1935年,在现代艺术博物馆举办"非洲黑人艺术"展览的同时,他的画廊展出了"Ratton收藏的非洲雕塑",评论家们赞扬了他的画廊精心挑选并专注于个人作品,这与现代艺术博物馆展出的约600件作品形成了鲜明对比

进一步阅读:
LaGamma,Alisa。永恒的祖先:中非圣物的艺术。纽约:大都会艺术博物馆,2007年。
路易斯,佩罗瓦。《安比特艺术与科塔传统》,《部落艺术》,第1期(2002年冬季),第74-103页。
介绍(英)Mbete sculptors developed a figurative reliquary form that fully integrated ancestral sacra within the sculpture. In this tradition, a hollowed columnar torso served as an internal receptacle. That core is framed by the gesture of minimally defined arms held to either side and supported below by knees bent above broad muscular calves. The tensed posture of the figures suggests their role as active guardian to the reliquary's contents. Access to the contents was afforded through a dorsal aperture.

This intensely concentrated figure evokes an active sentinel. The suggestion of arrested movement derives from the slight torsion of the torso and lower body. There is also a slight asymmetry to the placement of the hands on either side of the stomach. The thighs narrow to a point at the bent knees which are supported by powerful muscular calves. Seen frontally, the trunk appears much narrower than it actually is; its full breath is apparent in profile. The reverse side features a long rectangular panel that serves as the aperture to the hollow interior of the torso.

An alternation of black, white, and red applied pigments established at the summit with the coiffure, forehead, and face is repeated on the neck, trunk, thighs, and calves. Especially thick applications of white kaolin have survived in interstices of the arms. The relative flatness of the visage contrasts with the volumetric form of the head. A prominent raised sagittal crest is flanked by lateral tresses carved as a series of deeply incised parallel lines. The smooth crescent of the forehead projects slightly above the lower half of the face that is enlivened by additions of cowry shell eyes and fine metal teeth inserted within the open mouth.

The scheme of black, white, and red pigments applied to the surface of this work and culturally related wood sculptures from the Lower Congo region constitutes a coherent system of color symbolism drawn upon for rites of passage. Black was widely drawn upon in connection with death, burial, and mourning. The ancestral realm is characterized as white, and it is most dominantly manifested in rites relating to vision and heightened awareness such as initiations. Red pomade, a regional cosmetic, was sometimes rubbed on the bodies of the deceased and applied to their insignia to invest them with renewed influence and agency.

This Mbete figure was among the series of full figures collected by French colonial administrator Aristide Courtois for Charles Ratton. The foremost dealer of African art in Paris, Ratton was interested in the potential of the American market. In the 1930s he sold this and a considerable number of other works to Pierre Matisse, the second son of artist Henri Matisse. Pierre had launched his career as an art dealer in New York beginning in 1924 by mounting an exhibition of his father's prints and drawings. By 1931 the Pierre Matisse Gallery represented established European modernists such as Marcel Gromaire, André Derain, Jules Pascin, Georges Rouault, and Marc Chagall in the United States. Eventually the gallery took on the role of promoting and advancing the careers of younger artists, notably Joan Miró, Alexander Calder, Balthus, Alberto Giacometti, and Jean Dubuffet.

In addition to his presentations of his father's generation of artists, Matisse underscored the inspiration they drew from non-Western sources by regularly exhibiting the various traditions referred to at the time in Europe as "primitive art." From March 30 through April 20, 1935 his gallery presented "African Sculptures from the Ratton Collection" at the same time as the exhibition "African Negro Art" was being held at the Museum of Modern Art. While this foray into a new territory of the art world caused him some trepidation, the critics praised his gallery's careful selection and focus on individual works in contrast to the gargantuan presentation of some six hundred works at the Museum of Modern Art .

Further Readings:
LaGamma, Alisa. Eternal Ancestors: the Art of the Central African Reliquary. New York: Metropolitan Museum of Art, 2007.
Perrois, Louis. "Ambete Art and the ‘Kota’ Tradition." Art Tribal, no. 1 (Winter 2002), pp. 74-103.
  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。