法国龙骑兵，“开罗起义”研究 - 美国大都会艺术博物馆展品查阅

品名（中）	法国龙骑兵，“开罗起义”研究
品名（英）	A French Dragoon, Study for "The Revolt of Cairo"
入馆年号	2011年，2011.86
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Anne Louis Girodet-Trioson【1767 至 1824】【法国人】
创作年份	公元 1804 - 公元 1814
创作地区
分类	图画（Drawings）
尺寸	页: 23 3/8 x 18 1/2 英寸 (59.4 x 47 厘米)
介绍（中）	这幅法国龙骑兵（一名军官）的粉彩研究是吉罗代最著名的画作之一《开罗起义》的研究，该画作由拿破仑于1809年委托杜乐丽宫的戴安美术馆创作，画布今天位于凡尔赛城堡这幅画是为了纪念1798年法国入侵和占领开罗后，拿破仑军队镇压了开罗的起义。尽管对叛乱的描述各不相同，但我们知道，数百名法国士兵和数千名埃及人在爱资哈尔清真寺内发生的激战中丧生。这个主题对于拿破仑战争场景来说是不寻常的，因为它没有英雄或可识别的个人。吉罗代没有出席，也没有提供任何文件或图像来指导他的准备工作。他的画是以他在巴黎看到的法国制服和马穆鲁克服装为基础的，但所描绘的戏剧性屠杀的细节源于他丰富的想象力构图围绕着前景人物展开，左边是一名冲锋的金发胡塞，右边是一名凶猛的裸体摩尔奴隶仆人，准备保卫受伤的马穆鲁克·贝的倒下的雕像，显然他死在了他的怀里。为了这个重要的委员会，吉罗代做了比他职业生涯中任何其他人都多的研究。这些图纸显示，吉罗德对服装的细节（包括法国和外国）着迷，同时利用研究在画中创造了一个令人难以置信的血腥混乱的密集场景在这项研究中，一名法国骑兵伸着剑向前冲去。他戴着仿豹皮的黄铜头盔，被确认为龙骑兵。他的制服是法兰西共和国的颜色，头盔上点缀着黑色鬃毛和红色羽毛，肩膀上戴着白色的aiguillette，颜色鲜艳的燕尾服上有对比鲜明的滚边，所有这些都向后向左摆动，暗示着向前运动粉彩是在金色的纸上以生动的温室色彩绘制的。执行的速度、对人物古典美的关注以及服装华丽的触觉品质，都预示着在完成的画布上暴力与美的迷人而令人不安的搭配。最终，《开罗起义》应该放在拿破仑战争绘画和早期东方主义的背景下看待 Perrin Stein（2018年3月）
介绍（英）	This pastel study of a French dragoon (a military officer) is a study for one of Girodet's most famous paintings, The Revolt of Cairo commissioned by Napoleon in 1809 for the Galerie de Diane in the Tuileries Palace, the canvas is today at the Château de Versailles. The painting commemorates the Napoleonic army’s suppression of an uprising in Cairo following the French invasion and occupation of the city in 1798. Although accounts of the rebellion differ, we know that several hundred French soldiers and several thousand Egyptians lost their lives in the pitched battle that took place inside the Al-Azhar mosque. The subject is unusual for a Napoleonic battle scene in that it features no heroes or identifiable individuals. Girodet was not present and was given no documentary account or images to guide his preparation. His drawings were based on French uniforms and Mamluk costumes he could have seen in Paris, but the specifics of the dramatic carnage depicted were born of his fertile imagination. The composition is built around the foreground figures of a charging blond hussar on the left and a fierce nude Moorish enslaved servant on the right preparing to defend the collapsed figure of the wounded Mamluk bey, apparently dying in his arms. For this important commission, Girodet made more studies than for any other in his career. The drawings reveal Girodet as fascinated with the details of costume (both French and foreign) while at the same time using the studies to create in the painting an impossibly dense scene of gory mayhem. In this study, a French cavalry soldier lunges forward with his sword extended. He is identified as a dragoon by his brass helmet with faux leopard pelt. His uniform, in the colors of the French Republic, is embellished with a black mane and red plume on the helmet, white aiguillettes on his shoulder, and brightly colored coat-tails with contrasting piping, all rippling back to the left, suggesting forward motion. The pastel is executed in vivid hothouse colors on a gold-tinted paper. The speed of execution and the attention to the classical beauty of the figure and the sumptuous tactile quality of the costume all anticipate the compelling and disturbing pairing of violence and beauty in the finished canvas. Ultimately, The Revolt of Cairo should be seen in the context of both Napoleonic battle painting and early Orientalism. Perrin Stein (March, 2018)