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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)惠特利
品名(英)Phillis Wheatley
入馆年号1949年,49.40.24
策展部门绘画和印刷品Drawings and Prints
创作者Scipio Moorhead【1760 至 1775】【美国人】
创作年份公元 1773
创作地区
分类印刷品(Prints)
尺寸oval 页: 5 x 3 7/8 英寸 (12.7 x 9.8 厘米)
介绍(中)这幅版画描绘了第一位出版作品的美国黑人奴隶妇女。菲利斯·惠特利(Phillis Wheatley)坐在桌子旁,手里拿着一支羽毛笔,她的头靠在另一只手上,摆出一个表明创造性思维的姿势。这幅图像也是已知的第一幅非洲裔美国妇女的个人肖像,并作为作者的"关于各种主题,宗教和道德的诗歌"(伦敦,1773年;第二版伦敦和波士顿,1773年)的卷首。今天,许多学者认为,居住在波士顿作者附近的非洲裔奴隶西庇阿·穆尔黑德(Scipio Moorhead)创造了这幅形象——惠特利将她的一首诗献给了"一位年轻的非洲画家,在看到他的作品时",他的身份后来从她在书的副本中所做的笔记中确定。然而,他的名字没有刻在印刷品上,惠特利的早期评论员也没有提到他是设计师。穆尔黑德作为艺术家的成就仍然模糊不清,因为他的素描或绘画都没有幸存下来[见参考文献,Slaughter 2013]。

作者出生于西非,七八岁时被绑架,运往北美,在波士顿被商人约翰·惠特利(John Wheatley)买下。打算作为后者妻子苏珊娜的家庭佣人。菲利斯濒临死亡,但在苏珊娜的照顾下康复,然后迅速学习英语并识字;她的阅读与苏珊娜和约翰的双胞胎玛丽和纳撒尼尔的阅读相提并论。她作为诗人的明显天赋受到鼓励,并将例子发送到当代报纸并印刷为大版。然而,出版一本她的诗集需要英国的支持,亨廷顿伯爵夫人赛琳娜·黑斯廷斯(Selena Hastings)是一位富有同情心的赞助人,她是一位虔诚的卫理公会教徒,对菲利斯诗歌的宗教特征做出了回应。1773年,菲利斯和纳撒尼尔前往伦敦,在那里会见了伯爵夫人聘请的印刷商和出版商阿奇博尔德·贝尔。几个月前,伯爵夫人建议在投影书中添加卷首图像。菲利斯的肖像可能是在波士顿绘制或绘制的(一幅画更容易被翻译成印刷品),然后送到伦敦雕刻。在惠特利的书中看到,带有完整页边距的印刷品版本包括底部的雕刻文字,这些文字注明阿奇博尔德·贝尔是出版商,但没有指明艺术家的身份(大都会的印象已被修剪到图像的椭圆形框架上,因此缺少贝尔的名字)。1773 年 6 月初至 7 月 26 日在伦敦期间,菲利斯进行了最后的编辑,并会见了她的诗歌的崇拜者,包括达特茅斯伯爵、布鲁克·沃森爵士和本杰明·富兰克林。由于印刷仍在进行中,她比计划提前返回波士顿,与苏珊娜在一起,苏珊娜生病并将于 1774 年 3 月 3 日去世。

在印刷肖像的边框周围刻有文字,将菲利斯描述为"波士顿约翰·惠特利的黑人仆人"(这在书的扉页上重复出现)。仆人这个词在当时通常被用作对工作是家庭工作的黑人奴隶的委婉说法。这句话表明了菲利斯的书于 1773 年 8 月在伦敦首次发售时的地位。但是,到1774年1月下旬,当第二版在波士顿的考克斯和贝里女士那里提供时,她已经是一个自由的女人了。在苏珊娜的要求下,约翰·惠特利在 1773 年 12 月底到 1774 年 1 月初之间的某个时间制作(合法释放)菲利斯。菲利斯在经济上仍然依赖惠特利家族,随着其成员的去世,菲利斯经历了越来越多的困难。她嫁给了一个负债累累的自由黑人,她似乎失去了两个襁褓中的孩子。革命战争后的环境对菲利斯的作品反应迟钝,她的诗集第二卷没有出版商。由于贫穷破坏了她脆弱的健康,菲利斯在三十或三十一岁时去世了。

我们可能永远无法确切知道是谁创作了菲利斯·惠特利的肖像,或者雕刻了它,但是,正如玛西娅·波顿所指出的[见参考文献,Pointon 2013],这幅版画不仅仅是展示诗人停下来思考。通过用纸、墨水瓶、书和笔包围她,艺术家使用那个时期的图像来表明惠特利是识字和外邦人。然而,正如作者坎坷的出版之路所表明的那样,边界文本会提出不同的期望。将惠特利的诗歌在波士顿出版的第一次尝试失败了,因为潜在的当地订阅者认为,一个刚从非洲来的年轻黑人女性不可能写出如此智力复杂的诗句。即使作者成功地向一群受过哈佛教育的白人男性波士顿人证明了自己,也没有得到支持。亨廷顿伯爵夫人的地位和信仰,从这个词的所有意义上说,才使这本书在英国出版,正如阿奇博尔德·贝尔在伦敦报纸广告中指出的那样,惠特利在伦敦的著名访客找到她,部分原因是为了确保她的真实性。伦敦第一版约有 300 份,包括卷首、扉页和 38 首诗。第二本在伦敦和波士顿均有售,增加了对伯爵夫人的献词、作者的序言、约翰·惠特利撰写的简短传记,以及由马萨诸塞州州长和副州长以及十六位杰出波士顿人签署的确认菲利斯·惠特利作者身份的证词。
介绍(英)This print portrays the first Black American enslaved woman to have her writings published. Phillis Wheatley sits at a table holding a quill pen, her head resting on the other hand in a pose that indicates creative thought. The image is also the first known individual portrait of an American woman of African descent and was made as the frontispiece for the author's "Poems on Various Subjects, Religion and Moral" (London, 1773; second edition London and Boston, 1773). Today, many scholars believe that Scipio Moorhead, an enslaved man of African descent who lived near the author in Boston, created the image—Wheatley dedicated one of her poems "To S.M. a young African Painter, on seeing his Works," and his identity was later established from a note she had made in a copy of her book. His name is not engraved on the print, however, and early commentators on Wheatley do not mention him as the designer. Moorhead's achievements as an artist remain obscure because none of his drawings or paintings are known to survive [see References, Slaughter 2013].

Born in West Africa, the author was kidnapped at the age of seven or eight, transported to North America, and purchased in Boston by the merchant John Wheatley. Intended as a household servant to the latter's wife Susannah. Phillis arrived near death but recovered when nursed by Susannah, then quickly learned English and became literate; her reading paralled that of Susannah and John's twins, Mary and Nathaniel. Her evident gifts as a poet were encouraged and examples sent to contemporary newspapers and printed as broadsheets. Publishing a book of her poetry required British support, however, and a sympathetic patron was found in Selena Hastings, Countess of Huntingdon, a devout Methodist who responded to the religious character of Phillis's poems. In 1773, Phillis and Nathaniel traveled to London and there met with Archibald Bell, whom the countess had secured as printer and publisher. A few months before, the countess had suggested that a frontispiece image be added to the projected book. Phillis's portrait probably was drawn or painted in Boston (a drawing would more easily have been translated into a print), then sent to London to be engraved. Versions of the print with full margins, as seen in Wheatley's book, include engraved text along the bottom that credits Archibald Bell as publisher but doen't identify the artist (the Met's impression has been trimmed to the oval frame of the image so lack's Bell's name). While in London—between early June and July 26, 1773—Phillis made final edits and met admirers of her poems, including the Earl of Dartmouth, Sir Brook Watson, and Benjamin Franklin. With printing still in underway, she returned to Boston earlier than planned to be with Susannah, who had fallen ill and would die on March 3, 1774.

Text engraved around the border of the printed portrait describes Phillis as "Negro servant to John Wheatley, of Boston" (this is repeated on the book's title page). The word servant was commonly used at that time as a euphemism for a Black enslaved person whose work was domestic. The phrase indicates Phillis's status when her book first appeared for sale in London in August 1773. But, by late January 1774 when the second edition was offered at Mssrs. Cox & Berry in Boston, she was a free woman. At Susannah’s request, John Wheatley manumented (legally freed) Phillis sometime between late December 1773 and early January 1774. Still financially dependant on the Wheatley family, Phillis experienced growing difficulties as its members passed away. She married a free Black man who fell into debt, and she seems to have lost two infant children. The post Revolutionary War environment proved less responsive to Phillis's writings and she found no publisher for a second volume of her poems. With her fragile health undermined by poverty, Phillis died at the age of thirty or thirty-one.

We may never know with certainty who created Phillis Wheatley’s portrait, or engraved it, but, as Marcia Pointon has noted [see References, Pointon 2013], the print does more than simply show the poet pausing to think. By surrounding her with paper, an inkwell, book and pen, the artist used imagery of the period to signal that Wheatley was literate and gentile. The border text would have raised different expectations, however, as the author's rocky road to publication demonstrates. A first attempt to bring Wheatley’s poems to press in Boston failed because potential local subscribers thought it impossible that a young Black woman, so recently arrived from Africa, could have composed such intellectually sophisticated verse. Even after the author successfully proved herself to a group of White male Harvard-educated Bostonians, support was not forthcoming. It took the Countess of Huntingdon's status and faith, in all senses of that word, to bring the book to press in Britain and, as Archibald Bell noted in a London newspaper advertisement, Wheatley's prominent London visitors sought her out partly to assure themselves of her authenticity. The first London edition of about 300 copies included the frontispiece, title page and thirty-eight poems. The second, sold in both London and Boston, added a dedication to the countess, an author's preface, a brief biography written by John Wheatley, and a testimonial affirming Phillis Wheatley’s authorship signed by the Governor and Lieutenant Governor of Massachusetts, and sixteen prominent Bostonians.
  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。