被奴役的女人 - 美国大都会艺术博物馆展品查阅

品名（中）	被奴役的女人
品名（英）	Enslaved Woman
入馆年号	1950年，50.602.832
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Auguste Edouart【1789 至 1861】【法国人】
创作年份	公元 1844
创作地区
分类	剪切纸张（Cut Paper）
尺寸	图像: 7 15/16 × 3 1/4 英寸 (20.1 × 8.2 厘米) Frame: 17 11/16 × 11 13/16 英寸 (45 × 30 厘米)
介绍（中）	尽管剪影被誉为肖像画相对于油画的贵族传统的民主化，但这种艺术形式并不能完全消除当时种族的不平等和奴隶制的非人化状况。因此，尽管这里所描绘的女性表现得很有尊严，但我们不知道她的真实姓名，也不知道她除了被奴役的身份之外的任何身份。也许是因为她被分配给了女主人，这个人举止优雅。这位女士的长发梳得有点精致时尚，她穿了一条带叠领的衬裙。众所周知，Edouart很喜欢为他的保姆增添装备，本案也不例外。折叠在她手臂上的似乎是布料，可能是毯子或衣服。剪影的背面写着："1844年3月1日新奥尔良/属于Oyley夫人。"这幅剪影在Edouart的作品中很罕见。在他记录的3800多幅在美国被命名和注明日期的剪影中，只有7幅被认为是被奴役的人。
介绍（英）	Despite silhouettes being hailed as the democratization of portraiture vis-à-vis the aristocratic tradition of oil paintings, the art form could not completely undo period inequities of race and the dehumanizing conditions of slavery. Thus, even though the woman depicted here is shown with dignity, we do not know her real name or anything about her personhood beyond her enslaved status. Perhaps because she was assigned to the lady of the house, this individual bears an elegant comportment. This woman’s long hair is done in a somewhat elaborate and fashionable updo, and she wears a petticoat with an overlay collar. Edouart was known to delight in adding accoutrements to his sitters, and this case is no exception. Folded over her arms appears to be fabric, possibly a blanket or article of clothing. On the back of the silhouette is written, "New Orleans 1st March 1844 / Belonging to Mrs. Oyley." This silhouette is a rarity in Edouart’s work. In his records of more than 3,800 named and dated silhouettes cut in the United States, only seven are noted as portraying enslaved individuals.