俄罗斯舞蹈，国王画家让·巴蒂斯特·勒·普林斯的作品 - 美国大都会艺术博物馆展品查阅

品名（中）	俄罗斯舞蹈，国王画家让·巴蒂斯特·勒·普林斯的作品
品名（英）	The Russian Dance, in Oeuvres de Jean-Baptiste Le Prince, peintre du Roi
入馆年号	1922年，22.64.1(59)
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Jean-Baptiste Le Prince【1734 至 1781】【法国人】
创作年份	公元 1782
创作地区
分类	书（Books）
尺寸	Plate: 15 1/8 × 12 1/16 英寸 (38.4 × 30.7 厘米) 页: 22 1/16 × 15 3/16 英寸 (56 × 38.5 厘米)
介绍（中）	在1757年至1763年穿越俄罗斯帝国期间，让-巴蒂斯特·勒普林斯（Jean-Baptiste Le Prince）对他遇到的社区和文化进行了大量研究。回到巴黎后，Le Prince利用这些材料制作了大量的绘画，素描和版画，据称描绘了帝国中包含的各种民族和习俗。Le Prince的Russeries以洛可可风格呈现不熟悉的主题，例如巴拉莱卡演奏者，有时被称为俄罗斯系列，参与了更广泛的法国十八世纪异国情调文化，这种文化交织在一起实际的进口商品和（通常是想象的）对遥远的当地人，人民和文化的描绘。 Le Prince版画的新颖性不仅在于主题，还在于其技术。虽然Le Prince没有发明aquatint工艺，即使用树脂在印刷板上产生凹陷的纹理，在印刷时读起来是均匀的色调，但他开发了一种独特的方法，将这种树脂只应用于他以前用刷子画过的区域。因此，他可以像使用水墨一样进行水彩画，并捕捉细节，例如树木中的各种色调和人物衣服的阴影范围。俄罗斯舞蹈被收录在 1769 年 Le Prince 送往法国沙龙的版画中，以展示他对水彩技术的完美。然而，后来的印象来自勒王子的一系列版画，这些版画在死后从原始版版重印，并于 1782 年由巴桑·弗雷尔出版。
介绍（英）	During his travels through the Russian Empire from 1757 to 1763, Jean-Baptiste Le Prince amassed numerous studies of the communities and cultures he encountered. After returning to Paris, Le Prince drew on this material to produce an extensive number of paintings, drawings, and prints that purported to depict the various peoples and customs contained in the empire. Presenting unfamiliar subjects such as balalaika players in a Rococo style, Le Prince’s russeries, as they are sometimes called, participated in a wider French culture of eighteenth-century exoticism, which interwove both actual imported goods and (often imagined) depictions of distant locals, peoples, and cultures. The novelty of Le Prince’s prints lay not only in their subjects but also their technique. While Le Prince did not invent the process of aquatint, which uses a resin to produce a pitted texture on the printing plate that reads as a uniform wash of tone when printed, he developed a unique means of applying this resin only to areas that he had previously painted with a brush. He could thereby work in aquatint much as one uses ink washes and capture details such as the various tones in the trees and the range of shading in the figures’ clothing. The Russian Dance was included among the prints Le Prince sent to the French Salon in 1769 to demonstrate his perfection of the aquatint technique. This later impression, however, comes from a series of Le Prince’s prints that were posthumously reprinted from the original plates and published by Basan Frères in 1782.