阿尔方斯·德·吉索尔（1796–1866） - 美国大都会艺术博物馆展品查阅

品名（中）	阿尔方斯·德·吉索尔（1796–1866）
品名（英）	Alphonse de Gisors (1796–1866)
入馆年号	2016年，2016.109
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者	Pierre Jean David d'Angers【1788 至 1856】【法国人】
创作年份	公元 1827
创作地区
分类	奖章和牌匾（Medals and Plaquettes）
尺寸	整体 (confirmed, irregular diameter): 4 7/16 × 4 1/2 × 5/8 英寸 (11.3 × 11.5 × 1.6 厘米)
介绍（中）	皮埃尔·让·大卫·昂热是十九世纪上半叶法国最多产、最重要的雕塑家之一。在他近五十年的职业生涯（1819-1856）中，大卫一直坚信，献给伟人成就的雕塑纪念碑最永久、最生动地表达了一个民族的伟大。他不断寻求委托建造他所崇拜的历史和当代人物的纪念碑，以便为子孙后代做出贡献。他最著名的公共委托，即巴黎万神殿（1830–1837）的象征性三角饰，纪念伟人，并由一个心怀感激的国家奉献，体现了这些终身原则 David d'Angers将他对公共纪念碑的定义扩展到包括肖像章。19世纪20年代，他致力于一场个人运动，为杰出的保姆创作当代和回顾性的奖章肖像。到他生命的尽头，大卫已经制作了近500个肖像章，经常长途跋涉，为他的保姆做模特。奖章通常不是委托制作的。大卫自己选择了他认为值得入选他的奖章万神殿的人。大卫也没有从这些画像中获利。他通常将蜡模交给专业创始人铸造，并通过销售进行传播这幅阿尔方斯·德·吉奥尔的肖像画创作于1827年，是在大卫的奖章项目开始时制作的。该奖章是为了纪念一位年轻的建筑师，尽管他于1824年晋升为"Bâtiments Civils"（公共建筑）部门的"建筑师"，但尚未完成任何重大工程。Gisors负责保护和修复国家的公共建筑和宫殿。在19世纪20年代中期，大卫偶尔会受雇于Bâtiments，他可能是通过这种联系认识Gisors的。因此，大卫的Gisors肖像纪念了一位雕塑家和一位建筑师的共同理想，他们都是作为公共纪念碑的创造者开始自己的职业生涯的这枚奖章有着迷人的光泽，但没有修剪，是已知的唯一未完成的例子。Gisors（卢浮宫、巴黎和昂热美术馆、昂热博物馆）的成品奖牌日期为1830年
介绍（英）	Pierre-Jean David d’Angers was the most prolific and one of the most important French sculptors of the first half of the nineteenth century. Throughout his almost fifty-year career (1819–1856) David remained true to his conviction that sculptural monuments dedicated to the achievements of great men and women most permanently and vividly express the greatness of a people. He continuously sought commissions for monuments portraying historical and contemporary figures whom he admired in order to commit their contributions to posterity. His most famous public commission, the figurative pediment of the Pantheon in Paris (1830–1837), which commemorates great men and was dedicated by a grateful nation, exemplifies these life-long principles. David d’Angers extended his definition of public monuments to include portrait medallions. In the 1820s he dedicated himself to a personal campaign of creating contemporary and retrospective medallic portraits of illustrious sitters. By the end of his life David had executed almost five-hundred portrait medallions, frequently travelling great distances to model his sitters from life. The medallions most often were not commissioned. David himself chose whom he deemed worthy of inclusion into his medallic pantheon. David also did not profit from the portraits. He generally delivered his wax models to professional founders for casting and dissemination through sale. This portrait of Alphonse de Gisors, which is dated 1827, was made at the beginning of David’s medallic project. The medallion celebrates a youthful architect who, although promoted in 1824 to the position of “Architecte” in the department of “Bâtiments Civils” (public buildings), had yet to complete any major works. Gisors was responsible for the preservation and restoration of the nation’s public buildings and palaces. In the mid 1820s David occasionally was employed by the Bâtiments, and he may have come to know Gisors through this connection. David’s portrait of Gisors thus commemorates the shared ideals of a sculptor and an architect who both were embarking on their careers as creators of public monuments. The medal, which is attractively patinated but untrimmed, is the only unfinished example known. Finished medals of Gisors (Louvre, Paris and the Galerie David d’Angers, Musées d’Angers) are dated 1830