夏娃哭喊亚伯之死 - 美国大都会艺术博物馆展品查阅

品名（中）	夏娃哭喊亚伯之死
品名（英）	Eve Bewailing the Death of Abel
入馆年号	2017年，2017.186
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者	Joseph Nollekens【1737 至 1823】【英国人】
创作年份	公元 1800 - 公元 1810
创作地区
分类	雕塑（Sculpture）
尺寸	整体 (confirmed): 10 1/16 × 4 1/4 × 5 5/8 英寸 (25.6 × 10.8 × 14.3 厘米)
介绍（中）	夏娃，圣经中的人类之母，在中途停下来面对她被谋杀的儿子亚伯的尸体。她停滞不前的动作和悲伤的动作的力量散落了她未束缚的头发，展开了长长的帷幔，在她抬起的手臂上滚滚而下，向下倾泻到她的脚下。诺莱肯斯通过用手指堆积粘土来模拟夏娃。他以速度工作，用扁平的木制建模工具粗略的笔触绘制肉体图案。长而深的切口，用尖头的造型棒在粘土上划出，分开头发的头发，并点缀着帷幔的褶皱。诺莱肯斯将棍子的锋利末端插入粘土中，创造出黑暗的表情孔，即夏娃的眼睛和张开的嘴巴。为了塑造她的鼻子，他用手指捏了捏粘土。夏娃哀悼亚伯之死的主题在旧约中该隐谋杀他兄弟的叙述中没有叙述（创世记4：8）。相反，约翰·弥尔顿（John Milton）关于人类从神圣恩典中堕落的史诗《失乐园》（1674）可能启发了这部作品的创作。诺勒肯斯的《夏娃》雄辩地捕捉到了见证第一次人类死亡的残酷影响，这预示着她和亚当的罪恶以及被驱逐出伊甸园的后果。这件作品的自由处理和戏剧性的情感强度揭示了一种创造性的原始浪漫主义能量，英国最重要的新古典主义大理石雕塑家诺勒肯斯仅限于他的小陶土。诺莱肯斯被称为"pensieri"或思想，他认为像夏娃这样的兵马俑不是大型大理石的准备草图，而是完成的艺术品;他在伦敦皇家学院公开展出了其中的许多作品。
介绍（英）	Eve, the Biblical mother of humanity, halts in mid-stride to confront the body of her murdered son, Abel. The force of her arrested motion and out flung gestures of grief scatter her unbound hair and unfurl the length of drapery that billows around her upraised arm and cascades downward to her feet. Nollekens modeled Eve by building up the clay with his fingers. He worked with speed, leaving the flesh patterned with rough strokes made with a flat wooden modelling tool. Long, deep incisions, scored into the clay with a pointed modelling stick, separate the locks of hair and punctuate the winding folds of drapery. Nollekens drove the stick’s sharp end into the clay to create the dark expressive holes that are Eve’s eyes and open mouth. To fashion her nose he pinched the clay with his fingers. The subject of Eve mourning the death of Abel is not recounted in the Old Testament narrative of Cain’s murder of his brother (Genesis 4:8). Rather, John Milton’s epic poem of mankind’s fall from divine grace, Paradise Lost (1674), probably inspired the creation of this work. Nollekens’s Eve eloquently captures the brutal impact of bearing witness to the first human death that foreshadowed all those to come as the consequence of her and Adam’s sin and expulsion from Eden. The work’s free handling and dramatic emotional intensity reveal a creative proto-Romantic energy that Nollekens, who was Britain’s foremost Neoclassical marble sculptor, limited to his small terracottas. Termed "pensieri," or thoughts, Nollekens considered terracottas like Eve not as preparatory sketches for large-scale marbles, but rather as finished works of art; and he publicly exhibited many of them at the Royal Academy in London.