↗睡莲(百子莲)
克洛德·莫奈
Purchase from the John L. Severance Fund, the Dudley P. Allen Fund, by exchange, and the Sundry Art - Miscellaneous Fund · 克利夫兰艺术博物馆
图像许可: CC0 · 博物馆记录与图像来源 ↗
With its central cartouche, heavy molding, and fluted sides, the design of this box attests to Juste-Aurèle Meissonnier’s interest in architecture. The box is further distinguished by a strong sense of movement, achieved through its dynamic contour, extraordinary level of detail, and the dramatic contrast between gold and lapis lazuli.Such small boxes, known as snuffboxes, were used to hold scented powdered tobacco that was inhaled through the nostrils. Made of precious materials and highly ornamented, they conveyed the owner’s wealth, fashion awareness, sophistication, and social standing. These personal, collectible items were often presented as luxurious gifts. This box was made for the dowager Queen of Spain, Maria Anna of Neuburg, whose coat of arms – along with that of her late husband, Charles II – features on the cover.
馆藏文字 · 克利夫兰艺术博物馆 · CC01728至1729年的金盒把装饰压缩于掌中,1735至1738年的汤盅在餐桌上扩展动势,烛台则把竖向支撑转化为螺旋。比较金、银与鎏金金属的反光,而非寻找画家式调色;功能、角度和协作塑造风格。
以下为艺术家整体创作背景,单件作品可能有所不同。
贵金属设计依赖专业成形、錾刻与表面处理。
不对称螺旋及有机装饰,把实用器物变成富于动势的剪影。
金、银及鎏金表面,通过材料和反射而非绘画颜料产生颜色。
从眼前可见之处开始:形状、表面、色彩与尺度。所列材料可能怎样影响作品的制作方式与观看体验?
观看提示 · 邀请你观察,而非对历史的定论。