儒勒·巴斯蒂安·莱佩奇 - 美国大都会艺术博物馆展品查阅

品名（中）	儒勒·巴斯蒂安·莱佩奇
品名（英）	Jules Bastien-Lepage
入馆年号	1912年，12.76.4
策展部门	美国之翼（The American Wing）
创作者	Augustus Saint-Gaudens【1848 至 1907】【美国人】
创作年份	公元 1880 - 公元 1910
创作地区
分类
尺寸	14 3/4 x 10 1/2 英寸 (37.5 x 26.7 厘米)
介绍（中）	1868年，圣高登斯在巴黎美术学院学习时，第一次见到了艺术家朱尔斯·巴斯蒂安·勒佩奇（1848-1884）。1877年回到巴黎后，他重新认识了这位法国画家。正如圣高登斯后来回忆的那样，巴斯蒂安·勒帕奇"问我是否愿意为他制作一个奖章，以换取一幅自己的肖像。我当然同意了这个提议。"最后一个也是最雄心勃勃的奖章是在这位雕塑家的法国任期内（1877-80年）完成的，这幅肖像画展现了对浅浮雕在技术和构图上的全面精通。画家紧凑的形式占据了构图的右侧和中央，而他的调色板和画笔占据了较低的三分之一。他的头发和胡子留得整整齐齐，他穿着夹克、高领衬衫和打结松散的领带。Bastien Lepage对自己职业的自豪感通过他直立的姿势、充满活力和自信的凝视以及对行业工具的舒适把握而敏感地表达出来。这幅画像显然让圣高登斯感到高兴。根据他的儿子荷马的说法，"我父亲当时制作的奖章都没有像巴斯蒂安·莱帕奇那样让他满意，这既是因为他相信这种解脱几乎是完美的，也是因为他对保姆罕见的天赋和虚荣的结合非常感兴趣。"在这种情况下，圣高登斯在视觉上表达了巴斯蒂安·莱帕奇的利己主义，满足了他的要求，即不要把他的手画得太显眼。事实上，在圣高登斯最好的肖像中，人们感觉到了保姆性格的注入和心理印象的记录。
介绍（英）	Saint-Gaudens first met the artist Jules Bastien-Lepage (1848–1884) in 1868 while studying at the École des Beaux-Arts in Paris. He renewed his acquaintance with the French painter upon his return to Paris in 1877, and, as Saint-Gaudens later recalled, Bastien-Lepage "asked if I would make a medallion of him in exchange for a portrait of myself. Of course I agreed to the proposal." The last and most ambitious of the medallions depicting artist-friends completed during the sculptor's French tenure (1877–80), this portrait announces a complete technical and compositional mastery of the bas-relief. The painter's compact form fills the right and center of the composition, while his palette and brushes command its lower third. His hair and beard are neatly kept, and he wears a jacket, shirt with upraised collar, and loosely knotted tie. Bastien-Lepage's pride in his profession is sensitively expressed through his erect posture, vibrant and assured gaze, and comfortable grasp of the tools of his trade. The portrait evidently pleased Saint-Gaudens. According to his son Homer, "none of the medallions my father then modeled satisfied him to the extent of that of Bastien-Lepage, both because he believed the relief was as near perfection as he ever came, and because he was greatly interested in a rare combination of talent and vanity in his sitter." In this instance, Saint-Gaudens visually expressed Bastien-Lepage's egotism by accommodating his request that his hands not be depicted too prominently. Indeed, in the best of Saint-Gaudens' portraits, one senses an infusion of the sitter's character and a recording of psychological impressions.