办公桌（秘书） - 美国大都会艺术博物馆展品查阅

品名（中）	办公桌（秘书）
品名（英）	Desk (Secretary)
入馆年号	1925年，25.134.1a, b
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者
创作年份	公元 1725 - 公元 1740
创作地区
分类	木工家具（Woodwork-Furniture）
尺寸	整体: 102 x 44 x 23 英寸 (259.1 x 111.8 x 58.4 厘米)
介绍（中）	在形状上，这位秘书受到英语局书柜的影响。这个例子由三部分组成：拱形的上部，其内部包含可见的抽屉和隐藏的隔间，中间部分有一个倾斜的下降前部，下部有三个大抽屉。结构非常基本：所有的注意力都集中在表面装饰上，这种装饰以称为lacca povera或lacca contrafatta的剪纸技术执行。作为亚洲漆的廉价替代品，剪纸在 1720 年代在欧洲变得特别流行，并在整个 18 世纪持续实施。剪纸艺术由专业人士和业余爱好者制作，包括着色和切割铜版画，将它们粘贴在专门准备的表面上，然后上光。以各种语言出版了包含技术逐步描述和清漆有用配方的特别手册，以及专门为这种装饰设计的印刷品，通常带有各种图案。然而，这个局书柜上的大部分已识别图像并非来自为此目的专门制作的印刷品，而是来自各种法国和德国来源。这些包括象征寓言，狩猎和风景场景以及中国风图案。尽管装饰大杂烩，但图像的巧妙安排导致了设计的某种和谐。这一点，再加上在切割非常精致的图案时表现出的非凡灵巧性，表明由专业工匠而不是熟练的业余爱好者负责。这位秘书的整体形状和装饰表明起源于威尼斯，这是博物馆获得它的地方。
介绍（英）	In shape, this secretary is influenced by the English bureau bookcase. This example consists of three parts: the arched upper section whose interior contains visible drawers as well as hidden compartments, a middle section with a sloping fall front and the lower section with three large drawers. The construction is very basic: all the attention is lavished on the surface decoration which is executed in a decoupage technique known as lacca povera or lacca contrafatta. Conceived as a cheaper substitute for Asian lacquer, decoupage became especially fashionable in Europe during the 1720’s and was continuously practiced throughout the eighteenth century. Made by professionals and amateurs alike, the art of decoupage consists of coloring and cutting out copperplate engravings, pasting them on the specially prepared surface and varnishing them afterwards. Special manuals containing step-by-step descriptions of the technique and useful formulas for varnishes were published in various languages, as were prints specifically devised for this kind of decoration, often with a variety of motifs. Most of the identified images on this Bureau Bookcase did not come from prints specially made for the purpose however, but rather derive from a wide variety of French and German sources. These include symbolic allegories, hunting and landscape scenes as well as Chinoiserie motifs. Despite the hodgepodge of decoration, the skillful arrangement of the images has resulted in a certain harmony of design. This, together with the remarkable dexterity shown in cutting out very delicate motifs indicate that a professional craftsman rather than a skilled amateur was responsible. The overall shape and the embellishment of this secretary suggest an origin in Venice, which is where the Museum acquired it.