潘塔洛内 - 美国大都会艺术博物馆展品查阅

品名（中）	潘塔洛内
品名（英）	Pantalone
入馆年号	1982年，1982.450.17
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者	Royal Porcelain Manufactory, Naples【1759 至 1819】【意大利人】
创作年份	公元 1785 - 公元 1795
创作地区
分类	陶瓷-瓷器（Ceramics-Porcelain）
尺寸	高: 6 英寸 (15.2 厘米)
介绍（中）	1759年，那不勒斯国王以查理三世的身份继承了西班牙王位，他不愿意放弃位于卡波迪蒙特的瓷器厂，于是带上了它：41名工人（包括朱塞佩·格里奇）和数千磅粘土于10月7日启航；工厂建筑和剩余库存被摧毁直到1771年，查尔斯的儿子兼继任者斐迪南四世才决定复兴那不勒斯的瓷器制造业，并在王宫附近建造了一座新工厂。尽管斐迪南是一家独立企业，但它与卡波迪蒙特保持了一些联系。这种材料是一种硬浆瓷器，由卡波迪蒙特的一名窑工开发，早期的碎片让人想起了卡波迪monte光滑的白色材料。即使是卡波迪蒙特的风格影响也偶尔会很明显，就像这张图中一样。这只潘塔隆以其有力的姿势和突出的胡须下巴，明显让人想起了《艺术百科全书》中同一人物格里奇的一个更大的模型这幅画是因加尔多为数不多的签名作品之一，他于1784年6月在皇家工厂担任建模师，并一直留在那里，直到1806年约瑟夫·波拿巴成为那不勒斯国王，工厂关闭。据信，Ingaldo继续在一家小工厂担任瓷器建模师，该工厂是由已倒闭的皇家工厂的后来所有者建立的；他最后一件已知的年代作品是1821年的作品。他也是一位著名的prsèpio人物雕塑家，并为流行的那不勒斯crèches提供了与他的瓷器模型中出现的人物类型和有力的性格相同的人物。
介绍（英）	In 1759 the king of Naples succeeded to the Spanish throne as Charles III and, unwilling to abandon his porcelain factory at Capodimonte, literally took it with him: forty-one workers (including Giuseppe Gricci) and several thousand pounds of clay sailed on October 7; the factory buildings and remaining stock were destroyed. It was not until 1771 that Charles’s son and successor, Ferdinand IV, decided to revive porcelain making in Naples, and he built a new factory near the royal palace. Although Ferdinand’s was an independent enterprise, it retained some links with Capodimonte. The material, a hard-paste porcelain, was developed by one of the Capodimonte kiln workers and, in pieces from the early period, recalls Capodimonte’s glossy white material. Even Capodimonte’s stylistic influence is occasionally evident, as it is in this figure. With his emphatic posture and jutting bearded jaw, this Pantaloon is distinctly reminiscent of a much larger model attributed to Gricci of the same character from the commedia dell’arte. The figure is one of the few signed pieces by Ingaldo, who was received as a modeler at the Royal Factory in June 1784 and remained there until 1806, when Joseph Bonaparte became king of Naples and the factory was closed. Ingaldo is believed to have continued working as a modeler in porcelain at a small factory set up by a later owner of the defunct Royal Factory; his last known dated work is a figure of 1821. He is also known as a sculptor of prsèpio figures and furnished the popular Neapolitan crèches with figures of the same type and forceful character as appear in his porcelain models.