穆勒石器制造厂广告 - 美国大都会艺术博物馆展品查阅

品名（中）	穆勒石器制造厂广告
品名（英）	Advertisement for Muller Stoneware Manufactory
入馆年号	1989年，1989.8
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者	Alexandre-Louis-Marie Charpentier【1856 至 1909】【法国人】
创作年份	公元 1897
创作地区
分类	雕塑（Sculpture）
尺寸	36 × 25 3/8 英寸 (91.4 × 64.5 厘米)
介绍（中）	到十九世纪末，粗陶这种不起眼的媒介——法语中的grès——因其朴实的诚实和再现最微妙轮廓的能力而赢得了雕塑家的注意。粗陶雕塑的贸易变得如此有前途，以至于埃米尔·穆勒（Emile Muller）的大公司选择将它们与众所周知的瓷砖和造型一起做广告。这幅浮雕的背面有大块的砖石膏，一定是用墙围起来的，可能是在穆勒的陈列室里，作为一种三维海报。在转向Charpentier时，该公司获得了新艺术风格雕塑家中最有天赋的解剖学家的服务。橄榄色的浮雕显示了蓬松的青年和字母带之间的显着张力。男孩拿着一块笨重的瓷砖，同时提供雅典娜的菲迪亚小雕像，这是艺术与工业设计结合的良好表达，这种结合开始被推进为一种理想。卡彭蒂埃用青铜牌匾传播了设计，这是他通常被人们记住的艺术形式。博物馆收藏的牌匾（03.7.26）只是一个苍白的反射，几乎没有显示出更大发明的阳刚存在。
介绍（英）	Toward the close of the nineteenth century, the humble medium of stoneware—grès in French—won the attention of sculptors because of its earthy honesty and its capacity for reproducing the subtlest contours. The trade in stoneware sculptures grew so promising that the large firm of Emile Muller chose to advertise them along with the tiles and moldings for which it was known. This relief has chunks of masonry plaster on its back and must have been walled-in, possibly in Muller's showroom, as a sort of three-dimensional poster. In turning to Charpentier, the firm obtained the services of the most gifted anatomist among Art Nouveau sculptors. The olive-hued relief shows a remarkable tension between the tousled, sinewy youth and the bands of lettering. The boy holds a bulky tile while proffering a Phidian statuette of Athena, a fine expression of the union of art and industrial design that was beginning to be advanced as an ideal. Charpentier disseminated the design in bronze plaquettes, the art form for which he is usually remembered. The plaquette in the Museum's collection (03.7.26) is but a pale reflection, showing little of the virile presence of the larger invention.