自画像 - 美国大都会艺术博物馆展品查阅

品名（中）	自画像
品名（英）	Self Portrait
入馆年号	1998年，1998.64
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者	Philippe Laurent Roland【1746 至 1816】
创作年份	公元 1780 - 公元 1790
创作地区
分类	雕塑（Sculpture）
尺寸	高 (包含 socle) 20-3/4 英寸 (52.7 厘米.)
介绍（中）	这尊裸露胸部的大理石半身像既没有签名，也没有注明日期，是新古典主义雕塑家菲利普·劳伦特·罗兰的自画像。受试者的个人资料与他的学生Pierre Jean David d'Angers（1788-1856）创作的罗兰奖章相匹配。此外，半身像仍归罗兰家族成员所有。这幅肖像画可以追溯到1785年左右，当时这位雕塑家年近四十，正处于权力的巅峰，尽管朴素，但它展示了一个身材瘦削的人，他有着聪明、精致的五官和直视的目光。大卫·德昂热为他的老师写了一本传记，记得罗兰是一个身高一般、性格高度紧张的人：他的"红润的肤色显示出一种乐观的性格，但主要是紧张的一面……他的眼睛像艺术家一样活泼而敏锐。他的嘴很大，但轮廓很好。就像忙于严肃事务的人一样，他很少说话。在他的社交关系中，他表现出端庄的矜持和忠诚的真诚，这加剧了他对原则的极度紧缩。"。"Roland是Augustin Pajou（1730–1809）的学生，他有着强大的影响力，鼓励他专注于大理石雕刻。作为一名肖像画家，Roland因其以先进的新古典风格对主题进行自然主义、富有同情心的描绘而备受钦佩，这在博物馆的自画像中可见一斑。
介绍（英）	Neither signed nor dated, this marble bust of a man with a bare chest is a self-portrait of the Neoclassical sculptor Philippe-Laurent Roland. The subject’s profile matches that in a medallion of Roland executed by his pupil Pierre-Jean David d’Angers (1788–1856). Furthermore, the bust remained in the possession of members of the Roland family. Dating to about 1785, when the sculptor was nearly forty years of age and at the height of his powers, the portrait, though austere, shows a lean man with intelligent, well-knit features and a direct gaze. David d’Angers, who wrote a biography of his teacher, remembered Roland as a man of average height and with a high-strung disposition: His "ruddy complexion revealed a sanguine character but with a predominantly nervous aspect. . . . His eyes were lively and penetrating like those of an artist. His mouth was large but well delineated. Like people occupied with serious matters, he spoke little. In his social relations he showed a dignified reserve and loyal sincerity which heightened his great austerity of principle." Roland had been a student of Augustin Pajou (1730–1809), a strong influence, who encouraged him to specialize in marble carving. As a portraitist, Roland is admired for the naturalistic, sympathetic rendering of his subjects in an advanced Neoclassical style, as is evident in the Museum’s self-portrait.