Nessus绑架Dejanira - 美国大都会艺术博物馆展品查阅

品名（中）	Nessus绑架Dejanira
品名（英）	Nessus Abducting Dejanira
入馆年号	2004年，2004.174
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者	Bertel Thorvaldsen【1770 至 1844】【丹麦人】
创作年份	公元 1814 - 公元 1826
创作地区
分类	雕塑（Sculpture）
尺寸	confirmed: 39 1/2 × 49 1/2 × 5 3/4 英寸, 414 磅 (100.3 × 125.7 × 14.6 厘米, 187.8 kg) historic dimensions, superceded: 47 1/4 × 49 3/16 英寸 (120 × 125 厘米)
介绍（中）	在19世纪初的罗马，只有安东尼奥·卡诺瓦能与雕塑家伯特尔·索瓦尔森相媲美。丹麦人是公认的主人的一个领域是独立救济；一位当代评论家称Thorvaldsen为"浅浮雕的鼻祖"。虽然这些作品往往是小规模、紧凑和克制的，以模仿新古典主义艺术家所推崇的古代作品，但这幅作品因其大尺寸、大胆的可塑性和感性的主题而不同寻常。众所周知的神话是关于半人马奈苏斯背叛赫拉克勒斯的信任：半人马被指控携带赫拉克勒斯妻子穿越尤努斯河，试图绑架她，但被赫拉克勒斯射出的毒箭杀死。在严峻的背景下，雕塑家勾勒出了Deianira向丈夫挥手寻求帮助的戏剧性时刻，绑架她的人扭过头来亲吻她。Thorvaldsen创作这幅作品的起点是一幅古罗马浮雕，他从哥本哈根Thorvalden博物馆的一幅版画中知道这幅浮雕，该博物馆在他去世两年后完成，用来收藏他送给家乡的藏品。一系列的绘画展示了艺术家为加强人物互动所做的努力。这件大理石是由阿斯科利公爵的兄弟保罗·马鲁利委托建造的，用于他在那不勒斯的住所，在那里它与其他Thorvaldsen浮雕相结合。
介绍（英）	In early-nineteenth-century Rome only Antonio Canova rivaled the sculptor Bertel Thorvaldsen. One area in which the Dane was the acknowledged master was the independent relief; a contemporary critic termed Thorvaldsen the "patriarch of the bas-relief." While these tended to be small scale, compact, and restrained, in emulation of the ancient compositions that Neoclassical artists revered, this one is unusual for its large size, bold plasticity, and sensual subject. The well known myth concerns the centaur Nessus's betrayal of Hercules' trust: charged with carrying Hercules' wife across the river Euenus, the centaur tries to abduct her but is slain by a poisoned arrow shot by Hercules. Against a severe background the sculptor chiseled the dramatic moment when Deianira waves to her husband for help as her abductor twists to kiss her. Thorvaldsen's starting point for the composition is an ancient Roman relief that he knew from an engraving now in the Thorvaldsen Museum, Copenhagen, completed two years after his death to house the collection he gave his native city. A series of drawings shows the artist's efforts to intensify the figures' interaction. This marble was commissioned by Paolo Marulli, brother of the duke of Ascoli, for his residence in Naples, where it joined other Thorvaldsen reliefs.