阿尔及尔的女人[原名“阿尔及尔的犹太女人”] - 美国大都会艺术博物馆展品查阅

品名（中）	阿尔及尔的女人[原名“阿尔及尔的犹太女人”]
品名（英）	Woman of Algiers [originally titled "The Jewish Woman of Algiers"]
入馆年号	2006年，2006.113a–c
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者	Charles-Henri-Joseph Cordier【1827 至 1905】【法国人】
创作年份	公元 1862
创作地区
分类	雕塑（Sculpture）
尺寸	整体 on socle (confirmed): 高 35 1/2 x 宽 25 1/4 x 深 13 3/4 英寸, 265磅 (90.2 x 64.1 x 34.9 厘米, 120.2032kg) [Weight breakdown: head 37 磅, marble bust 228 磅; marble socle 100.7 磅]; Pedestal (confirmed): 高 41 3/8 x 宽 18 1/4 x 深 18 1/4 x 11 3/4 英寸, 551.2磅 (105.1 x 46.4 x 46.4 x 29.8 厘米, 250kg)
介绍（中）	查尔斯·科迪尔在其未出版的回忆录中引用了1848年4月27日废除法国及其殖民地奴隶制的法律，他写道："我的艺术融合了一个全新主题的现实，即对奴隶制的反抗和人类学的诞生。"，科迪耶旨在说明他所描述的"美的普遍性"。他的半身像经常配对异性但种族相同的情侣。这一罕见的女性半身像（另见La Capresse des Colonies，2006.112）是马赛的一家博彩俱乐部的买家想要的，该俱乐部还委托科迪耶制作了豪华的第二帝国基座半身像陶醉于雕塑中多色的时代品味，这是一种国际现象，由关于古代雕像绘画的艺术辩论引发，灵感来自古罗马和文艺复兴时期由各种颜色的大理石组成的雕塑。1856年，科迪尔在阿尔及利亚旅行时，在最近重新开放的古代采石场发现了玛瑙矿床，并开始在此类半身像中使用玛瑙。他巧妙地将搪瓷青铜头像镶嵌在图案鲜艳的石头上，创造了令人兴奋但代价高昂的非洲人形象，吸引了欧洲社会的最高阶层。
介绍（英）	In his unpublished memoirs Charles Cordier cites the law of April 27, 1848 that abolished slavery in France and its colonies, writing: "My art incorporated the reality of a whole new subject, the revolt against slavery and the birth of anthropology." In pioneering ethnography as a subject for sculpture in the nineteenth century, Cordier aimed to illustrate what he described as "the idea of the universality of beauty." His busts often paired couples of the opposite sex but of the same race. This rare instance of matched busts of women (see also La Capresse des Colonies, 2006.112) was desired by the purchaser, a gaming club in Marseilles, that also commissioned the sumptuous Second-Empire pedestals from Cordier. The busts revel in the period taste for polychromy in sculpture, an international phenomenon sparked by artistic debates about the painting of ancient statuary and inspired by ancient Roman and Renaissance sculpture composed of variously colored marbles. On a trip to Algeria in 1856 Cordier discovered onyx deposits in recently reopened ancient quarries and began to use the stone in busts such as these. He ingeniously fitted enameled bronze heads into the vibrantly patterned stone, creating exciting though costly representations of Africans that appealed to the highest levels of European society.