[屋顶景观] - 美国大都会艺术博物馆展品查阅

品名（中）	[屋顶景观]
品名（英）	[View of Rooftops]
入馆年号	1987年，1987.1100.116
策展部门	摄影（Photographs）
创作者	Morton Schamberg【1881 至 1918】【美国人】
创作年份	公元 1917
创作地区
分类	照片（Photographs）
尺寸	23.7 x 19.0 厘米 (9 5/16 x 7 1/2 英寸)
介绍（中）	如果不是1918年死于流感，尚伯格很可能仍然是他那一代美国最好的先锋派画家和摄影师之一。他通过与斯蒂格利茨和阿伦斯伯格圈子的接触吸取了立体主义的教训，并在这张照片中展示了他对新艺术习语的巧妙运用在1913年的军械库展览之后，Schamberg的绘画达到了近乎纯粹抽象的地步，1915年，他在粉彩和绘画中转向了更客观的机器形式，并在照片中转向了城市图像就像Stieglitz从画廊的窗户拍摄的城市照片一样，Schamberg的《纽约》是从一个更高的视角观看的，但与这位年长的摄影师的照片不同，Schamber格的照片很酷，完全没有人类或自然的参考，并颂扬了他精心设计的框架和视角所强调的几乎完全几何的秩序。多年来，这张照片是Schamberg唯一一张用这张底片制作的照片，属于他最亲密的朋友Charles Sheeler。
介绍（英）	Had he not died of influenza in 1918, Schamberg likely would have remained one of the best avant-garde painters and photographers of his generation in America. He absorbed the lessons of Cubism through his contacts with the Stieglitz and Arensberg circles, and in photographs such as this one he demonstrated his deft application of the new artistic idioms. After reaching a point of almost pure abstraction in his painting in the wake of the Armory show of 1913, Schamberg turned in 1915 toward more objective machine forms in his pastels and paintings, and toward urban images in his photographs. Like Stieglitz's photographs of the city made from the windows of his galleries, Schamberg's New York is seen from an elevated perspective, but unlike the elder photographer's images, Schamberg's photograph is cool, altogether lacking in human or natural references, and celebrates an almost wholly geometric order underscored by his calculated framing and point of view. For many years this print, the only one Schamberg made from this negative, belonged to his closest friend, Charles Sheeler.