[水果静物] - 美国大都会艺术博物馆展品查阅

品名（中）	[水果静物]
品名（英）	[Still Life with Fruit]
入馆年号	1999年，2005.100.15
策展部门	摄影（Photographs）
创作者	Roger Fenton【1819 至 1819】【英国人】
创作年份	公元 1860
创作地区
分类	照片（Photographs）
尺寸	35.2 x 43.1厘米 (13 7/8 x 16 15/16英寸) Mount: 46.6 x 60.3 厘米 (18 3/8 x 23 3/4 英寸)
介绍（中）	从1854年到1859年，作为大英博物馆的指定摄影师，芬顿有充分的机会发展他拍摄各种大小和材料的静止物体的技能，从古董半身像到动物和鸟类的骨骼。1860年，他开始在大理石或织物上创作一系列大约40幅水果和花卉的静物画。在不止一张图片中出现相同的水果表明，这些研究是在相对较短的时间内进行的。在最好的例子中，花和水果以紧密的组合组合在一起，要么随意堆积，要么作为浆果和花瓣的墙。在这里，芬顿在近距离和眼睛水平的拍摄中，将他的拍摄对象视为一个纹理研究，将细节堆积在细节上，并提高其触觉多样性：菠萝的带刺鳞片、草莓的麻面、白加仑的细腻透明、黑葡萄的厚重感。在压缩的摄影空间中，丰富的感官信息同时吸引和干扰着人们，为一个有着数百年历史的主题注入了令人不安的维多利亚式恐怖真空这些过多、几乎过熟的艺术品、花卉和异国水果静物显然也是为了实现芬顿从一开始就追求的相同目标：展示摄影在许多传统角色中与绘画平等甚至超越绘画的能力。
介绍（英）	As the appointed photographer of the British Museum from 1854 to 1859, Fenton had ample opportunity to develop his skills photographing stationary objects of various sizes and materials, from antique busts to skeletons of animals and birds. In 1860, he embarked on a series of about forty still lifes of fruits and flowers arranged on marble or fabric. The presence of the same fruits in more than one image suggests that the studies were made during a relatively short period of time. In the best examples, flowers and fruit are grouped together in tight compositions, either in casual heaps or as a wall of berries and petals. Here, photographing at close range and at eye level, Fenton conceived of his subject as a study in textures, piling detail upon detail and heightening its tactile diversity: the prickly scales of the pineapple, the pocked skin of the strawberry, the delicate transparency of the white currant, the heaviness of the black grapes. The abundance of sensory information in the compressed photographic space attracts and disturbs at the same time, injecting a disquieting and characteristically Victorian horror vacui into a centuries-old theme. These overabundant, almost overripe, still lifes of objets d'art, flowers, and exotic fruits were also clearly meant to accomplish the same goal that Fenton had sought from the beginning: to demonstrate the capacity of photography to equal—and even surpass—painting in its many traditional roles.