“她从没说过她的爱” - 美国大都会艺术博物馆展品查阅

品名（中）	“她从没说过她的爱”
品名（英）	"She Never Told Her Love"
入馆年号	1999年，2005.100.18
策展部门	摄影（Photographs）
创作者	Henry Peach Robinson【1830 至 1901】【英国人】
创作年份	公元 1857
创作地区
分类	照片（Photographs）
尺寸	18 x 23.2厘米 (7 1/16 x 9 1/8英寸) Frame: 41.6 x 46.4 厘米 (16 3/8 x 18 1/4 英寸)
介绍（中）	一个年轻的女人被单恋的激情所吞噬，躺在亨利·皮奇·罗宾逊（Henry Peach Robinson）对莎士比亚诗句的描绘中，她未实现的梦想的黑暗空间中，"她从未诉说过自己的爱，/但让隐藏，像一只虫子在花蕾里，/在她的大马士革脸颊上进食"（第十二夜II，iv，111-13）。尽管这张照片是罗宾逊作为一幅独立作品展出的，但它也为这位1858年最著名的照片《Fading Away》中的中心人物提供了研究。《Fading Away》旨在展示一位年轻的消费者在最后时刻被家人包围，多年来一直备受争议。一方面，鲁滨逊因在最私密的时刻侵入死亡室而被认为是不道德的行为而受到批评。另一方面，那些认为这场戏已经上演的人，以及那些知道罗宾逊是通过组合印刷（一种利用多张底片制作一张印刷图像的技术）创作这张照片的人，指责他不诚实地使用了一种主要优点是其真实性的媒介在谈到罗宾逊认为如果摄影要追求高艺术，道德和文学主题至关重要的同时，这幅图片只使用了这位艺术家的主要展览图片中经常表现的令人厌烦的感伤和华丽的技术技巧。也许是为了方便组合印刷的过程，不自然的黑色背景也将人物包裹在明显的忧郁中。
介绍（英）	Consumed by the passion of unrequited love, a young woman lies suspended in the dark space of her unrealized dreams in Henry Peach Robinson's illustration of the Shakespearean verse "She never told her love,/ But let concealment, like a worm i' the bud,/ Feed on her damask cheek" (Twelfth Night II,iv,111-13). Although this picture was exhibited by Robinson as a discrete work, it also served as a study for the central figure in his most famous photograph, Fading Away, of 1858. Purportedly showing a young consumptive surrounded by family in her final moments, Fading Away was hotly debated for years. On the one hand, Robinson was criticized for the presumed indelicacy of having invaded the death chamber at the most private of moments. On the other, those who recognized the scene as having been staged and who understood that Robinson had created the picture through combination printing (a technique that utilized several negatives to create a single printed image) accused him of dishonestly using a medium whose chief virtue was its truthfulness. While addressing the moral and literary themes that Robinson believed crucial if photography were to aspire to high art, this picture makes only restrained use of the cloying sentimentality and showy technical artifice that often characterize this artist's major exhibition pictures. Perhaps intended to facilitate the process of combination printing, the unnaturally black background serves also to envelop the figure in palpable melancholia.