[事后分析] - 美国大都会艺术博物馆展品查阅

品名（中）	[事后分析]
品名（英）	[Postmortem]
入馆年号	1999年，2005.100.31
策展部门	摄影（Photographs）
创作者	Alphonse Le Blondel【1814 至 1875】【法国人】
创作年份	公元 1848 - 公元 1852
创作地区
分类	照片（Photographs）
尺寸	图像 (visible): 3 1/2 × 4 11/16 英寸 (8.9 × 11.9 厘米) 整体: 6 11/16 × 8 1/4 英寸 (17 × 21 厘米)
介绍（中）	在将祖先的面部记录传给后代的过程中，一个以前从未买得起肖像画的整个阶层通过银版照相术获得了一定程度的不朽。这种保存亲人记忆的愿望在死后摄影的实践中得到了强烈的表达，这是对死者的最后视觉记录，有能力保存心灵的眼睛图像。这种银版被视为对死者的直接印象，正如贴在这个广告"死后肖像，死亡面具"的例子背面的标签所表达的那样，白色窗帘的褶皱暗示着灵魂的提升，而周围的房间和警惕的父亲则笼罩在悲伤的阴影中。雕刻的签名"Le Blondel Lille"证实了艺术家认为这是一件重要的作品，而不仅仅是普通的产品。
介绍（英）	In bequeathing to later generations a record of the faces of their ancestors, an entire class that had never before been able to afford portraiture was offered some small degree of immortality by the daguerreotype. That desire to preserve the memory of loved ones found poignant expression in the practice of postmortem photography, a final visual record of the deceased with the power to preserve the image of the mind's eye. Such daguerreotypes were seen as direct impressions of the deceased, as expressed on the label affixed to the verso of this example advertising "Portraits after death, death masks." This particularly theatrical postmortem is artfully composed so as to present the dead child bathed in heavenly light, the folds of white drapery suggesting the ascension of the soul while the surrounding room and watchful father are shrouded in mournful shadow. The engraved signature, "Le Blondel Lille," confirms that the artist considered this a significant work, no mere run-of-the-mill product.