Pierrot跑步 - 美国大都会艺术博物馆展品查阅

品名（中）	Pierrot跑步
品名（英）	Pierrot Running
入馆年号	1999年，2005.100.43
策展部门	摄影（Photographs）
创作者	Nadar【1820 至 1910】【法国人】
创作年份	公元 1854 - 公元 1855
创作地区
分类	照片（Photographs）
尺寸	图像: 26.5 x 20.8厘米 (10 7/16 x 8 3/16英寸) Mount: 41.3 x 34.5 厘米 (16 1/4 x 13 9/16 英寸)
介绍（中）	1853年末，Félix Tournachon（Nadar）付钱给古斯塔夫·勒·格雷（Gustave Le Gray），让他教弟弟阿德里安（Adrien）摄影，阿德里安是一位才华横溢的画家，经常由他负责。与此同时，费利克斯自己也从他的朋友卡米尔·达诺那里学会了使用相机。费利克斯承诺会帮助他的兄弟，于是在卡普西内斯大道上为他建立了一个工作室。阿德里安一直独自工作到1854年9月，然后向费利克斯寻求帮助。这对兄弟一直合作到1855年1月，当时竞争摩擦破坏了这一安排，并导致了一场诉讼，费利克斯通过这场诉讼恢复了对其化名纳达尔的唯一使用在合作期间，兄弟俩为巴普蒂斯特·德布鲁奥的儿子查尔斯·德布鲁奥拍摄了一系列大型照片，德布鲁奥是富南布勒斯剧院的著名哑剧演员。这些照片引起了公众的广泛关注，并在1855年巴黎世界博览会上获得了金牌这套超过15张具有特色表情的照片为摄影师精心设计的宣传活动，形成了一个情节性的视觉叙事，讲述了哑剧角色皮尔罗的滑稽遭遇。这张照片显示了皮耶罗的追逐或逃跑的姿态。尽管相对较长的曝光需要静止不动，但模拟的运动表现得很好。这是一个在浅空间中静态、展开的动作演示，图片的内容就像字典里的定义一样简洁，其形式就像希腊花瓶上的奔跑者一样清晰。
介绍（英）	In late 1853, Félix Tournachon (Nadar) paid Gustave Le Gray to teach photography to his younger brother, Adrien, a painter of some talent frequently in his charge. At the same time Félix himself learned to use the camera from his friend Camille D'Arnaud. Promising to assist his brother, Félix set up a studio for him on the Boulevard des Capucines. Adrien worked alone until September 1854, then turned to Félix for help. The two brothers collaborated until January 1855, when competitive friction ruptured the arrangement and led to a lawsuit through which Félix recovered sole use of his pseudonym, Nadar. During the time they worked together, the brothers made a series of large photographs of Charles Debureau, son of Baptiste Debureau, the famous mime of the Théâtre des Funambules. These photographs attracted much public attention and won the gold medal at the Exposition Universelle of 1855 in Paris. Designed as an elaborate publicity campaign for the photographers, the suite of more than fifteen photographs of characteristic expressions forms an episodic visual narrative of the comical misadventures of the pantomime character Pierrot. This photograph shows Pierrot in an attitude of pursuit or flight. Despite the immobility required by the relatively long exposure, the simulated movement is wonderfully expressed. A static, splayed demonstration of action in a shallow space, the picture's content is as concise as a dictionary definition, its form as legible as that of a runner on a Greek vase.