布尔日圣乌尔辛门 - 美国大都会艺术博物馆展品查阅

品名（中）	布尔日圣乌尔辛门
品名（英）	Portal of Saint-Ursin, Bourges
入馆年号	1999年，2005.100.53
策展部门	摄影（Photographs）
创作者	Bisson Frères【1852 至 1863】【法国人】
创作年份	公元 1853 - 公元 1857
创作地区
分类	照片（Photographs）
尺寸	图像: 43.4 x 35.2 厘米 (17 1/16 x 13 7/8 英寸 )
介绍（中）	Louis Auguste Bisson和他的兄弟Auguste Rosalie直接从发明者那里学习了银版印刷术，并在巴黎建立了最早的专业肖像工作室之一，他们一直忠实于这一过程，直到19世纪50年代初。1853年左右，他们绕过纸质底片的工艺，开始使用大幅面玻璃板底片，并很快掌握了这一工艺，专门研究建筑视图。在这些方面，他们只能与巴尔德斯相抗衡十一世纪末或十二世纪初的圣乌尔辛门，有一个雕刻的门楣，描绘了寓言中的插曲、狩猎场景和几个月的劳动，在这里以他们作品的清晰度和严谨性来表现。然而，结果远非毫无结果。相反，这张照片邀请观众进入，踩着铺路石，站在这位身穿黑色斗篷、戴着礼帽的匿名绅士的位置，凝视着雕刻的入口。然而，这不仅仅是一个触发想象进入场景的图像装置，这个人对嵌入后来建筑和现代城市结构中的罗马式大门的审视，表明了一种正在发展的观念，即现在包含了过去的遗迹。正是这个概念产生了比森夫妇的建筑照片这张照片作为第23版出现在一个名为"复制建筑和雕塑的照片"的大型项目中，该项目名为"纪念碑和文艺复兴时期的纪念碑"。。。，其中包括从1854年到1862年以分册形式发行的201个图版。这幅版画是由Eugène Placet创作的，她于1864年买下了Bissons工作室的作品，并继续用他们的底片进行印刷。
介绍（英）	Having learned daguerreotypy directly from its inventor, and having established one of the earliest professional portrait studios in Paris, Louis-Auguste Bisson and his brother Auguste-Rosalie remained faithful to the process until the early 1850s. Bypassing the paper negative processes they began to use large-format glass-plate negatives about 1853 and quickly mastered the process, specializing in architectural views. In these they were rivaled only by Baldus. The late-eleventh- or early-twelfth-century portal of Saint-Ursin, with a sculpted tympanum depicting episodes from fables, a hunting scene, and the labors of the months, is represented here with a clarity and rigor characteristic of their work. The result, however, is far from sterile. Instead, the photograph invites the viewer to enter, tread the paving stones, and assume the place of the anonymous gentleman in black cloak and top hat as he contemplates the carved entranceway. More than just a pictorial device to trigger an imaginary entry into the scene, however, this man's examination of the Romanesque portal embedded in the architecture of a later building and the fabric of a modern city speaks of a developing notion of the present as embracing vestiges of the past. It was this very concept that gave rise to the Bissons' architectural photographs. This image appeared as plate 23 in a vast project entitled Reproductions photographiques des plus beaux types d'architecture et de sculpture d'après les monuments les plus remarquables de l'antiquité, du moyen âge et de la Renaissance..., which included 201 plates issued in fascicles from 1854 to 1862. This print was made by Eugène Placet, who bought the contents of the Bissons' studio in 1864 and continued to print from their negatives.