塞利洛附近的合恩角 - 美国大都会艺术博物馆展品查阅

品名（中）	塞利洛附近的合恩角
品名（英）	Cape Horn near Celilo
入馆年号	1999年，2005.100.109
策展部门	摄影（Photographs）
创作者	Carleton E. Watkins【1829 至 1916】【美国人】
创作年份	公元 1867
创作地区
分类	照片（Photographs）
尺寸	图像: 40 x 52.4厘米 (15 3/4 x 20 5/8英寸) Mount: 54.5 x 68.6 厘米 (21 7/16 x 27 英寸)
介绍（中）	当沃特金斯沿着哥伦比亚河上游旅行时，他拍摄了自然和人造地标——岩石露头和瀑布，以及沿途的小镇、工厂和码头。他的道路遵循了俄勒冈州蒸汽导航公司的道路，当他不仅拍摄该公司的路线，还拍摄其设施时，他可能一直在接受委托，也可能对该公司的业务有着投机的眼光。在为期四个月的旅行中，塞利洛距离波特兰上游一百英里，是沃特金斯旅行中最远的地方。很容易推测，这张照片中铁轨的中心位置是沃特金斯商业议程的证据。但在缺乏确凿数据的情况下，人们可能会将这张照片解读为"明确的命运"的视觉隐喻，即美国注定要以其主权跨越整个大陆。沃特金斯在自然和人类入侵自然之间取得了巧妙的平衡，在河边土地上蚀刻的山谷和旁边铺设的铁路之间，这表明，无论他将合恩角视为一个商业机会，还是一个国家学说的象征性代表，他还认为这是一个审美和道德和谐的天堂，为完美的优雅状态提供了绘画表达的机会。
介绍（英）	When Watkins traveled up the Columbia River, he photographed both the natural and manmade landmarks-the rocky outcrops and cascades, and the small towns, mills, and docks along the way. His path followed that of the Oregon Steam Navigation Company, and as he photographed not only the company's route but also its facilities, he may have been working either on commission or with a speculative eye for the company's business. One hundred miles upstream from Portland, Celilo was the farthest reach of Watkins' travels during the four-month excursion. It would be easy to surmise that the centrality of the rails in this photograph is evidence of Watkins' business agenda. But in the absence of confirming data, one might instead interpret the picture as a visual metaphor for Manifest Destiny, the belief that the United States was destined to span the continent with its sovereignty. The artful balance Watkins achieves between nature and man's incursion into nature-between the valley etched in the land by the river and the railroad laid down alongside it-suggests that whether he saw Cape Horn as a commercial opportunity or as a symbolic representation of a national doctrine, he also recognized it as a providential place of aesthetic and moral harmony that provided the opportunity for a pictorial expression of a perfect state of grace.