阿里阿德涅 - 美国大都会艺术博物馆展品查阅

品名（中）	阿里阿德涅
品名（英）	Ariadne
入馆年号	2005年，2005.100.1164
策展部门	摄影（Photographs）
创作者	Oscar Gustav Rejlander【1813 至 1875】【英国人，出生于瑞典】
创作年份	公元 1857
创作地区
分类	照片（Photographs）
尺寸	Mount: 16 1/16 英寸 × 13 1/16 英寸 (40.8 × 33.2 厘米) 图像: 8 1/4 × 6 1/2 英寸 (21 × 16.5 厘米); oval
介绍（中）	在维多利亚时代的英格兰工作，任何裸体摄影都被认为是冒犯性的，因为这个过程不仅意味着艺术家和小贩的"肮脏"，也意味着"在这种情况下作为模特的人的堕落"，雷兰德试图将他的作品与著名画家的作品联系起来。这项裸体研究是以拉斐尔、提香、科雷乔、鲁本斯、穆里洛和盖恩斯伯勒作品中的人物为基础的一系列研究之一；这里的先例是提香的《维纳斯与阿多尼斯》，雷兰德的意图是展示画家是如何坚持或偏离真实身体扭曲和转动的方式的。评论家A.H.Wall为Reylander的《裸体研究》的恰当性进行了辩护，他说："艺术的精炼和崇高、真实的美、明显的血肉之躯，只说明了它本身固有的可爱。" 然而，这种对绘画的提及并不总是能提供足够的保护。摄影师兼评论家托马斯·萨顿在谈到雷兰德著名的《两种生活方式》时写道："展出《Etty’s Bathers Surprised by a Swan》或《巴黎审判》等艺术作品没有任何不妥之处，但让公众看到裸体妓女的照片是不恰当的，真实而细致。"
介绍（英）	Working in a place—Victorian England—where any photographic nude was considered offensive because the process implied not only the "nastiness" of the artist and vendor, but also "the degradation of the person who serves as model on the occasion," Rejlander sought to ally his work with that of noted painters. This nude study is one of a series based on figures in the work of Raphael, Titian, Correggio, Rubens, Murillo, and Gainsborough; the precedent here is Titian’s Venus and Adonis, and Rejlander’s intention was to show how the painter adhered to or strayed from the ways a real body can twist and turn. Critic A. H. Wall defended the propriety of Rejlander’s Studies from the Nude, saying, "Refined and ennobled by art, real beauty, palpable flesh and blood, speaks of nothing but its own inherent loveliness." Such references to painting did not always afford adequate protection, however. Writing of Rejlander’s famous Two Ways of Life, photographer and critic Thomas Sutton wrote, "There is no impropriety in exhibiting such works of art as Etty's Bathers Surprised by a Swan or the Judgment of Paris but there is impropriety in allowing the public to see photographs of nude prostitutes, in flesh-and-blood truthfulness and minuteness of detail."