特快列车 - 美国大都会艺术博物馆展品查阅

品名（中）	特快列车
品名（英）	The Express Train
入馆年号	1963年，63.550.62
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Charles Parsons【1821 至 1910】【美国人】
创作年份	公元 1859
创作地区
分类	印刷品（Prints）
尺寸	图像: 17 3/4 × 26 5/8 英寸 (45.1 × 67.6 厘米) 图像 and text: 19 3/8 × 26 5/8 英寸 (49.2 × 67.6 厘米) 页: 22 9/16 × 30 7/8 英寸 (57.3 × 78.4 厘米)
介绍（中）	纳撒尼尔·柯里尔（Nathaniel Currier）于1835年在纽约成立了一家成功的光刻公司，他制作了数千幅不同尺寸的手绘版画，共同描绘了19世纪中后期美国生活及其历史的生动全景。人们急切地获得了这样的石版画，这些石版画以风景如画、乡村和城市景观、船只、肖像、狩猎和捕鱼场景、家庭生活和许多其他主题为特色，作为装饰家庭或商业机构的一种廉价方式。随着公司的扩张，纳撒尼尔招募了他的弟弟查尔斯加入公司。1857年，詹姆斯·梅里特·艾夫斯（James Merritt Ives，自1852年起担任该公司的会计师，也是查尔斯的妹夫）被任命为商业合伙人；随后更名为Currier&；Ives公司一直经营到1907年从1853年开始，纳撒尼尔·柯里尔（以及后来的柯里尔和艾夫斯）出版了30本以火车为特色的印刷品，供那些想要了解当时现代交通方式的美国人使用，这种交通方式为在全国各地旅行和运送货物提供了便利。在查尔斯·帕森斯（Charles Parsons）拍摄的这幅铁路场景中，一辆机车（黑色烟囱中冒出一股黑烟）拉着一辆饰有红色和金色装饰的嫩车、一辆浅棕色货车和四辆黄色客车，从左向右穿过图像。工程师、司炉工和列车长（站在乘客车厢和行李车厢之间）清晰可见。在最右边的远处，有一个城镇，有一座教堂尖塔。对于19世纪的观众来说，这幅版画展示了火车是如何改变美国农村的。
介绍（英）	Nathaniel Currier, whose successful New York-based lithography firm began in 1835, produced thousands of hand-colored prints in various sizes that together create a vivid panorama of mid-to-late nineteenth century American life and its history. People eagerly acquired such lithographs featuring picturesque scenery, rural and city views, ships, portraits, hunting and fishing scenes, domestic life and numerous other subjects, as an inexpensive way to decorate their homes or business establishments. As the firm expanded, Nathaniel recruited his younger brother Charles into the business. In 1857, James Merritt Ives (the firm's accountant since 1852 and Charles's brother-in-law) was made a business partner; subsequently renamed Currier & Ives, the firm continued until 1907. Starting in 1853, Nathaniel Currier (and later Currier & Ives) published thirty prints featuring trains for those Americans wanting pictures of the then-modern mode of transportation that provided a convenient way to travel and ship goods around the country. In this railroad scene by Charles Parsons, a locomotive (with a puff of black smoke trailing from its black smokestack) pulls a tender trimmed with red-and-gold ornamentation, a light brown cargo car and four yellow passenger cars as it heads from left to right across the image. The engineer, stoker and conductor (who stands between passenger and baggage cars) are clearly visible. In the far right distance, there is a town with a church steeple. For nineteenth-century viewers, this print showed how trains were transforming rural America.