Penton挂钩 - 美国大都会艺术博物馆展品查阅

品名（中）	Penton挂钩
品名（英）	Penton Hook
入馆年号	1883年，83.1.51
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Sir Francis Seymour Haden【1818 至 1910】【英国人】
创作年份	公元 1864
创作地区
分类	印刷品（Prints）
尺寸	Plate: 5 13/16 × 9 1/4 英寸 (14.8 × 23.5 厘米) 页: 8 3/4 × 13 11/16 英寸 (22.2 × 34.8 厘米)
介绍（中）	西摩·哈登是一个不太可能的外科医生和蚀刻师的结合体。尽管他从事了非常成功的医疗事业，但人们对他印象最深的是他的蚀刻作品以及关于蚀刻的著作。他是包括詹姆斯·麦克尼尔·惠斯勒（1834–1903）和阿方斯·莱格罗斯（1837–1911）在内的一群艺术家之一，他们对媒介的热情导致了蚀刻复兴运动，这场运动一直持续到二十世纪。在这段时间里，对蚀刻固有的自发性的赞美达到了顶峰。哈登写道，虽然蚀刻针的线条"自由、富有表现力、充满活力"，但布里恩的线条"冷酷、受限、无趣"且"没有身份"。在这幅作品中，一棵古老的空心树斜靠在一个捕鱼男孩附近的河边。在这种状态下，空心树被刮掉，留下中心空白。Harrington早期的目录将其描述为"试验证明（c），树干……完全被移除。"【第34页】Schneiderman后来的目录将它指定为六种状态中的第三种，"树干……被完全移除，还有一些在盘子最右侧的工作，以及大部分在左侧的脏咬"【第167页】
介绍（英）	Seymour Haden was the unlikely combination of a surgeon and an etcher. Although he pursued a very successful medical career, he is mostly remembered for his etched work as well as for his writings on etching. He was one of a group of artists, including James McNeill Whistler (1834–1903) and Alphonse Legros (1837–1911), whose passionate interest in the medium led to the Etching Revival, a movement that lasted well into the twentieth century. The extolling of etching for its inherent spontaneous qualities reached its pinnacle during this time. While the line of the etching needle, Haden wrote, was "free, expressive, full of vivacity," that of the burin was "cold, constrained, uninteresting," and "without identity." In this work, an ancient, hollow tree leans over a river near a fishing boy. In this state, the hollow tree has been scraped away to leave the center blank. Harrington's early catalogue describes this as "Trial proof (c), the tree-trunk...entirely removed." [p. 34] Schneiderman's later catalogue designates it as state three of six, "the tree trunk...completely removed as well as some work on the extreme right side of the plate and most of foul-bite on the left side." [p. 167]