苏格兰冷杉，Inveroran - 美国大都会艺术博物馆展品查阅

品名（中）	苏格兰冷杉，Inveroran
品名（英）	Scotch Firs, Inveroran
入馆年号	1929年，29.107.170
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 1873
创作地区
分类	印刷品（Prints）
尺寸	页: 13 7/16 × 18 7/8 英寸 (34.2 × 48 厘米) Plate: 11 × 15 13/16 英寸 (28 × 40.2 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，他们对这种媒介的热情导致了所谓的蚀刻复兴，这一时期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"，"没有身份。苏格兰冷杉站在一座斜坡上，前景在左边；远处是一个有树的河谷；背景是一座山。 State I（Da，Ha）。几棵苏格兰冷杉站在左边一座小山的山顶上，这座小山一直延伸到一个有树木的河谷。远处有一座山。" [资料来源：Schneiderman，第285页] "试验证据：（a）山顶被移走。" [资料来源：Harrington，第74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 so-called etching revival, a period 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. Scotch firs stand on a sloping hill, in the foreground at left; a river valley with trees at mid-distance; a mountain seen in the background. "State I (Da, Ha). Several Scotch firs stand on the crest of a small hill on the left, which descneds to a river valley with trees. A mountain is in the distance." [Source: Schneiderman, p. 285] "Trial Proof: (a) A mountain-top is removed." [Source: Harrington, p. 74]