国王爱德华一世（1239–1307）和王后埃莉诺（1241–1290） - 美国大都会艺术博物馆展品查阅

品名（中）	国王爱德华一世（1239–1307）和王后埃莉诺（1241–1290）
品名（英）	King Edward I (1239–1307) and Queen Eleanor (1241–1290)
入馆年号	2017年，2017.729
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者	Charles Rossi, R.A.【1762 至 1839】【英国人】
创作年份	公元 1790
创作地区
分类	雕塑（Sculpture）
尺寸	整体 (confirmed): 11 1/16 × 9 1/2 × 6 1/8 英寸, 9.7 磅 (28.1 × 24.1 × 15.6 厘米, 4.4 kg)
介绍（中）	1272年第九次十字军东征期间，一名穆斯林刺客用毒匕首无力地刺伤了爱德华王子，之后，未来国王爱德华的年轻新娘埃莉诺温柔地拥抱着他伸出的手臂，从他的二头肌中吸取毒药，这是一种无私奉献的行为。埃莉诺的英雄主义主题取自英国传说，是虚构的（爱德华的生命实际上是由一位英国医生救的），但在18世纪最后几十年，它仍然是已故洛可可艺术家无法抗拒的历史情节剧插曲。在这幅精美的陶俑素描中，查尔斯·罗西将中世纪的传说带到了古希腊。爱德华塑造了一个年轻的古典王子的英俊形象。在他的女伴的照顾下，爱德华起伏的肉体——除了生殖器外，其他部位都暴露在外，被窗帘覆盖——吸引了观众的目光，从他轮廓分明的胸脯到他受伤的左臂被新娘紧紧抓住的优雅伸展。相比之下，埃莉诺被描绘成一位端庄的希腊少女，她下垂的身体被她古典的束腰外衣遮住了这是大理石群（现已失传）的第一幅快速而充满活力的素描，尽管如此，这件陶俑还是包含了非凡的温柔和人类的悲情。爱德华一世国王和埃莉诺王后可以追溯到罗西早期，当时他的风格仍然深受卡诺瓦艺术的影响。这幅作品的原始来源很可能是安吉莉卡·考夫曼的一幅画，1776年在皇家学院展出，随后由威廉·温恩·赖兰雕刻发行。然而，在新古典主义雕塑家约翰·迪尔的作品中可以找到更接近的来源，他的大理石浮雕作品于1788年首次在皇家学院展出。
介绍（英）	The future king Edward’s young bride Eleanor tenderly embraces his outstretched arm, sucking poison from his bicep in an act of selfless devotion after a Muslim assassin feebly stabbed the prince with a poisoned dagger during the Ninth Crusade in 1272. The subject of Eleanor’s heroism, taken from English legend, is apocryphal (Edward’s life was in fact saved by an English doctor) and yet it remained an irresistible episode of historical melodrama for late Rococo artists in the final decades of the eighteenth-century. In this deftly modeled terracotta sketch, Charles Rossi has transported the medieval legend to ancient Greece. Edward cuts a handsome figure as a youthful classical prince. At ease in the care of his female companion, Edward’s rippling flesh – exposed entirely but for his genitals, covered by drapery - invites the viewer’s gaze from the contours of his well-defined pectorals to the graceful extension of his wounded left arm, clutched by his bride. By point of contrast, Eleanor is presented as a demure Grecian maiden, her drooping body obscured by her classicizing tunic. A swift and energetic first sketch for a marble group (now lost), this terracotta nonetheless contains an extraordinary degree of tenderness and human pathos. King Edward I and Queen Eleanor dates to Rossi’s early period when his style was still deeply informed by the art of Canova. The composition’s original source was likely a painting by Angelica Kauffman, exhibited at the Royal Academy in 1776 and subsequently distributed in an engraving by William Wynne Ryland. However, a nearer source can be found in the work of the neoclassical sculptor John Deare, whose composition for a marble relief of the subject was first exhibited at the Royal Academy in 1788.