《艾肯的王尔德女人》，出自《艾肯与邻居》系列 - 美国大都会艺术博物馆展品查阅

品名（中）	《艾肯的王尔德女人》，出自《艾肯与邻居》系列
品名（英）	"The Wilde Woman of Aiken," from the "Aiken and Vicinity" series
入馆年号	2018年，2018.629
策展部门	美国之翼（The American Wing）
创作者	James A. Palmer【1825 至 1896】【爱尔兰裔美国人】
创作年份	公元 1882
创作地区
分类
尺寸	6 1/2 × 4 1/8 英寸 (16.5 × 10.5 厘米)
介绍（中）	这张具有种族和文化冒犯性的照片捕捉了 19 世纪末美国普遍存在的态度和刻板印象。这幅图像可能是为了回应奥斯卡·王尔德（Oscar Wilde）的美美学理想和"为艺术而艺术"的哲学，描绘了一名非裔美国妇女坐在桌子旁，桌子上有一个埃奇菲尔德（Edgefield）的脸壶，上面有一个大向日葵和马蹄莲。它似乎是与"美学达基"同时拍摄的，这是同一"艾肯和邻近"系列的另一张照片，其构图和标题以威廉·霍尔布鲁克·比尔德的木刻版画为蓝本，名为"审美猴子"，出现在 1882 年 1 月 28 日的《哈珀周刊》封面上，本身就是对奥斯卡王尔德的讽刺。爱尔兰出生的诗人和剧作家王尔德于1882年前往美国和加拿大进行了为期11个月的巡回演讲，并在此过程中引起了当地媒体的广泛关注和报道。值得注意的是，王尔德于1882年7月初在佐治亚州进行了三次演讲，也许启发了帕尔默的"艾肯的王尔德女人"和"美学达基"。
介绍（英）	This racially and culturally offensive photograph captures the attitudes and stereotypes prevalent in America at the end of the 19th century. Likely made in response to Oscar Wilde’s aesthetic ideals of beauty and "Art for Art’s sake" philosophy, the image depicts an African American woman seated at a table with an Edgefield face jug displaying a large sunflower and a calla lily. It appears to have been taken at the same time as "An Aesthetic Darkey," another photograph from the same "Aiken and Vicinity" series, whose composition and title were modeled on William Holbrook Beard’s woodcut engraving entitled "The Aesthetic Monkey," featured on the January 28, 1882 cover of Harper’s Weekly, itself a satire of Oscar Wilde. The Irish-born poet and playwright Wilde traveled to the United States and Canada for an 11-month lecture tour in 1882, and garnered much attention and coverage in local press along the way. Notably, Wilde made three lecture stops in Georgia in early July 1882, perhaps inspiring Palmer’s "The Wilde Woman of Aiken" and "An Aesthetic Darkey."