女人的半身像 - 美国大都会艺术博物馆展品查阅

品名（中）	女人的半身像
品名（英）	Bust of a Woman
入馆年号	2019年，2019.283.33
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者	Nicolas Cordier【1567 至 1612】
创作年份	公元 1700 - 公元 1799
创作地区
分类	雕塑（Sculpture）
尺寸	field dims: 25 × 18 1/2 × 10 英寸 (63.5 × 47 × 25.4 厘米)
介绍（中）	这是模仿尼古拉·科迪耶（1567-1612）晚期作品制作的一对多色半身像中的一尊。Cordier（"il Franciosino"）于1592年前往罗马，在那里生活和工作，直到1612年去世。到1600年，科迪尔因其大理石雕刻师和古董雕塑修复师的天赋而备受关注。1607年至1612年间，他为教皇保罗五世的红衣主教侄Scipione Borghese创作了一尊名为Il Moro（巴黎卢浮宫）的多色雕像，以一具古董躯干为基座。科迪耶雕像的黑色大理石头像显然是仿照现藏于罗马国家博物馆的一尊非洲男子半身像制作的，暂定日期为公元二世纪这尊非洲裔女性半身像与一尊男性半身像（2019.283.32）形成一对，这尊半身像是根据科迪耶的Il Moro全身雕像雕刻的。后者体现了十八世纪和十九世纪在法国流行的从全身人物身上取半身像的传统。欧洲人对包括雕塑在内的成套或成对装饰物的喜爱，很可能激发了这款吊坠的创作灵感。这些半身像共同代表了文艺复兴时期摩尔人古代形象复兴的遗产。这对半身像色彩鲜艳，非常体现了古典品味，可能是这一时期装饰华丽的内部的装饰。
介绍（英）	This is one in a pair of polychrome busts produced in emulation of the late work of Nicolas Cordier (1567-1612). Trained in Saint-Mihiel in the workshop of the Richier family, Cordier ("il Franciosino") traveled to Rome in 1592, where he lived and worked until his death in 1612. By 1600, Cordier had garnered significant attention for his talent as a marble carver and restorer of antique sculpture. Between 1607 and 1612, he created a polychrome statue, called Il Moro (Louvre, Paris), using an antique torso as a base, for Scipione Borghese, the Cardinal Nephew of Pope Paul V. The black marble head of Cordier’s figure was evidently modeled after a bust of an African Man now in the Museo Nazionale Romano, tentatively dated to the second century CE. This bust of a woman of African descent forms a pair to the bust of a man (2019.283.32) carved after Cordier’s full-length figure of Il Moro. The latter exemplifies the tradition of taking busts from full-length figures that was popularized in France in the eighteenth and nineteenth centuries. The European taste for sets, or pairs, of decorative objects, including sculpture, most likely inspired the creation of this pendant. Together, the busts crucially represent the legacy of the Renaissance revival of ancient representations of Moors. Boldly colorful and the very embodiment of classical taste, the pair of busts probably functioned as decoration within a grandly embellished interior of the period.