查尔斯·梅龙全部影视作品
首发于 qinglite.cn，统计截止日：2024-11-22
 勒斯特里格 | Provenance: the Philip Adrian Coates Collection, UK, and originally from C. W. Dowdeswell, with the wetstamp on the reverse (L. 690)Meryon's penchant for fantastic themes here sets the famous chimera of Notre Dame, grimacing over a Parisian cityscape, against the Tour Saint Jacques in the background. The title derives from a monster in Greek mythology (characterised by a woman's head, the body of a bird, and rapacious talons), which was thought to suck the lifeblood of newborn children; the commonplace representation of this horrific figure dates to the Middle Ages, and was often related to practices of sorcery.Le Stryge, Charles Negre, 1853, (Musee d'Orsay)Although often considered to be a Medieval gargoyle, this sculpture is in fact neither. A gargoyle is an outcropping structure used to evacuate water from the edifice, which this is not. And the sculpture is indeed late; it was designed by Viollet-le-Duc, who undertook the restoration of Notre Dame in 1845, and the present Galerie des Chimères is merely one of his rather more fanciful embellishments.It is probable though that Meryon was les interested in the "authenticity" of the figure, in which he instead saw the personnification of "Luxuria" (as Meryon referred to it in a letter to his father, cited byThomas Shotter Boys, Tour Saint Jacques, 1836 (Louvre) Schneiderman, page 56; see note below).The Tour Saint Jacques is a vestige of the old church of Saint-Jacques-de-la-Boucherie, which purportedly held relics of Saint James; the belltower dates to the early 16th century, and is all that remains after the church was dismanteled during the French Revolution. In 1852, the "délicieux tour de Nicolas Flamel" was restored, which may well have prompted Meryon's interest. |
| 这座桥的变化 | - |
| 巴黎的蚀刻；套件的标题页 | Charles Meryon was celebrated among artists and collectors alike during the nineteenth century for his etched depictions of Paris. These works combined a documentary eye on the French capital—which was then undergoing dramatic transformation from a medieval to distinctly modern city—with fantastic details that varied from the whimsical to the morbid. His first and best-known album, Eaux-fortes sur Paris, included twenty-two urban views inspired by the novels and poetry of Victor Hugo (1802–1885). This title page opened the series, and showed, as the art critic Philippe Burty described in his early monograph on Meryon, "a block of stone with fossils and moss imprints . . . symbolizing the physical foundations of Paris." |
| 小桥 | - |
| 巴黎圣母院大桥拱门 | - |
| 班恩-弗瑞德冷水浴(谢弗里耶的冷水浴设施，或巴黎的学校浴室) | - |
| 圣马丁修道院的后殿 | - |
| 法国考古学家和钱币学家本杰明·菲永 | - |
| 象征着巴黎之城的徽章；贝拉·c·兰道尔的书架 | - |
| 象征着巴黎之城的徽章 | - |
| 它摇动但不下沉 | - |
| 巴黎圣母院画廊 | - |
| 圣艾蒂恩尼·杜·蒙特，来自巴黎郊外的埃克斯福特斯（铜版画巴黎） | - |
| 太阳能定律 | - |
| 钟楼 | - |
| 蚀刻版画 | - |
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