主題分類
創意及巧思 Creativity & Ingenuity
美國人是一個富有創造力且足智多謀的民族。他們的蓬勃生命力與獨特創造力，時常表現在實用與美觀兼具的日常事物上。這些事物記錄美國人善於解決問題的天賦，並傳達他們前瞻的樂觀性，及對過去的緬懷尊重。
獨特高超的技藝是美國藝術家的特點，「描繪美國展」囊括眾多佳例，譬如高聳的摩天大樓、巨型橋樑、到精美銀製茶壺和複雜精緻的陶器和拼布被。這些作品幫助開創未來革新之路並強調美國創新精神的成就。 。
Americans are a creative and resourceful people. Our exuberance and ingenuity have frequently found expression in everyday objects that both serve a practical purpose and please the senses. These objects capture Americans’ talent for solving problems, and convey our forward-looking optimism as well as our regard for the past.
Unique and highly skilled craftsmanship is a hallmark of American artists, and the Picturing America collection includes many fine examples—from soaring skyscrapers and massive bridges, to beautiful silver teapots and intricate pottery and quilts. These works helped pave the way for future innovations and highlight the triumph of the American creative spirit.
[相關展品]
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1a. 陶器與編籃（POTTERY AND BASKETS）c.1100-c.1960
從西元前一千年的家用圓柱形黏土罐，到游牧社會所使用的籃子，這些日常用品呈現了往昔生活的吉光片羽，標示著美洲民俗手工藝代代相傳的光榮歷史。
From cylindrical clay jars gracing a 1000 A.D. home to baskets serving a mobile society, everyday objects yield glimpses into America’s past. They chart a proud history of craftsmanship and traditions handed down from generation to generation.
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2b. 十八至二十世紀銀器（SILVER OF 18-20TH CENTURIES）by Various artists
茶壺，西元1796年，體積：15.4 x 29.5公分，重量：668.7公克，底座：14.4 x 9.5公分。© 大都會博物館。
Teapot, 1796; Overall 6 1/16 x11 5/8 in., 668.7 grams (15.4 x 29.5 cm, 21.499 troy ounces); Base 5 11/16 x 3 3/4 in.(14.4 x 9.5 cm): © The Metropolitan Museum of Art.茶具，西元1840年~50年。北卡羅來納歷史博物館提供。
tea service, c.1840–50. Courtesy North Carolina Museum of History.「鑽石」茶壺，西元1928年。美國威爾考銀器公司。體積：19.05 x 16.828 x 9.208 公分。收藏地點：達拉斯藝術博物館。
“Diament” teapot, 1928. Wilcox Silver Plate Company. Overall 7 1/2 x 6 5/8 x 3 5/8 in. (19.05 x 16.828 x 9.208 cm.). Location: Dallas Museum of Art, Dallas.閃亮的銀茶壺反映了它那個時代美國的經濟與政局。自革命前的手工藝乃至機器生產的大品牌，歷經三個世紀的銀器交易在美國仍是十分興盛的產業。
Shiny silver teapots reflect the economic climate and political upheaval taking place in the U.S. during the time of their production. From pre-revolutionary craftsmen to the big-name machine manufacturers, the silver trade remained a thriving business in the U.S.
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8b. 拉科他無弓部落（SANS ARC LAKOTA）by BLACK HAWK, 1880
第十八幅和第三幅。鋼筆/墨水/鉛筆‧紙，24.13 x 39.4公分。記帳本尺寸：26 x41.9 x 4.3公分，記帳本全開寬度：85公分。T614。梭氏系列珍藏，費尼莫藝術博物館。
plate no.18 & plate no.3. Pen, ink, and pencil on paper, 9 1/2 x 15 1/2 in. (24.13 x 39.4 cm.). Entire book: 10 1/4 x 16 1/2 x 1 3/4 in; width with book opened: 33 1/2 in. T614; Thaw Collection, Fenimore Art Museum.印地安蘇族黑鷹酋長手繪帳本畫，隨著部落移居至保留區，此作品成為原住民最後的文化遺產。
The ledger book revealed intriguing details of the Lakota people.
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10b. 十九與二十世紀被褥（QUILTS: 19-20TH CENTURIES）by various artists
布料稀缺的時代，拼布成為一種具有美學與社會面向的工藝品。
A thrifty way to make use of leftover fabric, at a time when fabric could be scarce and expensive, quilts soon took on aesthetic and social dimensions in the hands of their makers in every region of America. Ingenuity, abstract invention, and the traces of changing American technology are revealed in the quilts handed down through families and museums.
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11b. 藍色與金色的和諧：孔雀廳（THE PEACOCK ROOM）by JAMES WHISTLER, 1876
油畫顏料/金箔‧畫布、皮革、木頭。空間大小：425.8 x 1010.9 x 608.3 公分。弗利爾藝廊，史密森尼博物館，華盛頓特區，查爾斯朗弗利爾致贈。
Oil paint and gold leaf on canvas, leather, and wood, room dimensions: height 13 ft. 11 5/8 in., width 33 ft. 2 in., depth 19 ft. 9 1/2 in. (425.8 x 1010.9 x 608.3 cm.). Freer Gallery of Art, Smithsonian Institution, Washington, D.C, Gift of Charles Lang Freer.受倫敦富商之託設計以展示中國瓷器收藏的用餐間。儘管最後因造價高昂形成齟齬，雀屏廳依然是充滿異國情調的藝術瑰寶。
Commissioned by a wealthy Londoner to create a dining room suitable to display a strong Chinese porcelain collection. Although the project generated quarrels over looks and price, today it stands as a unique testament to the power of beauty and art from several cultures.
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13a. 紐約布魯克林大橋（BROOKLYN BRIDGE, NY）by WALKER EVANS, 1929
印製於1970年左右，銀鹽相紙，17.2 x 12.2公分。© 大都會博物館。
Printed ca. 1970, Gelatin silver print: 17.2 x 12.2 cm. (6 3/4 x 4 13/16 in.). © The Metropolitan Museum of Art.布魯克林橋乃美國文明鬼斧神工之作。此攝影更使其成為美國象徵。
The bridge was hailed as a marvel of American engineering ingenuity.
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13b. 秋景（AUTUMN LANDSCAPE）by LOUIS TIFFANY, 1923
法夫里爾鉛玻璃窗戶， 335.3 x 259.1公分。© 大都會博物館。
Leaded Favrile-glass window: 11 ft. x 8 ft. 6 in. (335.3 x 259.1 cm). © The Metropolitan Museum of Art.第凡內家族哥德復興式豪宅彩繪玻璃，現已單獨成為一件藝術品。
A window created for the Gothic revival mansion resembles an elaborately framed easel painting.
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15b. 克萊斯勒大樓（THE CHRYSLER BUILDING）by WILLIAM VAN ALEN, 1926
紐約市42街與萊辛頓大道。鋼骨、磚、混凝土、磚石結構、金屬包層，高：318.82公尺。
42nd Street and Lexington Avenue, New York. Steel frame, brick, concrete, masonry, and metal cladding, height 1046 ft. (318.82 m).二○年代曼哈頓摩天大樓熱催生的克萊斯勒大廈，飾有輪蓋形狀與美國禿鷹滴水嘴，大廳則以埃及圖騰與蓮花為主題，具有最摩登的外觀與最古典的裝潢。
The competitive climate of 1920’s Manhattan drove the creation of this building. It was decorated by hubcaps and American eagle heads in place of traditional gargoyles. The lobby adorned with the lotus motif was designed at the height of the Egyptian mania.
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16b. 落水山莊（FALLINGWATER）by FRANK WRIGHT, 1935
屋主：考夫曼，位於米爾朗，賓州，西元1935年~1939年。照片由西賓州保護協會提供。
Kaufmann House, Mill Run, Pa., 1935– 1939. Photograph courtesy of the Western Pennsylvania Conservancy.築於瀑布之上的房屋，最具原創性的美國建築，追求天人合一的境界。內凹的房間、粗糙的岩壁、低矮的天花板創造出一種洞穴之感，彷彿遠離塵囂的避難所。
The dwelling is suspended above a waterfall and nestled into a mountainside, blending modern conveniences with views that make it a part of nature itself. Recessed rooms, fieldstone interiors, and unusually low ceillings create the impression of a cave - or a shelter.
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17b. 鴿子（THE DOVE）by ROMARE BEARDEN, 1964
剪貼照片複製品、紙/水粉/鉛筆/色鉛筆‧紙板。33.97 x 47.63公分。布蘭琪洛克斐勒基金 (377.1971)。數位影像 © 紐約現代美術館/斯卡拉集團/藝術資源圖庫授權。© 羅馬拉比爾敦遺產信託。
Cut-and-pasted photoreproductions and papers, gouache, pencil and colored pencil on cardboard, 13 3/8 x 18 3/4 in. Blanchette Rockefeller Fund (377.1971) Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY © Estate of Romare Bearden Trusts.民權運動高峰時期的拼貼作品，安祥的鴿子、掠食的貓，拼湊出城市的繁忙與喧囂。該系列作品被譽為「視覺詩」。
Created during the heart of the Civil Rights Movement, this collage depicts a bustling city neighborhood with a serene bird at its center. It also marked a new artistic direction for Romare Bearden, who for the remainder of his career continued to create collages often referred to as “visual poetry.”
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18a. 鄉村音樂起源（SOURCES OF COUNTRY MUSIC）by THOMAS BENTON, 1975
壓克力顏料‧畫布，182.9 x 304.8公分。鄉村音樂名人堂®和博物館提供。藝術品 © 湯瑪斯哈特與芮塔班頓夫婦遺囑信託/UMB銀行受託。
Courtesy of the Country Music Hall of Fame® and Museum. Art © Thomas Hart Benton and Rita P. Benton Testamentary Trusts/UMB Bank Trustee.壁畫主題有方塊舞、清教徒、讚美詩、斑鳩琴等，保存即將消失的美國風土民情。壁畫中的火車是仿加農砲特快車所繪，由凱西瓊斯駕駛最後車禍殉職。
A comparatively calm scene shows women in their Sunday best with hymnals in their hands, suggesting the importance of church music in Protestant America. The train was modeled on the Cannonball Special, driven and wrecked by Casey Jones, the hero of an American ballad.
