年代分期
殖民時代與美國革命 Colonial Period and Revolution (1621-1789)
「那麼，美國人，到底是怎樣的新人類？」
— 克雷夫柯爾，美國農民來信，一七八二年
“What then is the American, this new man?”
— St. John de Crèvecoeur, Letters from an American Farmer, 1782
西元一六００年代初期第一波移民潮由歐洲抵達北美，距哥倫布發現新大陸已經一個世紀。第一批美國人可謂新誕生的自由人，在毫無社會秩序約束的蠻荒土地上安身立命。擺脫了舊世界封建教條的包袱，他們建立起一個十七、十八世紀文明歐洲難以望其項背的、政治自由、社會平等的國家。
The eraly 1600s saw the begining of a great tide of emigration from Europe to Northa America. It was about a century after Christopher Columbus landed in the Caribbean. The first Americans were reborn free, establishing themselves in a wilderness unencumbered by any social order. Having left the baggage of a feudal order behind them, they built a country on the principles of political and social liberalism that emerged with difficulty in 17th- and 18th-century Europe.
[相關展品]
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1b. 聖母無染原罪修會教區（MISSION NUESTRA SENORADE LA CONCEPCION）1755
現已成斷垣殘壁的天主教修會位於德州聖安東尼奧，原始面貌為白底漆飾紅藍黃黑四色之設計，是抵禦法國入侵的屏障。這些泥磚房由當地工匠就地取材建造，格局反映聖芳濟會素樸的傳統。
This Catholic mission now stripped to bare stone was originally plastered white and adorned with red, blue, yellow, and black. It was built to serve as a barrier against French expansion into Texas. Made using local materials, the adobe structure features a floor plan that reflected Catholic traditions.
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2a. 銀匠保羅列維爾（PAUL REVERE）by JOHN SINGLETON COPLEY (卡普利), 1768。
油彩‧畫布，89.22 x 72.39公分。© 波士頓美術館
Oil on canvas, 89.22x72.39 cm (35 1/8 x 28 . in.). © Museum of Fine Arts, Boston.象徵新世界民主理想的平民肖像畫，以銀匠而非民族英雄的面貌呈現，仍完整描繪出美國革命志士保羅列維爾的機智與勇氣。
This portrait depicts Paul Revere as a working craftsman, not a hero.
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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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3a. 羅列維爾著名夜奔（MIDNIGHT RIDE OF PAUL REVERE）by Grant Wood, 1931
油彩‧纖維板，高：76.2公分，寬101.6公分（76.2 x 101.6公分）。© 大都會博物館。
Oil on Masonite; H. 30, W. 40 in. (76.2 x 101.6 cm). © The Metropolitan Museum of Art.這幅鳥瞰列維爾著名夜奔圖，以鄉野奇譚式的童趣筆法重新詮釋朗法羅名詩。畫家為保存珍貴歷史、塑造美國風格、培養國家認同而畫。
The bird’s-eye-view of Revere’s legendary ride offers a whimsical, child-like interpretation of Longfellow’s well-known poem. The artist’s desire to preserve American folklore was part of his greater scheme to forge a national identity through art and history.
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3b. 喬治華盛頓立像（GEORGE WASHINGTON）by Gilbert Stuart, 1796
油彩‧畫布，247.6 x 158.7公分。2008史密森尼博物館、國家肖像藝廊提供
Oil on canvas, 97 1/2 x 62 1/2 in. (247.6 x 158.7 cm.).© 2008 Smithsonian Institution, Courtesy, National Portrait Gallery.衣著平實無假髮，他不是國王，而是平等之國的公民。
The U.S. president was not a king, but a citizen of a land where all men were created equal.
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4a. 華盛頓橫越德拉瓦河（WT CROSSING THE DELAWARE）by Emanuel Leutze, 1851
油彩‧畫布，378.5 x 647.7公分，© 大都會博物館。
Oil on canvas; 149 x 255 in. (378.5 x 647.7 cm). © The Metropolitan Museum of Art.紐約戰敗，英軍窮追不捨，華盛頓取道紐澤西退至賓州。撤退途經德拉瓦河，他靈機一動包下所有渡船，讓河面無船可渡。英軍將領自認勝利在望，遂計畫河水結冰後再行追討，便胸有成竹回紐約過聖誕，僅留傭兵駐守河岸。華盛頓心想機不可失，隨即掉頭重回德拉瓦，在冰天雪地中到達對岸，一舉殲滅正在歡度聖誕的英軍。此役雖非大勝，然士氣從此為之一振，最終改寫歷史。
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4b. 富蘭克林石雕（BENJAMIN FRANKLIN）by HIRAM POWERS, 1862
大理石，高：247.7 公分，寬：88.6 公分，深：54.9 公分（247.7 x 88.6 x 54.9 公分），美國參議院收藏。
Marble, height 97 1/2 in., width 34 7/8 in., depth 21 5/8 in. (247.7 x 88.6 x 54.9 cm.). U.S. Senate Collection.大於真實尺寸的全身大理石像，主角穿當時衣著，為自然主義而非古典風格之作品。
This larger-than-life-sized marble statue has a naturalistic style.
