{"title":"披着羊皮的狼","authors":"Laura Gelfand","doi":"10.52537/humanimalia.13562","DOIUrl":null,"url":null,"abstract":"James McNeill Whistler’s painting, Symphony in White, No. 1: The White Girl, has been the focus of much art historical analysis, but the animal rug beneath the feet of his model has received little attention. In this essay I suggest that Whistler represented a mounted wolf’s head sitting on top of a large sheepskin rug, i.e., a wolf in sheep’s clothing. Exploring the diverse meanings of this symbol within the context of the painting complicates how we understand the work and reinforces its importance as a reflection of the artist’s life and ambitions at the time he created it.","PeriodicalId":492016,"journal":{"name":"Humanimalia","volume":"4 3","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2023-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"A Wolf in Sheep’s Clothing\",\"authors\":\"Laura Gelfand\",\"doi\":\"10.52537/humanimalia.13562\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"James McNeill Whistler’s painting, Symphony in White, No. 1: The White Girl, has been the focus of much art historical analysis, but the animal rug beneath the feet of his model has received little attention. In this essay I suggest that Whistler represented a mounted wolf’s head sitting on top of a large sheepskin rug, i.e., a wolf in sheep’s clothing. Exploring the diverse meanings of this symbol within the context of the painting complicates how we understand the work and reinforces its importance as a reflection of the artist’s life and ambitions at the time he created it.\",\"PeriodicalId\":492016,\"journal\":{\"name\":\"Humanimalia\",\"volume\":\"4 3\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2023-10-26\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Humanimalia\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.52537/humanimalia.13562\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Humanimalia","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.52537/humanimalia.13562","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
詹姆斯·麦克尼尔·惠斯勒(James McNeill Whistler)的画作《白色交响曲，一号:白人女孩》(Symphony in White, No. 1: The White Girl)一直是许多艺术史分析的焦点，但他的模特脚下的动物地毯却很少受到关注。在这篇文章中，我认为惠斯勒代表了一只骑在大羊皮地毯上的狼的头，即一只披着羊皮的狼。在这幅画的背景下，探索这个符号的不同含义使我们对作品的理解变得复杂，并强化了它作为艺术家创作时生活和抱负的反映的重要性。
James McNeill Whistler’s painting, Symphony in White, No. 1: The White Girl, has been the focus of much art historical analysis, but the animal rug beneath the feet of his model has received little attention. In this essay I suggest that Whistler represented a mounted wolf’s head sitting on top of a large sheepskin rug, i.e., a wolf in sheep’s clothing. Exploring the diverse meanings of this symbol within the context of the painting complicates how we understand the work and reinforces its importance as a reflection of the artist’s life and ambitions at the time he created it.
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