Download American Icons: Transatlantic Perspectives on Eighteenth- by Thomas Gaehtgens PDF

By Thomas Gaehtgens

American painters and photo artists of the eighteenth and 19th centuries sought concept for his or her paintings within the uniquely American event of background and nature. the outcome used to be a metamorphosis of the normal outdated international visible language into an indigenous and populist New global syntax. The twelve essays during this quantity discover the improvement of a frontier mythology, a democratic kind depicting universal humans and items, and an American inventive awareness and identification. Conceived and written from the views of either cultural and paintings historians, American Icons initiates an interdisciplinary dialogue at the advanced relationships among American and eu paintings.

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Extra resources for American Icons: Transatlantic Perspectives on Eighteenth- and Nineteenth-Century American Art (Issues & Debates)

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Wyeth's Columbus Discovers America, 1944 (fig. 10). Wyeth's Nordic-looking, Puritanplain Columbus staggers gratefully onto shore accompanied by a few crew 24 AMERICAN GENESIS members and then closes his eyes in private prayer; most of his men are likewise personally offering thanks. New emphasis on Columbus's Italian heritage also appeared in the last quarter of the nineteenth century. Italian-American communities in Philadelphia, New York, Baltimore, New Haven, Scranton, and Providence, among other places, erected statues of Columbus.

This may explain the very positive reaction of the newspapers to Copley's representation of emotion in the different faces of the figures in the boat. "17 Hence, Copley would seem to have reached the highest level in the classical representation of the passions, namely, the representation of the so-called mixed passions. If we examine this in more detail, we see that the facial expressions of the boat's crew largely follow Le Brun's prototypes. Thus the figure on the left halfstanding in the boat (fig.

Very often it is precisely the American element in American painting that is considered provincial and naive. Recent exhibitions — such as Thomas Gaehtgens's Bilder aus der Neuen Welt — have tried to do justice to the particular contribution of American painting. 1 As a correction of current views, this is useful and necessary. In academic discourse, however, established positions are not that readily discarded. I think it justifiable, therefore, to assume the European role once more — playing a kind of devil's advocate.

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