By Thomas Gaehtgens
American painters and photograph artists of the eighteenth and 19th centuries sought suggestion for his or her paintings within the uniquely American adventure of historical past and nature. the outcome used to be a change of the traditional outdated international visible language into an indigenous and populist New global syntax.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 type depicting universal humans and gadgets, and an American creative cognizance and id. Conceived and written from the views of either cultural and paintings historians, American Icons initiates an interdisciplinary dialogue at the complicated relationships among American and eu paintings.
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Extra info for American Icons: Transatlantic Perspectives on Eighteenth- and Nineteenth-Century American Art (Issues & Debates)
18 Contemporaries, however, noticed the discrepancy between the traditional types and the new context of their application. West's Wolfe — which already had its predecessors — produced a flood of representations of heroic deaths, all of them more or less following the type of the Pietà. As a reaction to this specifically English inflation there is a rather malicious caricature of 1792 by Richard Newton entitled Tasting a Norfolk Dumpling (fig. 12). In it the duke of Norfolk is shown lying on a table tasting (or rather, testing) the three daughters of the duchess of Gordon in order to find the one who kisses best and is best qualified for marriage.
I am particularly indebted to my cocurator, Ann Uhry Abrams, and to Terence Martin and Christian Zacher. See especially Terence Martin, "The Negative Structures of American Literature,' 1 American Literature 57 (March 1985): 1-22. 3. My approach to the study of American art is based on the premise that it can be conceived as a potential "national expression" having a class-spanning rather than a class-less social distribution, one in which visual imagery from commercial objects, as well as "fine arts," graphs the prevalence, dominance, and tenacity of belief systems.
Let me mention just one example, which, by the way, is a good illustration of the motif of the left knee intentionally bare of garment. It derives from the Eastern iconography of the ruler and can be traced uninterrupted to Ingres's official representations of Napoleon as emperor. 42 C O P L E Y , W E S T . A N D T H E T R A D I T I O N OF E U R O P E A N H I G H A R T The print by Egidius Sadeler after Bartholomaus Spranger (fig. 12 Here the transfer of the Michael motif is rather far-reaching.
American Icons: Transatlantic Perspectives on Eighteenth- and Nineteenth-Century American Art (Issues & Debates) by Thomas Gaehtgens