American genre painting : the politics of everyday life
著者
書誌事項
American genre painting : the politics of everyday life
Yale University Press, c1991
- : pbk
大学図書館所蔵 全26件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
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注記
Includes bibliographical references (p. 205-243) and index
内容説明・目次
- 巻冊次
-
ISBN 9780300050196
内容説明
American genre painting flourished in the thirty years before the Civil War, a period of rapid social change that followed the election of President Andrew Jackson. It has long been assumed that these paintings - of farmers, western boatmen and trappers, blacks both slave and free, middle-class women, urban urchins, and other everyday folk - served as records of an innocent age, reflecting a Jacksonian optimism and faith in the common man. In this book Elizabeth Johns presents a different interpretation - arguing that genre paintings had a social function that related in a more significant and less idealistic way to the political and cultural life of the time. Analyzing works by William Sidney Mount, George Caleb Gingham, David Gilmore Blythe, Lilly Martin Spencer, and others, Johns reveals the humour and cynicism in the paintings and places them in the context of stories about the American character that appeared in sources ranging from almanacs and newpapers to joke books and political caricature. She compares the productions of American painters with those of earlier Dutch, English, and French genre artists, showing the distinctive interests of American viewers.
Arguing that art is socially constructed to meet the interests of its patrons and viewers, she demonstrates that the audience for American genre paintings consisted of New Yorkers with a highly developed ambition for political and social leadership, who enjoyed setting up citizens of the new democracy as targets of satire or condescension to satisfy their need for superiority. It was this network of social hierarchies and prejudices - and not a blissful celebration of American democracy - that informed the look and the richly ambiguous content of genre painting.
目次
- Ordering the body politic
- an image of pure Yankeeism
- from the outer verge of our civilization
- standing outside the door
- full of home love and simplicity
- the washed, the unwashed and the unterrified
- inspired from the higher classes.
- 巻冊次
-
: pbk ISBN 9780300057546
内容説明
American genre painting flourished in the thirty years before the Civil War, a period of rapid social change that followed the election of President Andrew Jackson. It has long been assumed that these paintings-of farmers, western boatmen and trappers, blacks both slave and free, middle-class women, urban urchins, and other everyday folk-served as records of an innocent age, reflecting a Jacksonian optimism and faith in the common man. In this enlightening book Elizabeth Johns presents a different interpretation-arguing that genre paintings had a social function that related in a more significant and less idealistic way to the political and cultural life of the time.
Analyzing works by William Sidney Mount, George Caleb Bingham, David Gilmore Blythe, Lilly Martin Spencer, and others, Johns reveals the humor and cynicism in the paintings and places them in the context of stories about the American character that appeared in sources ranging from almanacs and newspapers to joke books and political caricature. She compares the productions of American painters with those of earlier Dutch, English, and French genre artists, showing the distinctive interests of American viewers. Arguing that art is socially constructed to meet the interests of its patrons and viewers, she demonstrates that the audience for American genre paintings consisted of New Yorkers with a highly developed ambition for political and social leadership, who enjoyed setting up citizens of the new democracy as targets of satire or condescension to satisfy their need for superiority. It was this network of social hierarchies and prejudices-and not a blissful celebration of American democracy-that informed the look and the richly ambiguous content of genre painting.
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