Marble queens and captives : women in nineteenth-century American sculpture
著者
書誌事項
Marble queens and captives : women in nineteenth-century American sculpture
Yale University Press, c1990
大学図書館所蔵 全5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
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. 275-283) and index
内容説明・目次
内容説明
When 19th century Americans looked at a statue of a nude woman in chains, or a shipwrecked mother and child, what did they see? The author argues that there was a connection between the popularity of artworks such as these, which derive from a sentimental literary culture, and the rapidly changing social, economic, and political environment that was beginning to raise questions about women's nature and role in society. By exploring the once-popular genre of ideal sculpture, with its focus on female subjects and its insistence on narrative content, Kasson is able to shed light on conventional assumptions about gender roles, as well as the tensions that lay behind these beliefs. Kasson reconstructs the intellectual, aesthetic, and literary contexts in which these sculptures were viewed and traces the social history of their production and reception. She shows that sculptors and audiences repeatedly idealized women as fragile, endangered, and vulnerable. Immoral or powerful women, such as Eve, Pandora, or Medea were presented in a web of sentimental narrative that hinted at moral redemption in order to reassure viewers that woman's true nature would remain domestic and maternal.
Kasson looks closely at a number of sculptures that exemplified these themes - from Hiram Powers' "The Greek Slave" to works by the most prominent female sculptor of the period, Harriet Hosmer.
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