The planter's prospect : privilege and slavery in plantation paintings
著者
書誌事項
The planter's prospect : privilege and slavery in plantation paintings
(The Richard Hampton Jenrette series in architecture and the decorative arts)
University of North Carolina Press, c2002
- : cloth
- : pbk
大学図書館所蔵 全4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 and index
内容説明・目次
- 巻冊次
-
: cloth ISBN 9780807826867
内容説明
This illustrated volume explores the statements of power and ironic invasions encoded in plantation paintings created from the 19th century to the early 20th century. It focuses on oil paintings, but includes consideration of watercolours, drawings, map illustrations, lithographs, and popular prints. Although 19th-century American landscapes typically were painted from a high vantage point, looking down from above, southern landscapes that featured plantations diverged from this convention in telling ways. Portraits of planters' landholdings were often depicted from a point below the plantation house, a perspective that directs the viewers' gaze upwards and, as John Vlach observes, echoes the deference and respect the planter class assumed was its due. Moreover, Vlach notes, slaves were rarely represented in plantation paintings made before the Civil War. After the war and the abolition of slavery, he argues, a wistful revisionism seems to have restored slaves - still toiling in the service of the masters - to the landscapes they had created and on which they were so cruelly mistreated.
At the heart of this volume are six artists - Francis Guy, Charles Fraser, Adrien Persac, Currier & Ives chief artist Fanny Palmer, William Aiken Walker, and Alice Ravenel Huger Smith - whose collective body of work spans the period between 1800 and 1935 and documents plantations across the South, from Maryland to Louisiana.
- 巻冊次
-
: pbk ISBN 9780807853528
内容説明
This illustrated volume explores the statements of power and ironic invasions encoded in plantation paintings created from the 19th century to the early 20th century. It focuses on oil paintings, but includes consideration of watercolours, drawings, map illustrations, lithographs, and popular prints. Although 19th-century American landscapes typically were painted from a high vantage point, looking down from above, southern landscapes that featured plantations diverged from this convention in telling ways. Portraits of planters' landholdings were often depicted from a point below the plantation house, a perspective that directs the viewers' gaze upwards and, as John Vlach observes, echoes the deference and respect the planter class assumed was its due. Moreover, Vlach notes, slaves were rarely represented in plantation paintings made before the Civil War. After the war and the abolition of slavery, he argues, a wistful revisionism seems to have restored slaves - still toiling in the service of the masters - to the landscapes they had created and on which they were so cruelly mistreated. At the heart of this volume are six artists - Francis Guy, Charles Fraser, Adrien Persac, Currier & Ives chief artist Fanny Palmer, William Aiken Walker, and Alice Ravenel Huger Smith - whose collective body of work spans the period between 1800 and 1935 and documents plantations across the South, from Maryland to Louisiana.
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