Thomas Eakins and the uses of history
著者
書誌事項
Thomas Eakins and the uses of history
University of Pennsylvania Press, c2010
大学図書館所蔵 全1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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  フランス
  ベルギー
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注記
Includes bibliographical references and index
内容説明・目次
内容説明
Thomas Eakins (1844-1916) was one of America's foremost painters and a highly respected sculptor, photographer, and fine arts teacher. He is often celebrated for his realist depictions of contemporary life in late nineteenth-century Philadelphia. Yet, in addition to his iconic paintings of rowers, doctors, and wrestlers, he completed a number of works that reflected his deep and abiding interest in the historical past. Thomas Eakins and the Uses of History is the first book to examine the artist's lifelong fascination with historical themes. Akela Reason delves deeply into unpublished letters, diaries of friends and contemporaries, and period newspapers to offer new insights into this aspect of the artist's career.
Probing the complex motivations behind his choice of historical subjects, Reason argues that Eakins used these images to express his most deeply held professional aspirations, most notably his self-conscious desire to measure himself against master artists of the distant past. The author begins with Eakins's first foray into historical painting at the time of Philadelphia's Centennial Fair of 1876, when he conceived William Rush Carving His Allegorical Figure of the Schuylkill River. A careful analysis of his historical images reveals how Eakins's acute awareness of the historical tradition influenced his teaching and shaped his artistic career. Indeed, his insistent placement of the historical works in major exhibitions alongside his better-known realist paintings reveals his desire to carve out a place within this tradition. The artist not only considered these works important to his career; he sometimes suggested that they were among his best. Eakins's partiality for these historical images makes clear that he envisioned his artistic legacy in terms different from those by which modern art historians have typically defined his art.
目次
List of Illustrations
Introduction
Chapter 1. William Rush and the History of Art
Chapter 2. Thomas Eakins and the Colonial Revival
Chapter 3. Reenacting the Antique
Chapter 4. Behold the Man: Eakins's Crucifixion
Chapter 5. Collaboration and Commemoration in Public Sculpture
Conclusion. Rush Revisited: Eakins as Old Master
Notes
Index
Acknowledgments
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