By Thomas Gaehtgens
American painters and picture artists of the eighteenth and 19th centuries sought suggestion for his or her paintings within the uniquely American event of historical past and nature. the end result was once a change of the normal outdated international visible language into an indigenous and populist New global syntax. The twelve essays during this quantity discover the advance of a frontier mythology, a democratic type depicting universal humans and gadgets, and an American creative realization and identification. Conceived and written from the views of either cultural and artwork 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)
15); even Christ's pot of ointment reappears in the soup bowl of the rake. The fifth scene of Marriage à la Mode, 1745 (fig. 16), uses, to an even greater extent than 51 BUSCH 10. Detail of figure i. 11. 8 x 5 cm. From Charles Le Brun, Méthode pour apprendre a dessiner les passions (Amsterdam: François van der Plaats, 1702), fig. 9. Santa Monica, The Getty Center for the History of Art and the Humanities. 52 12. Richard Newlon (English). 2 cm. ). 53 13. Ugolino di Ncri (Italian), Entombment (Depositions), ca.
Harvard Univ. Press, 1950), 27-29. 7. Administration of George Bush, Papers, "Remarks on the Twentieth Anniversary of the Apollo Moon Landing," 20 July 1989. 8. Washington Irving, The Life and Voyages of Christopher Columbus, ed. John Harmon McElroy (Boston: Twayne, 1981). All text references are to this edition. 9. The "Diario" of Christopher Columbus's First Voyage to America, 1492-1493, transcribed 30 AMERICAN GENESIS and trans. Oliver Dunn and James E. Kelley, Jr. (Norman: Univ. " 10. See Tzvetan Todorov, The Conquest of America: The Question of the Other, trans.
The use of an iconographical figuration in thematically related contexts was common classical practice and had also been applied to the topos of Saint Michael. 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.
American Icons: Transatlantic Perspectives on Eighteenth- and Nineteenth-Century American Art (Issues & Debates) by Thomas Gaehtgens