首页> 外文学位 >Word over image: Benjamin West, John Singleton Copley, Washington Allston, and the (dis)illusion of Grand Manner history painting.
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Word over image: Benjamin West, John Singleton Copley, Washington Allston, and the (dis)illusion of Grand Manner history painting.

机译:图像上的文字:本杰明·韦斯特,约翰·辛格尔顿·科普利,华盛顿·奥尔斯顿,以及大风度历史绘画的幻灭。

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摘要

Historians and biographers characterize Benjamin West, John Singleton Copley, and Washington Allston as being devoted to the tradition of Grand Manner history painting, which involved recreating scenes from classical and biblical texts in the manner of Renaissance and baroque Old Masters. This study reassesses this assumption, arguing that American artists' interest in European-styled history painting was fueled the historicism prevalent in the late eighteenth and early nineteenth centuries and amplified by the painters' provincial anxiety.;After relocating to England, Benjamin West became the best known and most prolific painter of historical subjects in the English-speaking world, but he fought persistent criticism of his labored painting technique and style. Unable to deflect this charge with consistently beautiful paintings, West ensured his connection to the Old Masters and proved his intrinsic value as a history painter with words: his semi-fictional biography, The Life, Studies, and Works of Benjamin West (1816--20), and the discourse on history painting that he cultivated among his contemporaries.;In contrast to West, John Singleton Copley lingered in the colonies and built a thriving business as a portraitist. When Copley did finally make his grand tour of Europe, the celebrated Old Master works he saw there failed to inspire him. Consequently, after settling in London, Copley boldly recast the art form of history painting and gained the attention he craved by drawing subjects from contemporary British history rather than ancient or biblical texts. Throughout his career, Copley fixated upon the aspect of history painting that he found most appealing: the esteem in which its practitioners were typically held.;Standing in the long shadow cast by his mentor Benjamin West, Washington Allston's will to practice grand-style history painting faded. After returning to America, Allston was tormented by his Belshazzar's Feast, the large biblical painting he brought back from England that he did not wish to finish. Unwilling to work at history painting, Allston instead wrote and spoke about it at length, knowing that such discourse would sustain his reputation as a well-studied, serious artist.;By carefully crafting their response to history painting in light of prevalent cultural beliefs, West, Copley, and Allston all earned respect for their connection to an art form that they alternately embraced, modified, and rejected.
机译:历史学家和传记作者将本杰明·韦斯特,约翰·辛格尔顿·科普利和华盛顿·奥尔斯顿描述为致力于大礼貌历史绘画的传统,涉及以文艺复兴时期和巴洛克式的老大师的方式从古典和圣经文本中再现场景。这项研究重新评估了这一假设,认为美国艺术家对欧洲风格的历史绘画的兴趣助长了十八世纪末至十九世纪初盛行的历史主义,并因画家的省事焦虑而加剧。;搬到英国后,本杰明·韦斯特成为本州的他是说英语的世界上最著名,最富盛名的历史题材画家,但他坚持不懈地批评自己辛勤的绘画技巧和风格。韦斯特无法用一贯精美的画作来抵消这一指控,因此确保了他与古代大师的联系,并用文字证明了他作为历史画家的内在价值:他的半小说传记《本杰明·韦斯特的生活,研究和作品》(1816年- 20),以及他在当代画家中培养的关于历史绘画的论述。与西方形成鲜明对比的是,约翰·辛格尔顿·科普利在殖民地流连忘返,并在肖像画家方面兴旺发展。当科普利终于在欧洲进行了盛大的巡回演出时,他在那里看到的著名大师作品未能激发他的灵感。因此,在伦敦定居后,科普利大胆地改写了历史绘画的艺术形式,并通过吸引当代英国历史而不是古代或圣经文字来吸引人们的关注。在他的整个职业生涯中,科普利专注于他最吸引人的历史绘画方面:通常受到其从业者的尊敬;在他的导师本杰明·韦斯特(Benjamin West)的漫长阴影中,华盛顿·奥尔斯顿(Washington Allston)致力于实践宏伟的历史画褪了色。回到美国后,奥尔斯顿受到了他的《伯沙撒的盛宴》的折磨,这是他从英格兰带来的他不愿完成的大型圣经绘画。奥尔斯顿不愿从事历史绘画工作,而是写了很多篇文章并谈论了这一点,因为他知道这样的话语将维持他作为一名经过认真研究的认真艺术家的声誉。通过根据普遍的文化信仰精心打造他们对历史绘画的回应,韦斯特,科普利和奥尔斯顿都因与他们交替接受,修改和拒绝的一种艺术形式之间的联系而赢得尊重。

著录项

  • 作者

    Wat, Kathryn A.;

  • 作者单位

    University of Delaware.;

  • 授予单位 University of Delaware.;
  • 学科 Art history.;Biographies.
  • 学位 Ph.D.
  • 年度 2000
  • 页码 349 p.
  • 总页数 349
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

  • 入库时间 2022-08-17 11:48:00

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