Rendering violence: Riots, strikes, and upheaval in nineteenth-century American art and visual culture.

摘要

This dissertation addresses the difficulties political violence presented for nineteenth-century American artists, arguing that violent upheaval was so incompatible with democratic beliefs that painters and graphic artists who engaged it were pressured to reframe the subject for period viewers. Focusing on paintings, prints, and illustrations produced after a series of riots, gang battles, and labor conflicts that erupted in the United States between 1830 and 1880, my project charts the strategies that artists developed to redirect the political implications of violence. I address paintings by Thomas Cole, George Henry Hall, Thomas Nast, David Gilmour Blythe, and Martin Leisser, along with popular print images, as sites of experimentation and struggle where artists creatively negotiated period political and aesthetic demands.;My project also reconstructs the aesthetic pressures that shaped the representation of political violence, tracing the development of two aesthetic schemes that complicated the picturing of upheaval: an enduring theoretical connection between painting and social order, articulated throughout the period's aesthetic and critical texts, and a sensational print aesthetic that repackaged current events as dazzling visual spectacles. To respond to violent turmoil in their respective media, I argue, painters and graphic artists developed common and divergent strategies to negotiate and resist these aesthetic imperatives, so as to minimize the implications of violent turmoil and explore its creative potential.;The dissertation begins by analyzing David Claypoole Johnston's 1835 cartoon collection Scraps and Thomas Cole's painting Destruction (1834-36) as creative responses to the period's riotous epidemic. The second chapter focuses on George Henry Hall's 1858 painting A Dead Rabbit as an attempt to exploit the subject of rioting to craft an experimental and historically-themed figural mode. The third chapter studies artistic efforts to address the meanings of the Draft Riots of 1863 within the lexica of the pictorial press and middle-class lithography. The fourth chapter traces the development of a Molly Maguire myth in images of Civil War-era and postwar labor conflict in the coal regions of Pennsylvania. The dissertation concludes by studying the emergence of new approaches to the picturing of violence in paintings and illustrations of the national railroad strike of 1877.