Download PDF by Thomas Gaehtgens: American Icons: Transatlantic Perspectives on Eighteenth-

By Thomas Gaehtgens

ISBN-10: 0892362464

ISBN-13: 9780892362462

American painters and picture artists of the eighteenth and 19th centuries sought suggestion for his or her paintings within the uniquely American adventure of background and nature. the outcome used to be a metamorphosis of the traditional previous global visible language into an indigenous and populist New international syntax. The twelve essays during this quantity discover the improvement of a frontier mythology, a democratic kind depicting universal humans and gadgets, and an American inventive attention 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 ecu artwork.

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Additional info for American Icons: Transatlantic Perspectives on Eighteenth- and Nineteenth-Century American Art (Issues & Debates)

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Werner Busch C O P L E Y , WEST, AND THE T R A D I T I O N OF EUROPEAN HIGH ART We have become used to seeing American painting of the eighteenth and nineteenth centuries from a European perspective, that is, as an art of only relative merit. In the eighteenth century, American art seems totally dependent on English models, while in the nineteenth century it is largely dominated by the influence of the Dusseldorf school. Very often it is precisely the American element in American painting that is considered provincial and naive.

5. 9 GROSECLOSE example, an argument advanced by Columbus and many of his Western descendents in favor of imperialist deeds, from the taking of slaves to the taking of land, was that most of the native population was too debased to be converted. Conversion of benighted souls usually forms at least part of the rationale for modern Western imperialism, but if it can be determined that the souls are beyond reach — that the invaded culture is permanently stalled, not momentarily halted in the great progressive climb toward "civilization" — then the European imperialist is not constrained to behave in a "Christian" manner toward them.

Photo: Markus Hilbich. 9. 3 cm. From Charles Le Brun, Méthode pour apprendre a dessiner les passions (Amsterdam: François van der Plaats, 1702), fig. 35. Santa Monica, The Getty Center for the History of Art and the Humanities. BUSCH true to Leon Battista Alberti's ancient recommendation. 16 Copley applies this method of guiding the viewer's reaction to the painting by way of the classical typology of the passions to his Watson, making use of the same source that West had used: Le Brun's treatise on the passions.

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American Icons: Transatlantic Perspectives on Eighteenth- and Nineteenth-Century American Art (Issues & Debates) by Thomas Gaehtgens


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