Gourt > Arts > Art History > Artists > P (8)
Volume 21, number 2: Emerging Themes, Emerging Voices
Mills Mon, 30 Jul 2007 16:33:05 -0500
Volume 21, number 2: Considering the Copy
Moss Mon, 30 Jul 2007 16:33:05 -0500
Volume 21, number 2: Beyond English
LaFountain Mon, 30 Jul 2007 16:33:05 -0500
Volume 21, number 2: Collapsing Boundaries
Bailly Mon, 30 Jul 2007 16:33:05 -0500
Volume 21, number 2: Objects, Contexts, and the Space Between
Jordan Mon, 30 Jul 2007 16:33:05 -0500
Volume 21, number 2: Copley's Cargo
Roberts Mon, 30 Jul 2007 16:33:05 -0500
In 1765, John Singleton Copley sent his painting Henry Pelham (Boy with a Squirrel) from Boston to London in hopes of receiving feedback from the arbiters of academic aesthetics. Several months later, he received the welcome news that Sir Joshua Reynolds had called the painting "wonderfull." In virtually every scholarly narrative of early American art, Boy with a Squirrel derives its canonical significance from this famous transatlantic relay. But the most basic reality of that relay–the massive fact of the Atlantic Ocean standing between Copley and his interlocutors–has barely been registered in the scholarship.This essay interprets Boy with a Squirrel in terms of the difficulty and delicacy of its transatlantic transmission. I argue that Copley, as he attempted to create a painting that would have the necessary transitive qualities, drew from an array of familiar discourses of Atlantic exchange and transport. The painting's profile format evoked strategies of numismatic exchange. The precise representation of the flying squirrel tapped into well-established transatlantic natural history circuits. The spatial transformations of the composition echoed not only empiricist theories of sensory conveyance (especially the writings of George Berkeley), but also mirrored the workaday dynamics of the shipping and reassembly of transatlantic commodities. Copley, like many other colonial artists, worked in a global community governed by distance, difference, and delay. By attending to the vehicular context of Boy with a Squirrel, we can begin to understand his strategies for articulating–and navigating–that new global space.
Parker, Henry H. (1858-1930) - Exhibition featuring the works of the British Victorian landscape artist Henry H. Parker. Includes a biography on Parker and a number of high-resolution images.
Meta Description: [ Rehs Galleries, Inc. is one of the world's leading art
galleries specializing in important 19th and 20th century works of art;
with a particular focus on artists that exhibited at the Paris Salons and London's Royal
Academy between 1860 and 1920. ]
Piper, John - Information about the artist. Includes complete 1940s book by John Betjemen, prints.
Meta Description: [ Information about John Piper the war artist, for those how want to find out more about this innovative artist. Includes complete 1940s book by John Betjemen, 32 prints.File downloads. Free site. ]
Point, Armand - He was born in Algeria, but moved to Paris in 1888. He was influenced by Ruskin and the Pre-Raphaelites. Short biography and several examples of his best works.
Meta Description: [ ArtMagick is a virtual art gallery displaying paintings and poetry from art movements of the 19th and 20th centuries with an emphasis on displaying works of art by artists who have been forgotten or neglected in recent years. ]
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