Gourt > Arts > Art History > Artists > P > Paton, Sir Joseph Noel
Paton can refer to:
People
- Alan Paton, author
- Borys Paton, long-term chairman of the National Academy of Sciences of Ukraine
- Charlie Paton, polar adventurer
- David Paton, musician
- Evgeny Paton, engineer
- George Henry Tatham Paton, recipient of the Victoria Cross
- John Paton, recipient of the Victoria Cross
- John Brown Paton, theologian
- John Gibson Paton, missionary
- Joseph Noel Paton, artist
- Raffaëla Paton, singer
- Tam Paton, former manager of the Bay City Rollers
Places
More on [ Paton ]
Victorian Genres :: Periods and Movements
AmArt Latest Issue
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.
Subscribe to Art_History RSS feed 
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.
Sir Joseph Noel Paton - Scottish painter, born in Dunfermline. He studied at the Royal Academy, London, and became a painter of historical, fairy, allegorical and religious subjects, in a style close to that of the Pre-Raphaelites. Short biography and his painting 'Sir Galahad'.
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. ]
