Gourt > Arts > Art History > Artists > S > Shaw, John Liston Byam
- This article is about the U.S. Navy captain. For the Deputy Undersecretary of Defense for International Technology Security, see John A. Shaw.
He was born at Mt. Mellick, County Laois, Ireland, in 1773, and moved to the United States in 1790, where he settled in Philadelphia, and entered the merchant marine.
Appointed Lieutenant in the United States Navy on 3 August 1798, he first served in Montezuma in Commodore Thomas Truxtun's squadron in the West Indies during the early part of the Quasi-War with France. On 20 October 1799, he was given command of the schooner Enterprise in which, during the next year, he captured seven armed French vessels and recaptured several American merchantmen. By the time he was relieved of command due to ill health in October 1800, he had made Enterprise one of the most famous vessels of the Navy.
More on [ John Shaw ]
Pre Raphaelites :: Periods and Movements
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.
Artcyclopedia: John Byam Shaw - Links to works by the artist in art museum sites and image archives worldwide.
Meta Description: [ John Byam Shaw [Indian-born British Pre-Raphaelite Painter, 1872-1919] Guide to pictures of works by John Byam Shaw in art museum sites and image archives worldwide. ]
ArtMagick: John Liston Byam Shaw - Pre-Raphaelite Collection: biography and selection of his paintings.
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. ]
