This illustrated volume explores the statements of power and ironic invasions encoded in plantation paintings created from the 19th century to the early 20th century. It focuses on oil paintings, but includes consideration of watercolours, drawings, map illustrations, lithographs, and popular prints. Although 19th-century American landscapes typically were painted from a high vantage point, looking down from above, southern landscapes that featured plantations diverged from this convention in telling ways. Portraits of planters' landholdings were often depicted from a point below the plantation house, a perspective that directs the viewers' gaze upwards and, as John Vlach observes, echoes the deference and respect the planter class assumed was its due. Moreover, Vlach notes, slaves were rarely represented in plantation paintings made before the Civil War. After the war and the abolition of slavery, he argues, a wistful revisionism seems to have restored slaves - still toiling in the service of the masters - to the landscapes they had created and on which they were so cruelly mistreated. At the heart of this volume are six artists - Francis Guy, Charles Fraser, Adrien Persac, Currier & Ives chief artist Fanny Palmer, William Aiken Walker, and Alice Ravenel Huger Smith - whose collective body of work spans the period between 1800 and 1935 and documents plantations across the South, from Maryland to Louisiana.
Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.
John Michael Vlach is professor of American studies and anthropology at the George Washington University in Washington, D.C. His previous books include Back of the Big House: The Architecture of Plantation Slavery and Plain Painters: Making Sense of American Folk Art.
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
Vendeur : John M. Gram, Port Huron, MI, Etats-Unis
Soft cover. Etat : Very Good. 1st Edition. a clean, sound copy, mild usage, no creasing to wrappers, small quarto paperback, 216 pages, first printing. N° de réf. du vendeur 038999
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Vendeur : Better World Books, Mishawaka, IN, Etats-Unis
Etat : Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good. N° de réf. du vendeur GRP79254770
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Vendeur : World of Books (was SecondSale), Montgomery, IL, Etats-Unis
Paperback. Etat : Good. An illustrated exploration of the statements of power and ironic invasions encoded in plantation paintings created from the 19th century to the early 20th century. It focuses on oil paintings, but includes discussion of watercolours, drawings, map illustrations, lithographs, and popular prints. N° de réf. du vendeur 00102913758
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Vendeur : World of Books Inc, Montgomery, IL, Etats-Unis
Paperback. Etat : Good. An illustrated exploration of the statements of power and ironic invasions encoded in plantation paintings created from the 19th century to the early 20th century. It focuses on oil paintings, but includes discussion of watercolours, drawings, map illustrations, lithographs, and popular prints. N° de réf. du vendeur CIN0807853526G
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Vendeur : Sequitur Books, Boonsboro, MD, Etats-Unis
Paperback. Etat : Very Good. [Interesting provenance: From the private library of renowned historian, Philip D. Morgan.] Softcover. Good binding and cover. Edge wear. Contemporary signature of Morgan on front end page, else unmarked. From the professional library of Dr. Philip D. Morgan, a professor of History at Johns Hopkins University. Morgan specializes in the African-American experience, the history of slavery, the early Caribbean, and the study of the early Atlantic world. Morgan is the author of more than 14 books on Colonial America and African American history. He has won both the Bancroft Prize and the Frederick Douglass Prize for his book Slave Counterpoint: Black Culture in the Eighteenth-Century Chesapeake and Lowcountry (1998). N° de réf. du vendeur 2504140005
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Vendeur : Prompt Shipping/ Quality Books, Bay, AR, Etats-Unis
Etat : New. N° de réf. du vendeur 78940-29
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Vendeur : LEFT COAST BOOKS, Santa Maria, CA, Etats-Unis
Paperback. Etat : NEW. 216 pages, illustrations; 26 cm. BRAND NEW. A fine copy. Still in publisher's shrinkwrap. *** "Although nineteenth-century American landscapes typically were painted from a high vantage point, looking down from above, southern landscapes that featured plantations diverged from this convention in telling ways. Portraits of planters' landholdings were often depicted from a point below the plantation house, a perspective that directs the viewer's gaze upward and, as John Vlach observes, echoes the deference and respect the planter class assumed was its due. Moreover, Vlach notes, slaves were rarely represented in plantation paintings made before the Civil War, although it was slave labor that powered the plantation system. After the war and the abolition of slavery, he argues, a wistful revisionism seems to have restored these people--still toiling in the service of the masters--to the landscapes they had created and on which they were so cruelly mistreated. This richly illustrated book explores the statements of power and ironic evasions encoded in plantation landscapes, focusing on six artists whose collective body of work spans the period between 1800 and 1935 and documents plantations across the South, from Maryland to Louisiana: Francis Guy, Charles Fraser, Adrien Persac, Currier & Ives chief artist Fanny Palmer, William Aiken Walker, and Alice Ravenel Huger Smith." - Publisher. *** CONTENTS: Plantation images: the contours of practice; Proofs of power: the Maryland estate paintings of Francis Guy; Beauty without bondsmen: low-country scenes from Charles Fraser's sketchbook; Meticulous renderings of tranquility: Adrien Persac's plantation watercolors; Mrs. Palmer's cabin: the South according to Currier & Ives; A not so sunny South: William Aiken Walker's planatation paintings; Veiled in memories: Alice Ravenel Huger Smith's rice plantation series; Controlled with a paintbrush: black figures in plantation paintings. Size: 4to. N° de réf. du vendeur 040182
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Vendeur : Revaluation Books, Exeter, Royaume-Uni
Paperback. Etat : Brand New. 1st edition. 240 pages. 10.25x8.25x0.50 inches. In Stock. N° de réf. du vendeur 0807853526
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Vendeur : SHIMEDIA, Brooklyn, NY, Etats-Unis
Etat : New. Satisfaction Guaranteed or your money back. N° de réf. du vendeur 0807853526
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Vendeur : Lodge Books, Carnforth, Royaume-Uni
Soft cover. Etat : Good. No Jacket. 1st Edition. Soft cover. Condition: Good. 1st Edition. Moderate shelf ware and a small scratch bottom edge of soft cover. Contents are complete, clean and free from annotations or inscriptions. "This richly illustrated book explores the statements of power and ironic evasions encoded in plantation landscapes, focusing on six artists whose collective body of work spans the period between 1800 and 1935 and documents plantations across the South, from Maryland to Louisiana: Francis Guy, Charles Fraser, Adrien Persac, Currier & Ives chief artist Fanny Palmer, William Aiken Walker, and Alice Ravenel Huger Smith.". N° de réf. du vendeur ABE-1772888498762
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