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  1. Witnessing slavery
    art and travel in the age of abolition
    Autor*in: Thomas, Sarah
    Erschienen: 2019
    Verlag:  Paul Mellon Centre for Studies in British Art, London ; Yale University Press, New Haven ; London

    A timely and original look at the role of the eyewitness account in the representation of slavery in British and European art. Gathering together over 160 paintings, watercolors, drawings, and prints, this book offers an unprecedented examination of... mehr

    Standort:
    Freie Universität Berlin, Universitätsbibliothek
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

    Standort:
    Humboldt-Universität zu Berlin, Universitätsbibliothek, Jacob-und-Wilhelm-Grimm-Zentrum
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

     

    A timely and original look at the role of the eyewitness account in the representation of slavery in British and European art. Gathering together over 160 paintings, watercolors, drawings, and prints, this book offers an unprecedented examination of the shifting iconography of slavery in British and European art between 1760 and 1840. In addition to considering how the work of artists such as Agostino Brunias, James Hakewill, and Augustus Earle responded to abolitionist politics, Sarah Thomas examines the importance of the eyewitness account in endowing visual representations of transatlantic slavery with veracity. "Being there," indeed, became significant not only because of the empirical opportunities to document slave life it afforded but also because the imagery of the eyewitness was more credible than sketches and paintings created by the "armchair traveler" at home. Full of original insights that cast a new light on these highly charged images, this volume reconsiders how slavery was depicted within a historical context in which truth was a deeply contested subject

     
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    Quelle: Philologische Bibliothek, FU Berlin
    Sprache: Englisch
    Medientyp: Buch (Monographie)
    ISBN: 9781913107055
    RVK Klassifikation: LH 84123
    Schlagworte: Recht; Malerei; Schwarze <Motiv>; Grafik; Sklaverei; Aquatinta; Sklaverei <Motiv>; Sklavin <Motiv>; Kolonialismus; Politische Kunst; Kunst; Abschaffung; Sklave; Mimesis; Bildungsreise; Sklave <Motiv>
    Weitere Schlagworte: Earle, Augustus (1793-1838); Debret, Jean Baptiste (1768-1848); Debret, Jean-Baptiste: Voyage pittoresque au Brésil; Hakewill, James (1778-1843); Rugendas, Johann Moritz (1802-1858); Slavery in art; Slave trade in art; Slavery in art
    Umfang: xiii, 286 Seiten, 28 cm
    Bemerkung(en):

    Testamentary space -- Visual culture and abolition -- Envisioning a future for slavery: Agostino Brunias and the politics of reproduction -- Unmasking 'simple truth': John Gabriel Stedman in Suriname -- Visual testimony from a Jamaican resident: James Hakewill and the topographical imagination -- Slavery as spectacle: Debret, Earle and Rugendas in Rio de Janeiro
  2. Witnessing slavery
    art and travel in the age of abolition
    Autor*in: Thomas, Sarah
    Erschienen: 2019
    Verlag:  Paul Mellon Centre for Studies in British Art, London ; Yale University Press, New Haven ; London

    A timely and original look at the role of the eyewitness account in the representation of slavery in British and European art. Gathering together over 160 paintings, watercolors, drawings, and prints, this book offers an unprecedented examination of... mehr

    Standort:
    Universitätsbibliothek Bayreuth
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

    Standort:
    Bayerische Staatsbibliothek
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

    Standort:
    Universitätsbibliothek der LMU München
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

    Standort:
    Zentralinstitut für Kunstgeschichte, Bibliothek
    Fernleihe:
    keine Ausleihe von Bänden, nur Papierkopien werden versandt

    Standort:
    Deutsches Forum für Kunstgeschichte, Bibliothek

    Standort:
    Bibliotheca Hertziana - Max-Planck-Institut für Kunstgeschichte

     

    A timely and original look at the role of the eyewitness account in the representation of slavery in British and European art. Gathering together over 160 paintings, watercolors, drawings, and prints, this book offers an unprecedented examination of the shifting iconography of slavery in British and European art between 1760 and 1840. In addition to considering how the work of artists such as Agostino Brunias, James Hakewill, and Augustus Earle responded to abolitionist politics, Sarah Thomas examines the importance of the eyewitness account in endowing visual representations of transatlantic slavery with veracity. "Being there," indeed, became significant not only because of the empirical opportunities to document slave life it afforded but also because the imagery of the eyewitness was more credible than sketches and paintings created by the "armchair traveler" at home. Full of original insights that cast a new light on these highly charged images, this volume reconsiders how slavery was depicted within a historical context in which truth was a deeply contested subject

     
    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Quelle: Verbundkataloge
    Sprache: Englisch
    Medientyp: Buch (Monographie)
    ISBN: 9781913107055
    RVK Klassifikation: LH 84123
    Schlagworte: Recht; Malerei; Schwarze <Motiv>; Grafik; Sklaverei; Aquatinta; Sklaverei <Motiv>; Sklavin <Motiv>; Kolonialismus; Politische Kunst; Kunst; Abschaffung; Sklave; Mimesis; Bildungsreise; Sklave <Motiv>
    Weitere Schlagworte: Earle, Augustus (1793-1838); Debret, Jean Baptiste (1768-1848); Debret, Jean-Baptiste: Voyage pittoresque au Brésil; Hakewill, James (1778-1843); Rugendas, Johann Moritz (1802-1858); Slavery in art; Slave trade in art; Slavery in art
    Umfang: xiii, 286 Seiten, 28 cm
    Bemerkung(en):

    Testamentary space -- Visual culture and abolition -- Envisioning a future for slavery: Agostino Brunias and the politics of reproduction -- Unmasking 'simple truth': John Gabriel Stedman in Suriname -- Visual testimony from a Jamaican resident: James Hakewill and the topographical imagination -- Slavery as spectacle: Debret, Earle and Rugendas in Rio de Janeiro
  3. Augustus Earle's Waterfall in Australia and the logic of fantasy
    Autor*in: Broadfoot, Keith
    Erschienen: 2019

    Standort:
    Zentralinstitut für Kunstgeschichte, Bibliothek
    Fernleihe:
    keine Ausleihe von Bänden, nur Papierkopien werden versandt
    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Quelle: Verbundkataloge
    Sprache: Englisch
    Medientyp: Aufsatz aus einer Zeitschrift
    Übergeordneter Titel: Art history; Oxford [u.a.], 2019; 42, 5 (November 2019), Seite 833, 914-935
    Schlagworte: Landschaftsmalerei; Australien <Motiv>
    Weitere Schlagworte: Earle, Augustus (1793-1838)
    Umfang: Illustrationen