Portraiture and Politics in New York City, 1790-1825: Gilbert Stuart, John Vanderlyn, John Trumbull, andJohn Wesley Jarvis

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9783639089097: Portraiture and Politics in New York City, 1790-1825: Gilbert Stuart, John Vanderlyn, John Trumbull, andJohn Wesley Jarvis

Four prominent portraitists were active in New YorkCity between 1790 and 1825. Despite working in thesame location, these artists had different training,developed distinct aesthetics, and often worked fordistinct groups of patrons. Gilbert Stuart returnedto theUnited States in 1793 and established himself as thepreeminent portraitist in New York City. Thiscoincided with a moment of political harmony in theUnited States. John Vanderlyn received most of histraining in Paris in the studio of a prominent Frenchneoclassicist. When Vanderlyn returned to New YorkCity, Democratic-Republicans, politicians who wishedto tie the diplomatic future of the United States toFrance, quickly embraced his French aesthetic.Conversely, Federalists who wished to further tieAmerica to Great Britain preferred John Trumbull'sEnglishstyle. John Wesley Jarvis did not receive Europeantraining andinstead developed an aesthetic that was quicklyembraced by individuals who did not wish theirportrait express political alignment. Thisneutrality was one reason why members of the militarypreferred Jarvis over his more politically inclinedcompetitors.

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About the Author:

Zygmont earned his Ph.D. in Art History at the University ofMaryland in 2006. He has taught at the University of Maryland,the University of Arizona, and the George Washington University,and been a Smithsonian Fellow at the National Portrait Gallery.He is currently Assistant Professor of Art History at ClarkeCollege in Dubuque, Iowa.

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Book Description Book Condition: New. Publisher/Verlag: VDM Verlag Dr. Müller | Gilbert Stuart, John Vanderlyn, John Trumbull, andJohn Wesley Jarvis | Four prominent portraitists were active in New YorkCity between 1790 and 1825. Despite working in thesame location, these artists had different training,developed distinct aesthetics, and often worked fordistinct groups of patrons. Gilbert Stuart returnedto theUnited States in 1793 and established himself as thepreeminent portraitist in New York City. Thiscoincided with a moment of political harmony in theUnited States. John Vanderlyn received most of histraining in Paris in the studio of a prominent Frenchneoclassicist. When Vanderlyn returned to New YorkCity, Democratic-Republicans, politicians who wishedto tie the diplomatic future of the United States toFrance, quickly embraced his French aesthetic.Conversely, Federalists who wished to further tieAmerica to Great Britain preferred John Trumbull sEnglishstyle. John Wesley Jarvis did not receive Europeantraining andinstead developed an aesthetic that was quicklyembraced by individuals who did not wish theirportrait express political alignment. Thisneutrality was one reason why members of the militarypreferred Jarvis over his more politically inclinedcompetitors. | Format: Paperback | Language/Sprache: english | 335 gr | 252 pp. Bookseller Inventory # K9783639089097

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Book Description VDM Verlag Dr. Mueller e.K., Germany, 2008. Paperback. Book Condition: New. Language: English . Brand New Book ***** Print on Demand *****.Four prominent portraitists were active in New York City between 1790 and 1825. Despite working in the same location, these artists had different training, developed distinct aesthetics, and often worked for distinct groups of patrons. Gilbert Stuart returned to the United States in 1793 and established himself as the preeminent portraitist in New York City. This coincided with a moment of political harmony in the United States. John Vanderlyn received most of his training in Paris in the studio of a prominent French neoclassicist. When Vanderlyn re-turned to New York City, Democratic-Republicans, politicians who wished to tie the diplomatic future of the United States to France, quickly embraced his French aesthetic. Conversely, Federalists who wished to further tie America to Great Britain preferred John Trumbull s English style. John Wesley Jarvis did not receive European training and instead developed an aesthetic that was quickly embraced by individuals who did not wish their portrait express political alignment. This neutrality was one reason why members of the military preferred Jarvis over his more politically inclined competitors. Bookseller Inventory # AAV9783639089097

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Book Description VDM Verlag. Paperback. Book Condition: New. 252 pages. Dimensions: 8.7in. x 5.9in. x 0.6in.Four prominent portraitists were active in New YorkCity between 1790 and 1825. Despite working in thesame location, these artists had different training, developed distinct aesthetics, and often worked fordistinct groups of patrons. Gilbert Stuart returnedto theUnited States in 1793 and established himself as thepreeminent portraitist in New York City. Thiscoincided with a moment of political harmony in theUnited States. John Vanderlyn received most of histraining in Paris in the studio of a prominent Frenchneoclassicist. When Vanderlyn returned to New YorkCity, Democratic-Republicans, politicians who wishedto tie the diplomatic future of the United States toFrance, quickly embraced his French aesthetic. Conversely, Federalists who wished to further tieAmerica to Great Britain preferred John TrumbullsEnglishstyle. John Wesley Jarvis did not receive Europeantraining andinstead developed an aesthetic that was quicklyembraced by individuals who did not wish theirportrait express political alignment. Thisneutrality was one reason why members of the militarypreferred Jarvis over his more politically inclinedcompetitors. This item ships from multiple locations. Your book may arrive from Roseburg,OR, La Vergne,TN. Paperback. Bookseller Inventory # 9783639089097

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