000			02832nam a22002537a 4500
005			20230418134900.0
008			230418b |||||||| |||| 00| 0 eng d
020			_a9780520249875
028			_a: Zafaa Books & Distributors _b: 313/56F,Anand Nagar, Inderlok, Delhi-110035 _c: ZBD0012 _d: 13/04/2023
082			_a759.130 BUR
100			_aBurns, Sarah.
245			_aPainting the dark side _b: art and the Gothic imagination in nineteenth-century America. _c/ Sarah Burns.
260			_a, Berkeley _b: University of California Press _c, ©2004.
300			_axxiii, 303 pages _b : illustrations (some color) _c; 27 cm.
365			_b8331
505			_aGloom and doom The underground man The shrouded past The deepest dark The shadow's curse Mental monsters Corrosive sight Dirty pictures
520			_a"Voices from the dark or "gothic" side of American life are well known through the work of writers such as Edgar Allan Poe, Nathaniel Hawthorne, and Herman Melville. But who were the Poes of American art? Until now, art historians have for the most part seen the gothic as the province of misfits and oddballs who rejected the bright landscapes of the Hudson River School and the cheerful scenes of everyday life depicted by popular genre painters. In Painting the Dark Side, Sarah Burns counters this view, arguing that the gothic, far from being marginal, was pervasive, giving artists - recognized masters and eccentric outsiders alike - a potent visual language to express the darker facets of history and the psyche. A deep gothic strain in the visual arts becomes evident in these beautifully written, richly illustrated pages, illuminating the entire spectrum of American art." "Weaving a complex tapestry of biography, psychology, and history, Sarah Burns reveals nineteenth-century American painting as a haunted ground of personal demons, racial fears, and pathologies of mind and body. She exposes dark dimensions in the work of both romantic artists such as Albert Pinkham Ryder and Thomas Cole and realists like Thomas Eakins and argues persuasively that works by artists such as John Quidor, David Gilmour Blythe, and William Rimmer, generally considered outsiders, belong to the mainstream of American art. She explores the borderlands where popular visual culture mingled with the elite medium of oil and delves into such topics as slave revolt, drugs, grave-robbing, vivisection, drunkenness, female monstrosity and family secrets. Cutting deep across the grain of standard nationalistic accounts of nineteenth-century art, Painting the Dark Side provides a thrilling, radically alternative vision of American art and visual culture."
650			_aArt et mythologie
650			_a American Painting
650			_aGothic novel
650			_aRoman noir
700			_aSarah Burns
942			_cBOOK
999			_c60183 _d60183