The Émigré and the General: Denis Volozan’s Portrait of George Washington in an Atlantic Context.
In 1802, the French painter Denis Volozan (1765–1820) completed a posthumous portrait of George Washington commissioned by the legislature of Delaware for its State House in Dover. A recent immigrant to the United States, the artist had relocated to Philadelphia from the island of Saint-Domingue at...
| Publicado en: | Early American Studies, An Interdisciplinary Journal Vol. 21; no. 1; pp. 87 - 122 |
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| Formato: | Artículo |
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University of Pennsylvania Press
Winter2023
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=162902799&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 162902799 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 15434273 00N jtl: Early American Studies, An Interdisciplinary Journal issn: 15434273 maglogo: N pubinfo: dt: Winter2023 vid: 21 iid: 1 pid: 4636 pub: University of Pennsylvania Press artinfo: ui: 162902799 10.1353/eam.2023.0002 ppf: 87 ppct: 35 formats: fmt: @attributes: type: P size: 30.1MB tig: atl: The Émigré and the General: Denis Volozan’s Portrait of George Washington in an Atlantic Context. aug: au: BUSCIGLIO-RITTER, THOMAS affil: University of Delaware, Joslyn Art Museum. su: Portraits Washington, George, 1732-1799 Portrait painters Presidents of the United States French people in foreign countries Haitian Revolution, 1791-1804 Delaware sug: subj: Delaware Portraits Washington, George, 1732-1799 Portrait painters Presidents of the United States French people in foreign countries Haitian Revolution, 1791-1804 ab: In 1802, the French painter Denis Volozan (1765–1820) completed a posthumous portrait of George Washington commissioned by the legislature of Delaware for its State House in Dover. A recent immigrant to the United States, the artist had relocated to Philadelphia from the island of Saint-Domingue at the height of the Haitian Revolution. Once it was unveiled, however, the painting provoked widespread public dislike. Hidden from view, it was barely saved from destruction in the 1960s. Though the choice to entrust Volozan with such a project may have seemed like poor judgment to contemporary audiences, this article argues that his portrait illustrates the symbolic reinterpretation of Washington by transatlantic French diasporas in North America and the Caribbean, of which the painter was a part. Volozan was familiar with depictions of both European elites and figures of power like Toussaint Louverture, whom he had sketched in 1800. As such, his approach to American political portraiture was a result of greater dynamics of circulation in the Atlantic world. Celebrating a patriotic figure, his Delaware picture was nonetheless shaped by the political and cultural interactions between France, Britain, and the United States at the turn of the nineteenth century. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Early American Studies, An Interdisciplinary Journal is the property of University of Pennsylvania Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Early American Studies, An Interdisciplinary Journal holder: University of Pennsylvania Press dt: @attributes: year: 2023 holdings: @attributes: islocal: N |
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