Dog Shows: Porcelain Pugs and Pre-Raphaelite Painters in Thomas Earl's Art and Nature.
An obscure animal painter named Thomas Earl launched a visual attack on the Pre-Raphaelite artist John Everett Millais during the exhibition season of 1851. This attack took the form of an oil painting depicting a live dog facing a porcelain dog, set against the backdrop of Millais's succès de scand...
| Publicado en: | Huntington Library Quarterly Vol. 87; no. 2; pp. 273 - 291 |
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| Formato: | Artículo |
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University of Pennsylvania Press
Summer2024
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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=186587228&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 186587228 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00187895 HLQ jtl: Huntington Library Quarterly issn: 00187895 maglogo: N pubinfo: dt: Summer2024 vid: 87 iid: 2 pid: 4636 pub: University of Pennsylvania Press artinfo: ui: 186587228 10.1353/hlq.2024.a964275 ppf: 273 ppct: 18 formats: tig: atl: Dog Shows: Porcelain Pugs and Pre-Raphaelite Painters in Thomas Earl's Art and Nature. aug: au: Roach, Catherine su: Dog shows British art Nature (Aesthetics) Visual culture Aesthetics Artists sug: subj: Dog shows British art Nature (Aesthetics) Visual culture Aesthetics Artists keyword: British Institution China Chinoiserie John Everett Millais Opium Wars porcelain Pre-Raphaelite pug Royal Academy satire Thomas Earl ab: An obscure animal painter named Thomas Earl launched a visual attack on the Pre-Raphaelite artist John Everett Millais during the exhibition season of 1851. This attack took the form of an oil painting depicting a live dog facing a porcelain dog, set against the backdrop of Millais's succès de scandale from the previous year, Christ in the House of His Parents , which had brought the Pre-Raphaelite Brotherhood to new critical prominence. Using canine avatars, Earl figured his own artistic practice as manly, natural, and national, in contrast to Millais's approach, which he satirized as effeminate, artificial, and foreign. But this attack foundered on the very territory in which it grounded itself, the slippery interstices between cultural expressions deemed high and low. A recently rediscovered lithograph, published here for the first time, allows for exploration of Earl's composition and its relationship to key developments in the history of British art and British exhibitions. These include the evolving significance of visual tropes perceived to be Chinese during the Opium Wars, and the advent of a new form of show, the dog beauty contest, which shared questions of authenticity and discernment with art exhibitions. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2024 holdings: @attributes: islocal: N |
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