Trompe-l’œil et monnaie de singe : les artistes et les premiers billets

Trompe-l’œil et monnaie de singe : les artistes et les premiers billets

At the end of the 19th century, the European tradition of trompe-l’œil met with a new destiny in the United States. Painters, active on the East Coast – the most urbanized region, where the movement of money was the most considerable – turned to money as their exclusive subject. In this case, not co...

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Wedi'i Gadw mewn:
Manylion Llyfryddiaeth
Prif Awdur: Laneyrie-Dagen, Nadeije
Fformat: Article ou chapitre numérique
Iaith:Français
Cyhoeddwyd: 2019
Mynediad Ar-lein:Accès Université d'Orléans et IFPM
Accès Université d'Orléans et IFPM
id cairn-RDA_206_0051
record_format cairn
spelling cairn-RDA_206_0051RDARevue de l'art https://shs.cairn.info/revue-de-l-art-2019-4-page-51?lang=fr https://doi.org/10.3917/rda.206.0051 Trompe-l’œil et monnaie de singe : les artistes et les premiers billets Laneyrie-Dagen, Nadeije2019 fre Revue de l'art | 206 | 4 | 2019-12-30 | p. 51-57 | 0035-1326 RDA_20693 At the end of the 19th century, the European tradition of trompe-l’œil met with a new destiny in the United States. Painters, active on the East Coast – the most urbanized region, where the movement of money was the most considerable – turned to money as their exclusive subject. In this case, not coins, but bills: greenbacks, paper dollars of fragile value, the money of the poor. William Harnet, John Haberle, Victor Dubreuil, others after them (Charles Meurer, John Frederick Peto, and still later Otis Kaye) painted the wear and tear of these bills, crumpled, worn, almost ephemeral as a result of changing hands. Their paintings are illusions: deception echoing that of this unreliable money that hardly allows acquiring anything. Certain works have an openly political character: Dubreuil’s The Cross of Gold draws its motif and title from William Jennings Bryan, unfortunate presidential candidate, who in 1896, defended bimetallism instead of a money based uniquely on gold: “You shall not crucify mankind upon the cross of gold” he exclaimed at the Democratic convention. This same Dubreuil of European origin and anarchist convictions, as well as a sulfurous past (he was employed by a bank in Paris and left with the takings) did not hesitate nevertheless to propose less metaphorical compositions: barrels filled with banknotes that had lost their value ( Money to Burn) a safe filled up with railroad stock ( Safe Money), or – quite simply – the frontal scene, quite cinematic, of a bank robbery ( Don’t Make a Move).Cairn free access
language Français
format Article ou chapitre numérique
building 0/Bibliothèque numérique/
1/Bibliothèque numérique/Cairn/
description At the end of the 19th century, the European tradition of trompe-l’œil met with a new destiny in the United States. Painters, active on the East Coast – the most urbanized region, where the movement of money was the most considerable – turned to money as their exclusive subject. In this case, not coins, but bills: greenbacks, paper dollars of fragile value, the money of the poor. William Harnet, John Haberle, Victor Dubreuil, others after them (Charles Meurer, John Frederick Peto, and still later Otis Kaye) painted the wear and tear of these bills, crumpled, worn, almost ephemeral as a result of changing hands. Their paintings are illusions: deception echoing that of this unreliable money that hardly allows acquiring anything. Certain works have an openly political character: Dubreuil’s The Cross of Gold draws its motif and title from William Jennings Bryan, unfortunate presidential candidate, who in 1896, defended bimetallism instead of a money based uniquely on gold: “You shall not crucify mankind upon the cross of gold” he exclaimed at the Democratic convention. This same Dubreuil of European origin and anarchist convictions, as well as a sulfurous past (he was employed by a bank in Paris and left with the takings) did not hesitate nevertheless to propose less metaphorical compositions: barrels filled with banknotes that had lost their value ( Money to Burn) a safe filled up with railroad stock ( Safe Money), or – quite simply – the frontal scene, quite cinematic, of a bank robbery ( Don’t Make a Move).
author Laneyrie-Dagen, Nadeije
spellingShingle Laneyrie-Dagen, Nadeije
Trompe-l’œil et monnaie de singe : les artistes et les premiers billets
author_facet Laneyrie-Dagen, Nadeije
author_sort Laneyrie-Dagen, Nadeije
title Trompe-l’œil et monnaie de singe : les artistes et les premiers billets
title_short Trompe-l’œil et monnaie de singe : les artistes et les premiers billets
title_full Trompe-l’œil et monnaie de singe : les artistes et les premiers billets
title_fullStr Trompe-l’œil et monnaie de singe : les artistes et les premiers billets
title_full_unstemmed Trompe-l’œil et monnaie de singe : les artistes et les premiers billets
title_sort trompe-l’œil et monnaie de singe : les artistes et les premiers billets
publishDate 2019
container_title
container_issue
url https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-de-l-art-2019-4-page-51?lang=fr
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rda.206.0051
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