Le sublime américain : rhétorique et inscription du sujet dans The Icebergs de F. E. Church
A dominant mode in mid-XIXth century American painting, the sublime does not involve following a specific program for representing landscape. What it does entail, however, is a peculiar type of relationship between the painter and his pictures. This article discusses the case of The Icebe...
保存先:
| 第一著者: | |
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| フォーマット: | Article ou chapitre numérique |
| 言語: | Français |
| 出版事項: |
2004
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| 主題: | |
| オンライン･アクセス: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| 要約: | A dominant mode in mid-XIXth century American painting, the
sublime does not involve following a specific program for representing
landscape. What it does entail, however, is a peculiar type of relationship
between the painter and his pictures. This article discusses the case of
The Icebergs by F. E. Church to show
how this national icon originates in the “sublime repression” of the painter’s
self. |
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