MARC Record from marc_columbia

LEADER: 03962cam a2200625Ii 4500
001 14320836
005 20220314090050.0
008 190318t20192019enka b 001 0 eng d
010 $a 2019936790
024 $a99989543122
035 $a(OCoLC)on1089900763
040 $aYDX$beng$erda$cYDX$dUKMGB$dOCLCF$dOCLCO$dERASA$dOCLCQ$dVA@$dUAB$dEYM$dMNN$dUAB$dNYP$dPSC$dOCL$dTOH$dIBI$dOCL$dCNNGC$dDLC$dCTU$dCNGUL$dWAU
019 $a1126153169$a1164684984$a1176267339
020 $a9781913107055$q(hardback)
020 $a1913107051$q(hardback)
035 $a(OCoLC)1089900763$z(OCoLC)1126153169$z(OCoLC)1164684984$z(OCoLC)1176267339
043 $ae------
050 00 $aN8243.S576$bT49 2019
082 04 $a704.949326$223
084 $aJ110.9$2clc
100 1 $aThomas, Sarah,$d1965 October 26-$eauthor.
245 10 $aWitnessing slavery :$bart and travel in the age of abolition /$cSarah Thomas.
264 1 $aLondon :$bPaul Mellon Centre for Studies in British Art,$c2019.
264 2 $aNew Haven ;$aLondon :$bDistributed by Yale University Press
264 4 $c©2019
300 $axiii, 286 pages :$billustrations (some color) ;$c28 cm
336 $atext$btxt$2rdacontent
336 $astill image$bsti$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
504 $aIncludes bibliographical references (pages 255-275) and index.
505 0 $aTestamentary space -- Visual culture and abolition -- Envisioning a future for slavery : Agostino Brunias and the politics of reproduction -- Unmasking 'simple truth': John Gabriel Stedman in Suriname -- Visual testimony from a Jamaican resident: James Hakewill and the topographical imagination -- Slavery as spectacle: Debret, Earle and Rugendas in Rio de Janeiro.
520 $a"A timely and original look at the role of the eyewitness account in the representation of slavery in British and European art. Gathering together over 160 paintings, watercolors, drawings, and prints, this book offers an unprecedented examination of the shifting iconography of slavery in British and European art between 1760 and 1840. In addition to considering how the work of artists such as Agostino Brunias, James Hakewill, and Augustus Earle responded to abolitionist politics, Sarah Thomas examines the importance of the eyewitness account in endowing visual representations of transatlantic slavery with veracity. "Being there," indeed, became significant not only because of the empirical opportunities to document slave life it afforded but also because the imagery of the eyewitness was more credible than sketches and paintings created by the "armchair traveler" at home. Full of original insights that cast a new light on these highly charged images, this volume reconsiders how slavery was depicted within a historical context in which truth was a deeply contested subject"--Provided by publisher.
545 0 $aSarah Thomas is lecturer in the Department of History of Art at Birkbeck, University of London.
650 0 $aSlavery in art.
650 0 $aSlave trade in art.
650 0 $aTruthfulness and falsehood in art.
650 0 $aArt, European$y18th century$xThemes, motives.
650 0 $aArt, European$y19th century$xThemes, motives.
650 0 $aArt$xPolitical aspects$zEurope$xHistory$y18th century.
650 0 $aArt$xPolitical aspects$zEurope$xHistory$y19th century.
650 6 $aEsclavage dans l'art.
650 6 $aEsclaves$xCommerce$xDans l'art.
650 6 $aEsclavage.
650 6 $aNoirs dans l'art.
650 7 $aSOCIAL SCIENCE / Slavery.$2bisacsh
650 7 $aSlavery in art.$2cct
650 7 $aSlave trade in art.$2cct
650 7 $aSlavery.$2cct
650 7 $aBlacks in art.$2cct
650 7 $aEsclaves$xCommerce.$2cct
710 2 $aPaul Mellon Centre for Studies in British Art,$epublisher.
852 00 $bfaxlc$hN8243.S576$iT45 2019g
852 00 $bfaxlc$hN8243.S576$iT45 2019g
852 0 $bbar$hN8243.S576$iT49 2019