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The Presence of Copley: Animacy, Magic, and Afterlife in American Painting, 1765-1925.

Record Type:	Electronic resources : Monograph/item
Title/Author:	The Presence of Copley: Animacy, Magic, and Afterlife in American Painting, 1765-1925./
Author:	Culp, Caroline Murray.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2021,
Description:	349 p.
Notes:	Source: Dissertations Abstracts International, Volume: 83-09, Section: A.
Contained By:	Dissertations Abstracts International83-09A.
Subject:	Antiques. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29003857
ISBN:	9798209786160

The Presence of Copley: Animacy, Magic, and Afterlife in American Painting, 1765-1925.
Culp, Caroline Murray.

The Presence of Copley: Animacy, Magic, and Afterlife in American Painting, 1765-1925. - Ann Arbor : ProQuest Dissertations & Theses, 2021 - 349 p.

Source: Dissertations Abstracts International, Volume: 83-09, Section: A.

Thesis (Ph.D.)--Stanford University, 2021.

This item must not be sold to any third party vendors.

Between 1753 and 1774, John Singleton Copley (1738-1815) painted some 350 portraits depicting men, women, and children of the British-American colonies, where he lived. Though his portraits were painted two and a half centuries ago, still they strike contemporary viewers as compellingly immediate and eerily modern, somehow charged with energy despite the passing of time. While many have commented fleetingly on the uncanny realism of Copley's colonial canvases, the origins and implications of these aesthetic effects have never been questioned. This dissertation argues that the painter's portraits were made, viewed, and experienced as near-magical repositories of human presence, believed to carry some vital relic of their sitters into the future. Accordingly, the project explores the rich afterlives of Copley's portraits-canvases that have "lived on" because their pulsating lifelikeness anticipates a future in which the sitter has passed on but the painting has not. Contributing to a growing body of scholarship on the afterlives of art and the history of enchantment, I demonstrate how these portraits and their reception during the long nineteenth century are evidence of the widespread cultural inclination to attribute inanimate portraits with the force of animation.Across four chronological chapters, I examine the "afterlife" of Copley's hyperreal pictures by (1) analyzing acts of iconoclasm against his paintings in 1760s Boston, (2) exploring how his portraits were viewed as inspirited with the afterlife or "soul" of the sitter in the first half of the nineteenth century, (3) interpreting their role in cementing white normativity during the American Civil War and the Colonial Revival, and (4) investigating the cross-temporal connections between Copley and John Singer Sargent's Boston-based practice in the early twentieth century. In considering the aesthetic, phenomenological, religious, and cultural status of presence in Copley's portraits, this dissertation reclaims the "magick" of this visual mode during the long nineteenth century.

ISBN: 9798209786160Subjects--Topical Terms:

804437
Antiques.

The Presence of Copley: Animacy, Magic, and Afterlife in American Painting, 1765-1925.
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245 1 4 $a The Presence of Copley: Animacy, Magic, and Afterlife in American Painting, 1765-1925.
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300 $a 349 p.
500 $a Source: Dissertations Abstracts International, Volume: 83-09, Section: A.
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502 $a Thesis (Ph.D.)--Stanford University, 2021.
506 $a This item must not be sold to any third party vendors.
520 $a Between 1753 and 1774, John Singleton Copley (1738-1815) painted some 350 portraits depicting men, women, and children of the British-American colonies, where he lived. Though his portraits were painted two and a half centuries ago, still they strike contemporary viewers as compellingly immediate and eerily modern, somehow charged with energy despite the passing of time. While many have commented fleetingly on the uncanny realism of Copley's colonial canvases, the origins and implications of these aesthetic effects have never been questioned. This dissertation argues that the painter's portraits were made, viewed, and experienced as near-magical repositories of human presence, believed to carry some vital relic of their sitters into the future. Accordingly, the project explores the rich afterlives of Copley's portraits-canvases that have "lived on" because their pulsating lifelikeness anticipates a future in which the sitter has passed on but the painting has not. Contributing to a growing body of scholarship on the afterlives of art and the history of enchantment, I demonstrate how these portraits and their reception during the long nineteenth century are evidence of the widespread cultural inclination to attribute inanimate portraits with the force of animation.Across four chronological chapters, I examine the "afterlife" of Copley's hyperreal pictures by (1) analyzing acts of iconoclasm against his paintings in 1760s Boston, (2) exploring how his portraits were viewed as inspirited with the afterlife or "soul" of the sitter in the first half of the nineteenth century, (3) interpreting their role in cementing white normativity during the American Civil War and the Colonial Revival, and (4) investigating the cross-temporal connections between Copley and John Singer Sargent's Boston-based practice in the early twentieth century. In considering the aesthetic, phenomenological, religious, and cultural status of presence in Copley's portraits, this dissertation reclaims the "magick" of this visual mode during the long nineteenth century.
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