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Crisis and Innovation: Visual Repres...

Motlani, Aisha.

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Crisis and Innovation: Visual Representations of the 1857 Indian Rebellion.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Crisis and Innovation: Visual Representations of the 1857 Indian Rebellion./
作者:	Motlani, Aisha.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
面頁冊數:	464 p.
附註:	Source: Dissertations Abstracts International, Volume: 81-04, Section: A.
Contained By:	Dissertations Abstracts International81-04A.
標題:	Art history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=13904243
ISBN:	9781088330609

Crisis and Innovation: Visual Representations of the 1857 Indian Rebellion.
Motlani, Aisha.

Crisis and Innovation: Visual Representations of the 1857 Indian Rebellion. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 464 p.

Source: Dissertations Abstracts International, Volume: 81-04, Section: A.

Thesis (Ph.D.)--Northwestern University, 2019.

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

The 1857 Indian Rebellion (1857-59) sparked a colonial crisis for Britain, leading to the dissolution of the East India Company and the imposition of formal Crown rule. This dissertation argues that the rebellion also sparked a visual crisis. The lack of verifiable information reaching Britain from India placed unusual pressure on artists to produce visual documents for a British public hungry for information about the state of the conflict. Rumors circulating in Britain about the rape of Anglo-Indian women (British women living in India) by Indian men posed a unique representational challenge for Victorian artists. By focusing on individual works produced within the first year of the conflict by four artists-the satirical magazine illustrator John Tenniel (1820-1914), the fairy painter Joseph Noel Paton (1821-1901), the genre painter Abraham Solomon (1823-1862), and the Italo-British war photographer Felice Beato (1832-1909)-I show that these circumstances prompted Victorian artists to relinquish their customary subjects and modes of representation and to engage in cross-media migrations. This describes a process whereby painters and printmakers emulated photography to boost the evidentiary status of their work, while photographers employed allegory to intensify the emotional resonances of their images. While contributing to the historiography of 1857, my study of the visual record of the Indian Rebellion also broadens our understanding of how colonial events impacted British ideas about gender and national identity. I build upon Linda Colley's thesis that British warfare fostered a sense of national cohesion among disparate groups united against a foreign "other," revealing that in the case of the rebellion that "other" appears in the guise of the Anglo-Indian woman.

ISBN: 9781088330609Subjects--Topical Terms:

2122701
Art history.

Crisis and Innovation: Visual Representations of the 1857 Indian Rebellion.
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520 $a The 1857 Indian Rebellion (1857-59) sparked a colonial crisis for Britain, leading to the dissolution of the East India Company and the imposition of formal Crown rule. This dissertation argues that the rebellion also sparked a visual crisis. The lack of verifiable information reaching Britain from India placed unusual pressure on artists to produce visual documents for a British public hungry for information about the state of the conflict. Rumors circulating in Britain about the rape of Anglo-Indian women (British women living in India) by Indian men posed a unique representational challenge for Victorian artists. By focusing on individual works produced within the first year of the conflict by four artists-the satirical magazine illustrator John Tenniel (1820-1914), the fairy painter Joseph Noel Paton (1821-1901), the genre painter Abraham Solomon (1823-1862), and the Italo-British war photographer Felice Beato (1832-1909)-I show that these circumstances prompted Victorian artists to relinquish their customary subjects and modes of representation and to engage in cross-media migrations. This describes a process whereby painters and printmakers emulated photography to boost the evidentiary status of their work, while photographers employed allegory to intensify the emotional resonances of their images. While contributing to the historiography of 1857, my study of the visual record of the Indian Rebellion also broadens our understanding of how colonial events impacted British ideas about gender and national identity. I build upon Linda Colley's thesis that British warfare fostered a sense of national cohesion among disparate groups united against a foreign "other," revealing that in the case of the rebellion that "other" appears in the guise of the Anglo-Indian woman.
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