The search for the sublime Irish landscape: The provinces versus the metropolis in the work and lives of Francis Danby, James Arthur O'Connor, and George Petrie
Item
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Title
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The search for the sublime Irish landscape: The provinces versus the metropolis in the work and lives of Francis Danby, James Arthur O'Connor, and George Petrie
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Identifier
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d_2009_2013:45126051122f:10797
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identifier
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10754
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Creator
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Martin, Elizabeth Frances,
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Contributor
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Patricia Mainardi
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Date
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2010
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Language
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English
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Publisher
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City University of New York.
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Subject
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Art history | Biographies | British Art | Irish Art | Irish Landscape Painting | Nineteenth-Century Landscape Painting | The Sublime in Irish Art | The Sublime in Landscape Painting
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Abstract
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The purpose of this dissertation is to examine the lives and works of three Irish artists within different parameters than has traditionally been done so within Irish art-historical discourse. Most scholars who have focused on Irish artists of the past two hundred years have taken a monographic approach. By contrast I shall consider the developmental trajectory of Francis Danby, James Arthur O'Connor, and George Petrie from a thematic methodology that will consider specific metropolitan versus provincial influences on their work, travel, and most significantly, their adoption of the Sublime as a means of transcending their regional training and allowing them to be considered within a wider, international context.;In the nineteenth century many Irish artists felt compelled to leave their homeland with the hopes of finding financial and professional success abroad. The majority of them chose London for their destination and as such, hoped to transcend the limitations of the provincial training they had received within Dublin artistic circles. In 1813, Francis Danby, James Arthur O'Connor, and George Petrie left Dublin together with the hopes of finding financial and artistic success in London. Although they arrived together, they did not all remain. Petrie returned to Ireland almost immediately, O'Connor did so a few weeks later (although he would ultimately move to London in 1822), and Danby made his way to Bristol to hone his skills before making his London debut several years later.;Within the parameters of Romanticism, each artist evolved from topographic painters to artists who adopted their own version of the Sublime for their landscape views. My analysis will encompass how each artist chose the different versions of the Sublime to differentiate themselves and to propel their careers forward in a more innovative and international manner. Study of their development enables us to consider them as artists from the provinces who ultimately were able to transcend their limited training and engage with the formal and theoretical metropolitan advances of the Sublime.
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Type
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dissertation
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Source
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2009_2013.csv
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degree
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Ph.D.
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Program
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Art History
