Portraits of artistry and artifice: The career of Sir James Jebusa Shannon, 1862-1923. (Volumes I and II).
Item
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Title
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Portraits of artistry and artifice: The career of Sir James Jebusa Shannon, 1862-1923. (Volumes I and II).
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Identifier
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AAI9218234
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identifier
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9218234
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Creator
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Gallati, Barbara Dayer.
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Contributor
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Adviser: William H. Gerdts
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Date
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1992
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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
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Abstract
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From the late 1880s until the end of the first decade of the twentieth century, James J. Shannon shared the greater portion of British patronage for portraiture with his illustrious fellow American expatriate, John Singer Sargent. While Sargent's career is well documented, this dissertation provides the first scholarly assessment of Shannon's life and work and places his art in the contexts of American and British art history.;Chapter One is a straightforward narrative of the artist's life designed simply to give a summary of the artist's personality and lifestyle. Chapter Two is a chronological survey of his art that examines the stylistic modes he engaged (which reflect the intersection of major movements in English and French art at the time) and how these formal variations were perceived in contemporaneous appraisals in the press.;The five remaining chapters address areas of particular importance which, had they been included in the chronological outline of his career, would have proved unwieldy interruptions in the flow of the text. These issues include patronage; exhibition patterns and professional affiliations; a comparison of the careers of Shannon and Sargent; a discussion of the elements of tradition and innovation with special focus on Shannon's part in the Neo-Georgian portrait revival style; and a final discussion concerning whether or not Shannon should be classified among American or British artists.;Shannon's painting methods were many sided throughout his career. These stylistic disparities in part reflect the problems traditionally encountered by the portrait specialist, who must adjust his art to suit his patron's taste. However, it is suggested here that the apparent disunity within Shannon's oeuvre is a manifestation of the general unrest that swept the art community in England in the 1880s and 1890s, as an insular culture began to assume a cosmopolitan identity.
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Type
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dissertation
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Source
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PQT Legacy Restricted.xlsx
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degree
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Ph.D.