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- catalog abstract ""When nineteenth-century artists painted plantation scenes, they usually began with preparatory sketches made while standing in front of a planter's house or somewhere slightly below it. From either position, notes John Vlach, their gaze - and that of anyone who looked at the finished paintings - was necessarily directed upward. Instead of following the common compositional rule for landscape painting that called for a view from above, an outlook that fostered a feeling of mastery in the viewer, artists rendering plantation vistas employed a perspective that echoed the deference and respect the planter class assumed was its due." "In The Planter's Prospect, Vlach explores these and other statements of power encoded in plantation landscapes. He focuses on six artists whose collective body of work spanned the period between 1800 and 1935 and documented plantations across the South, from Maryland to Louisiana. Framing thoughtful, in-depth analyses of plantation imagery in the work of Francis Guy, Charles Fraser, Adrien Persac, Fanny Palmer, William Aiken Walker, and Alice Ravenel Huger Smith are chapters that examine the formal features of plantation paintings and the social attitudes that influenced the way southern audiences looked at those paintings."--Jacket.".
- catalog contributor b12451096.
- catalog created "c2002.".
- catalog date "2002".
- catalog date "c2002.".
- catalog dateCopyrighted "c2002.".
- catalog description ""In The Planter's Prospect, Vlach explores these and other statements of power encoded in plantation landscapes. He focuses on six artists whose collective body of work spanned the period between 1800 and 1935 and documented plantations across the South, from Maryland to Louisiana. Framing thoughtful, in-depth analyses of plantation imagery in the work of Francis Guy, Charles Fraser, Adrien Persac, Fanny Palmer, William Aiken Walker, and Alice Ravenel Huger Smith are chapters that examine the formal features of plantation paintings and the social attitudes that influenced the way southern audiences looked at those paintings."--Jacket.".
- catalog description ""When nineteenth-century artists painted plantation scenes, they usually began with preparatory sketches made while standing in front of a planter's house or somewhere slightly below it. From either position, notes John Vlach, their gaze - and that of anyone who looked at the finished paintings - was necessarily directed upward. Instead of following the common compositional rule for landscape painting that called for a view from above, an outlook that fostered a feeling of mastery in the viewer, artists rendering plantation vistas employed a perspective that echoed the deference and respect the planter class assumed was its due."".
- catalog description "Includes bibliographical references (p. [191]-205) and index.".
- catalog extent "x, 216 p., 12 p. of plates :".
- catalog hasFormat "Planter's prospect.".
- catalog identifier "0807826863 (cloth : alk. paper)".
- catalog identifier "0807853526 (pbk. : alk. paper)".
- catalog isFormatOf "Planter's prospect.".
- catalog isPartOf "Richard Hampton Jenrette series in architecture & the decorative arts.".
- catalog isPartOf "The Richard Hampton Jenrette series in architecture and the decorative arts".
- catalog issued "2002".
- catalog issued "c2002.".
- catalog language "eng".
- catalog publisher "Chapel Hill : University of North Carolina Press,".
- catalog relation "Planter's prospect.".
- catalog spatial "Southern States".
- catalog subject "758/.997503 21".
- catalog subject "Blacks in art.".
- catalog subject "Landscape painting, American Southern States 19th century.".
- catalog subject "Landscape painting, American Southern States 20th century.".
- catalog subject "ND1351.5 .V58 2002".
- catalog subject "Plantation life in art.".
- catalog title "The planter's prospect : privilege and slavery in plantation paintings / John Michael Vlach.".
- catalog type "text".