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作者 Breidenbach, Paul Andrew
書名 Art patronage and class identity in a border city: Cincinnati, 1828--1872
國際標準書號 9780493381220
book jacket
說明 399 p
附註 Source: Dissertation Abstracts International, Volume: 62-09, Section: A, page: 3157
Chair: Rachel N. Klein
Thesis (Ph.D.)--University of California, San Diego, 2001
This dissertation examines art patrons and art associations of Cincinnati, Ohio, in the middle third of the nineteenth century. Cincinnati, the nation's sixth-largest city at mid-century, enjoyed a national reputation as a significant center of artistic achievement during the Jacksonian and antebellum periods. It affords a significant perspective on the meanings and uses of art in the decades before the Civil War, and the ways in which art patronage influenced the identity of urban elites in this period
Historians have paid insufficient attention to American art patronage before the Gilded Age, largely because most institutions lasted only a few years. In Cincinnati, no art institution remained active for more than four years before the Civil War, and most endured considerably less. Nevertheless, the persistent attempts by elite citizens to found permanent art institutions suggests that they attached great importance to the role art was to play in society. The energy and resources wealthy citizens expended to bring art to a wider public also suggest that it would be unwise to ignore the cultural work done by these patrons and their associations. I argue that the pre-war art sponsorship helped shape elite identity, as well as influencing the permanent institutions that emerged after the war
In order to approach the meanings that its sponsors attached to art in the antebellum period, I examine the major efforts that elites made on behalf of art: the Cincinnati Academy of Fine Arts, the Western Art Union, and the Ladies' Academy of Fine Arts. I also look at Cincinnati's wealthiest resident and leading artists' benefactor, Nicholas Longworth, and the terms in which he cast his sponsorship. An epilog treating art patronage in the immediate post-Civil War years highlights changes in the social functions that elites assigned to art and to themselves. I investigate the social profiles of the patrons, analyze their rhetoric, and interrogate their esthetic choices
I contend that Cincinnati became an important art center largely because among its leading citizens, some saw art as a means of mitigating the conflicts and divisions that threatened their leadership and the republic itself. As a group, art patrons turned to culture---rather than evangelical reform---to restore social harmony, maintain their authority, and build the nation
School code: 0033
Host Item Dissertation Abstracts International 62-09A
主題 History, United States
0337
Alt Author University of California, San Diego
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