LEADER 00760nam0 2200265 450 001 9910219240903321 005 20171013125511.0 100 $a20171013d1973----km y0itay50 ba 101 0 $afre 102 $aFR 105 $aa 001yy 200 1 $aPratique du béton précontraint$fpar G. Dreux,... [préface de Y. Guyon] 205 $a2e édition revue et complétée 210 $aParis$cÉditions Eyrolles$d1973 215 $a206 p.$cill.$d24 cm 225 1 $aCollection Uti 700 1$aDreux,$bGeorges$0747818 702 1$aGuyon,$bYves 801 0$aIT$bUNINA$gRICA$2UNIMARC 901 $aBK 912 $a9910219240903321 952 $aNN 191$b2907$fDINED 959 $aDINED 996 $aPratique du béton précontraint$91494518 997 $aUNINA LEADER 03570nam 2200577 a 450 001 996248061103316 005 20221108064829.0 010 $a0-520-94026-1 010 $a0-520-23821-4 024 7 $a2027/heb30555 035 $a(CKB)2670000000416100 035 $a(dli)HEB30555 035 $a(MiU)MIU01000000000000012317788 035 $a(DE-B1597)647703 035 $a(DE-B1597)9780520940260 035 $a(EXLCZ)992670000000416100 100 $a20040526d2004 ub 0 101 0 $aeng 135 $aurmnummmmuuuu 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aPainting the dark side $eart and the Gothic imagination in nineteenth-century America /$fSarah Burns 210 $aBerkeley $cUniversity of California Press$dc2004 215 $a1 online resource (xxiii, 303 p. )$cill. (some col.) ; 225 1 $aThe Ahmanson Murphy fine arts imprint 311 $a0-520-24987-9 320 $aIncludes bibliographical references (p. 249-292) and index. 330 $aVoices from the dark, or "gothic," side of American life are well known through the work of writers such as Edgar Allan Poe, Nathaniel Hawthorne, and Herman Melville. But who were the Poes of American art? Until now, art historians have for the most part seen the gothic as the province of misfits and oddballs who rejected the bright landscapes and cheerful scenes of everyday life depicted by Hudson River School and other mainstream painters. In Painting the Dark Side, Sarah Burns counters this view, arguing that far from being marginal, the gothic was a pervasive and potent visual language used by recognized masters and eccentric outsiders alike to express the darker facets of history and the psyche. A deep gothic strain in the visual arts becomes evident in these beautifully written, richly illustrated pages, illuminating the entire spectrum of American art. Weaving a complex tapestry of biography, psychology, and history, Sarah Burns exposes dark dimensions in the work of both romantic artists such as Albert Pinkham Ryder and Thomas Cole and realists like Thomas Eakins. She argues persuasively that works by artists who were generally considered outsiders, such as John Quidor, David Gilmour Blythe, and William Rimmer, belong to the mainstream of American art. She explores the borderlands where popular visual culture mingled with the elite medium of oil and delves into such topics as slave revolt, drugs, grave-robbing, vivisection, drunkenness, female monstrosity, and family secrets. Cutting deep across the grain of standard nationalistic accounts of nineteenth-century art, Painting the Dark Side provides a thrilling, radically alternative vision of American art and visual culture. 410 0$aAhmanson Murphy fine arts imprint. 410 0$aACLS Humanities E-Book. 517 $aPainting the Dark Side 606 $aPainting, American$y19th century 606 $aRace awareness in art 606 $aStereotypes (Social psychology) in art 606 $aMasculinity in art 606 $aArt and mythology 615 0$aPainting, American 615 0$aRace awareness in art. 615 0$aStereotypes (Social psychology) in art. 615 0$aMasculinity in art. 615 0$aArt and mythology. 676 $a759.13/09/034 700 $aBurns$b Sarah$0607197 712 02$aAmerican Council of Learned Societies. 801 0$bNyNyACL 801 1$bNyNyACL 906 $aBOOK 912 $a996248061103316 996 $aPainting the dark side$92789422 997 $aUNISA