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Abstracts

Abstracts George Stubbs’s Zoon Politikon Douglas Fordham Returning to Alex Potts’s assertion that Georgian animal paintings were conceived ‘as extensions of the social world’, this essay examines two unprecedented canvases that George Stubbs painted for the Second Marquess of Rockingham in the 1760s. I argue that the massive Lion Attacking a Stag and Lion Attacking a Horse are richly coded allegories, in the sense articulated by Walter Benjamin in The Origin of German Tragic Drama, which combine iconographic codes from heraldry, the aristocratic menagerie, thoroughbred breeding, oppositional satire, and Enlightenment science to produce a unique form of ‘heraldic naturalism’. Through a reconstruction of Rockingham’s politics as well as the room in his London townhouse where the paintings were displayed, this article attempts to recover the political implications of George Stubbs’s ‘natural order’ as well as its relation to Edmund Burke’s sublime aesthetic ideology. Ultimately, this article argues that the Rockingham lions naturalize the claims of landed authority through an innovative response to immediate domestic and imperial pressures. Vanguard Economics, Rearguard Art: Gustave Couˆ teaux and the Modernist Myth of the Dealer-Critic System Jan Dirk Baetens Ever since the publication of Harrison and Cynthia White’s study Canvases and Careers: Institutional Change http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Oxford Art Journal Oxford University Press

Abstracts

Oxford Art Journal , Volume 33 (1) – Mar 1, 2010

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Publisher
Oxford University Press
Copyright
The Author 2010. Published by Oxford University Press; all rights reserved
Subject
Abstracts
ISSN
0142-6540
eISSN
1741-7287
DOI
10.1093/oxartj/kcq009
Publisher site
See Article on Publisher Site

Abstract

George Stubbs’s Zoon Politikon Douglas Fordham Returning to Alex Potts’s assertion that Georgian animal paintings were conceived ‘as extensions of the social world’, this essay examines two unprecedented canvases that George Stubbs painted for the Second Marquess of Rockingham in the 1760s. I argue that the massive Lion Attacking a Stag and Lion Attacking a Horse are richly coded allegories, in the sense articulated by Walter Benjamin in The Origin of German Tragic Drama, which combine iconographic codes from heraldry, the aristocratic menagerie, thoroughbred breeding, oppositional satire, and Enlightenment science to produce a unique form of ‘heraldic naturalism’. Through a reconstruction of Rockingham’s politics as well as the room in his London townhouse where the paintings were displayed, this article attempts to recover the political implications of George Stubbs’s ‘natural order’ as well as its relation to Edmund Burke’s sublime aesthetic ideology. Ultimately, this article argues that the Rockingham lions naturalize the claims of landed authority through an innovative response to immediate domestic and imperial pressures. Vanguard Economics, Rearguard Art: Gustave Couˆ teaux and the Modernist Myth of the Dealer-Critic System Jan Dirk Baetens Ever since the publication of Harrison and Cynthia White’s study Canvases and Careers: Institutional Change

Journal

Oxford Art JournalOxford University Press

Published: Mar 1, 2010

There are no references for this article.