Hamlet and the Visual Arts, 1709-1900University of Delaware Press, 2002 - 405 Seiten This book examines the manner in which Shakespeare's Hamlet was perceived in the eighteenth and nineteenth centuries and represented in the available visual media. The more than 2,000 visual images of Hamlet that the author has identified both reflected the critical reception of the play and simultaneously influenced the history of the ever-changing constructed cultural phenomenon that we refer to as Shakespeare. The visual material considered in this study offers a unique perspective that complements biographical, critical, and theater history studies by showing how a broad spectrum of the literate and not-so-literate absorbed and responded to Shakespeare's works, not necessarily in academic libraries or at play performances, but in their homes, when browsing in print shops, when reading in coffee houses, or (a far rarer experience) when visiting an art gallery or exhibition. |
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Seite 52
... early in January . He then began work on the plates themselves on the twelfth and finished them on the seventeenth . The experience of preparing the designs and plates for these two works appears to have excited the imagination of Chodo ...
... early in January . He then began work on the plates themselves on the twelfth and finished them on the seventeenth . The experience of preparing the designs and plates for these two works appears to have excited the imagination of Chodo ...
Seite 103
... early example of a steel plate based on a Hamlet subject was Henry E. Dawe's large steel mezzotint ( 35 × 24.7 cms . ) of Thomas Lawrence's much reproduced 1801 Royal Academy portrait of John Philip Kemble as Hamlet . Dawe's work was ...
... early example of a steel plate based on a Hamlet subject was Henry E. Dawe's large steel mezzotint ( 35 × 24.7 cms . ) of Thomas Lawrence's much reproduced 1801 Royal Academy portrait of John Philip Kemble as Hamlet . Dawe's work was ...
Seite 121
... early or become so deeply domesticated . As is often remarked , the phrase " unser Shakespeare " ( " our Shakespeare " ) became a familiar one in Germany , and the special interest in Hamlet had by the mid- nineteenth century led to the ...
... early or become so deeply domesticated . As is often remarked , the phrase " unser Shakespeare " ( " our Shakespeare " ) became a familiar one in Germany , and the special interest in Hamlet had by the mid- nineteenth century led to the ...
Inhalt
Preface | 9 |
Hamlet and the Visual Arts 17091805 | 17 |
Hamlet and the Visual Arts 18051900 | 72 |
Urheberrecht | |
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actors already appeared artists attempt became body Booth Boydell chair chapter characters Charles Claudius Closet Scene Collection completed created death depicting drawing dress earlier early edition effect eighteenth engraving example exhibited extended face familiar figure flowers Folger Shakespeare Library follow foreground front further Fuseli Gallery Garrick Gertrude Ghost grave hair Hamlet hand head Henry holds Horatio illustrations images included Irving Italy John Kemble King later leans lithograph London look mentioned nineteenth century noted Ophelia original painting particular performance perhaps photograph picture placed plate play Play Scene Polonius portrait presented Press printed production published raised rear record represented reproduction right hand role Royal Sarah Bernhardt scene seated seems seen Shake shows skull stage stands suggestive sword theater Thomas tion turned viewer visual wears wood engraving York
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