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 194
... picture , like almost all the other works already described in my discussion of this scene , captures the moment ... picture - within- the - picture of God's agent Michael confronting the Serpent / Devil provides an apt typological and ...
... picture , like almost all the other works already described in my discussion of this scene , captures the moment ... picture - within- the - picture of God's agent Michael confronting the Serpent / Devil provides an apt typological and ...
Seite 196
... picture which attracts a never - failing crowd around it ; and well does the genius it displays deserve such homage " ; the Art Union called it " a chef- d'oeuvre of the British School " ; the Athenaeum ( 7 May 1842 ) claimed that " The ...
... picture which attracts a never - failing crowd around it ; and well does the genius it displays deserve such homage " ; the Art Union called it " a chef- d'oeuvre of the British School " ; the Athenaeum ( 7 May 1842 ) claimed that " The ...
Seite 299
... picture where it rests upon the package of her remembrances that she wishes to return to Hamlet . The impression is that it is too painful for her to look at Hamlet . This latter is standing at the center of the picture . He wears a fur ...
... picture where it rests upon the package of her remembrances that she wishes to return to Hamlet . The impression is that it is too painful for her to look at Hamlet . This latter is standing at the center of the picture . He wears a fur ...
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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