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|Named Person:||Thomas Sully; Fanny Kemble; Fanny Kemble; Thomas Sully|
|Material Type:||Document, Thesis/dissertation, Internet resource|
|Document Type:||Internet Resource, Computer File|
|All Authors / Contributors:||
Amanda Jean Olson; Southern Methodist University.
|Notes:||Title from PDF title page (viewed Oct. 7, 2009).
Source: Masters Abstracts International, Volume: 47-03, page: 1237.
Adviser: Janis Bergman-Carton.
|Description:||1 online resource (121 p.).|
|Responsibility:||by Amanda Jean Olson.|
Kemble in some sense facilitated this "experimentation" by her hesitation to sit for a portrait, thus allowing Sully to interpret his subject on a more subjective level. This process of interpretation is illustrated in each of Sully's portraits of Kemble; however, only one work, Fanny Kemble as Beatrice (1833), achieves a complete symbiosis of both the artist's vision and appropriative style and the actress's distinctive persona.
Through the delineation of the English genre of theatrical portraiture and its transfer to America in the eighteenth century, this thesis explores the fundamentals of the genre, its participants, and Sully's use of it as a creative catalyst.