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Speaking for vice : homosexuality in the art of Charles Demuth, Marsden Hartley, and the first American avant-garde Titelvorschau
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Speaking for vice : homosexuality in the art of Charles Demuth, Marsden Hartley, and the first American avant-garde

Verfasser/in: Jonathan Weinberg; Charles Demuth; Marsden Hartley
Herausgeber: New Haven : Yale University Press, ©1993.
Serien: Yale publications in the history of art.
Ausgabe/Format   Gedrucktes Buch : EnglischAlle Ausgaben und Formate anzeigen
Datenbank:WorldCat
Zusammenfassung:
This book explores the representation of male homosexuality in American art in the first half of the twentieth century. Focusing on the work of Charles Demuth and Marsden Hartley, it uncovers the sexual codes and references in their art and explores how the two men reconciled their production of a self-consciously 'American' art with the representation of their own marginalized status as both homosexuals and  Weiterlesen…
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Gattung/Form: Criticism, interpretation, etc
History
Name: Charles Demuth; Marsden Hartley; Charles Demuth; Marsden Hartley; Charles Demuth; Marsden Hartley; Charles Demuth; Marsden Hartley; Charles Demuth; Marsden Hartley; Charles Demuth; Marsden Hartley
Dokumenttyp Buch
Alle Autoren: Jonathan Weinberg; Charles Demuth; Marsden Hartley
ISBN: 0300053614 9780300053616 0300062540 9780300062540
OCLC-Nummer: 27684835
Beschreibung: xx, 260 pages, [8] pages of plates : illustrations (some color) ; 26 cm.
Inhalt: Who is a homosexual? --
The homosexual point of view --
Charles Demuth and "some unknown thing" --
Illustrating difference --
Demuth's erotic watercolors --
Numbering the dead --
German warriors --
Hartley's late paintings --
Coming home: homosexuality and the American avant-garde.
Serientitel: Yale publications in the history of art.
Verfasserangabe: Jonathan Weinberg.

Abstract:

This book explores the representation of male homosexuality in American art in the first half of the twentieth century. Focusing on the work of Charles Demuth and Marsden Hartley, it uncovers the sexual codes and references in their art and explores how the two men reconciled their production of a self-consciously 'American' art with the representation of their own marginalized status as both homosexuals and avant-garde artists.

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