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

Auteur : Jonathan Weinberg; Charles Demuth; Marsden Hartley
Éditeur: New Haven : Yale University Press, ©1993.
Collection: Yale publications in the history of art.
Édition/format:   Livre imprimé : AnglaisVoir toutes les éditions et tous les formats
Base de données:WorldCat
Résumé:
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  Lire la suite...
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Détails

Genre/forme: Criticism, interpretation, etc
History
Personne nommée: Charles Demuth; Marsden Hartley; Charles Demuth; Marsden Hartley; Charles Demuth; Marsden Hartley; Charles Demuth; Marsden Hartley; Charles Demuth; Marsden Hartley; Charles Demuth; Marsden Hartley
Type de document: Livre
Tous les auteurs / collaborateurs: Jonathan Weinberg; Charles Demuth; Marsden Hartley
ISBN: 0300053614 9780300053616 0300062540 9780300062540
Numéro OCLC: 27684835
Description: xx, 260 pages, [8] pages of plates : illustrations (some color) ; 26 cm.
Contenu: 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.
Titre de collection: Yale publications in the history of art.
Responsabilité: Jonathan Weinberg.

Résumé:

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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