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Party-Coloured Plaid? Portraits of Eighteenth-Century Scots in Tartan

机译:派对色格子呢?格子呢十八世纪苏格兰人的肖像

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摘要

This article offers a close reading of a series of portraits of eighteenth-century Scots in which the sitters - men of elite social status and, in some instances, elevated military rank - are shown dressed in different painterly representations of tartan. Focusing on portraits produced in Scotland, London and Europe by artists including Pompeo Batoni and Allan Ramsay, it seeks to offer an alternative account to the production and consumption of tartan as a tangible textile or a worn item of masculine dress, to give an art historical overview of its mutability as it is represented in eighteenth-century portraiture. Casting tartan as a potent agent in the pictorial representation of identity, the article argues that it literally enveloped its sitters in a textile that was variously political (as an idiom of rebellion and loyalty), cultural, social and economic. The portraits, both surviving and lost, are discussed in conjunction with contemporary travel literature of visits to Scotland and unpublished correspondence so as to represent the many discursive threads of tartan in the eighteenth century.
机译:本文提供了一系列十八世纪苏格兰人的肖像的详细阅读,其中,保姆-具有社会地位的精英人物,在某些情况下还包括较高的军衔-以不同的格子呢绘画表现。它着眼于庞培·巴托尼(Pompeo Batoni)和艾伦·拉姆齐(Allan Ramsay)等艺术家在苏格兰,伦敦和欧洲创作的肖像画,力图为格子呢的生产和消费提供一种替代途径,作为有形的纺织品或男性装扮的破旧品,以赋予艺术史概述其可变性,以18世纪的肖像画为代表。该文章认为,格子呢在身份的图形表示中是一种有力的媒介,认为它确实将保姆包裹在一种具有政治性(作为叛逆和忠诚的习语),文化,社会和经济的纺织品中。这些肖像,无论是幸存的还是失落的,都与当代旅行文学到苏格兰访问和未出版的书信一起进行了讨论,以代表18世纪格子呢的许多话语脉络。

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  • 来源
    《Textile history》 |2010年第2期|p.182-216|共35页
  • 作者

    VlCCY COLTMAN;

  • 作者单位

    History of Art at the University of Edinburgh;

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  • 正文语种 eng
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