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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/69129

    Title: 在欺眼之外——John Frederick Peto 的文件架畫與貼片畫;Beyond Deception: John Frederick Peto′s Rack Painting and Patch Painting
    Authors: 江珠綺;Chiang,Chu-Chi
    Contributors: 藝術學研究所
    Keywords: 欺眼畫;文件架畫;貼片畫;約翰.弗雷德里克.皮托;trompe l’oeil;rack painting;patch painting;John Frederick Peto
    Date: 2015-07-24
    Issue Date: 2015-09-23 15:29:47 (UTC+8)
    Publisher: 國立中央大學
    Abstract: John Frederick Peto(1854-1907)原為十九世紀美國名不見經傳的靜物畫兼欺眼畫家。藝術史學者Alfred Frankenstein(1906-1981)在二十世紀中葉因研究靜物畫家William Michael Harnett(1848-1892)之故,再發現同樣具優秀繪畫技巧的Peto,並視他為美國現代藝術史的前驅。然而,欺眼畫自有其固定的形式,在該畫類的範疇下,Peto的文件架畫與貼片畫究竟有何開創性?或者研究者僅是為了建立本國的藝術史脈絡?另外,自Frankenstein以降的學者將Peto創作Lincolin像系列的動機歸因於畫家父親之死,但若從畫家的創作手法及其生平背景來看,此系列欺眼畫似乎另有其它意義。

    ;John Frederick Peto (1854-1907), an American trompe l’oeil and still life painter, was little known in his age. During his study of the still life painter William Michael Harnett (1848-1892), art historian Alfred Frankenstein (1906-1981) rediscovered Peto in the mid-20th century, and regarded him as a pioneer of American modern art. However, trompe l’oeil in the form of rack painting and patch painting has its long-established conventions, and so in what sense can Peto’s works be seen as innovative? Or is this recognition of Peto’s pioneering status a strategy for narrating the history of American modern art? Furthermore, most art historians followed Frankenstein’s study and attributed the creation of the Lincoln series to the death of Peto’s father. Nevertheless, the meanings of the series can be understood in other ways if we examine Peto’s family life and his painting practices.

    In the first chapter, this dissertation clarifies the characteristics and forms of trompe l’oeil paintings, and then examines 19th-century artists’ and viewers’ attitude to trompe l’oeil paintings. Chapter two focuses on the function of rack paintings and patch paintings. I discuss how Peto used words and pictures to represent figures, and reinterpret the Lincoln series. Finally, chapter three considers Peto’s position by analyzing 19th- and 20th-century trompe l’oeil paintings and the writings both of the history of tromp l’oeil painting and of American art, so as to respond to the claims of scholars who regarded Peto as a precursor of American modern art.
    Appears in Collections:[藝術學研究所 ] 博碩士論文

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