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12 septembre 2018
- handle: 10670/1.jmh1vs
- isbn: 9782878545036
- eisbn: 9782878548709
https://www.openedition.org/12554 , info:eu-repo/semantics/openAccess
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conservatisme États-Unis progrès mythe national imaginaire historique History Cultural studies HIS036000 HBJKSujets proches
Frontier troubles AnnalsCiter ce document
Margaretta Lovell, « Fitz Henry Lane, spectateur de l’histoire », Presses Sorbonne Nouvelle, ID : 10670/1.jmh1vs
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A brooding consciousness of history is not usually attributed to American nineteenth-century painters. We usually understand this cohort as beginning with Tocquevillian enthusiasm and unfolding into Whitmanesque exuberance as they recorded the seemingly-untouched landscapes of rural America and painted the ideology of Manifest Destiny. The painter Fitz H. Lane was different — he was unusually alert to history and to change: while painting the scene before him in his native New England he deliberately incorporated sites of vividly-remembered combat with English armies decades before and with Native Americans centuries earlier. His works also evidence a desire to participate in and endorse cultural change as it unfolded into a novel future. He grasped in particular the burgeoning importance of tourism, the visual appetite of the traveler dedicated not to activity but to looking at activity, and, in canvas form, taking home the view.