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Playing Parrot: American Trompe L'oeil and Empire.
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- Author(s): Cao, Maggie M.
- Source:
Art Bulletin. Sep2021, Vol. 103 Issue 3, p97-124. 28p. - Source:
- Additional Information
- Subject Terms:
- Abstract: American trompe l'oeil still life is full of global goods. Attending to this genre within a nexus of trade and colonialism in the Gilded Age can correct for an absence of empire in transnational scholarship on nineteenth-century American art. This context informs De Scott Evans's trompe l'oeil painting of a parrot, an animal that by virtue of its mimicry could be imprinted with the history of its own colonial circulation. I argue that Evans and other painters deployed the logic of trompe l'oeil—a hyperillusionistic style often belittled by critics as mere parroting—to expose the politics of colonial goods. [ABSTRACT FROM AUTHOR]
- Abstract: Copyright of Art Bulletin is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
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