The space between
Subtitle: paired paintings in antebellum America
By: by Wendy Nalani Emiko Ikemoto
Published: 2009
Language: eng
Number of pages: 191
Description: This dissertation examines antebellum American paired painting, also known as pendant painting. It considers the pair and the interval as the primary components of the pendant and focuses analysis on the role of the interval in cross-canvas dialogue. It proposes, specifically, a process of interstitial representation by which the visual absence mediating between canvases becomes itself a space of signification. Through a series of three case studies, I demonstrate how this process moved meaning beyond the boundaries of the explicitly visual. Chapter one considers John Quidor's Rip Van Winkle and His Companions at the Inn Door of Nicholas Vedder (1839) and The Return of Rip Van Winkle (1849). It characterizes the interval between Quidor's paintings as one of elision that calls into question the revolutionary nature of the American Revolution. Chapter two examines Thomas Cole's Departure and Return (1837). It identifies the space between Cole's canvases as one of visual difficulty that challenges superficial viewing practices to promote instead a mode of contemplative looking. Chapter three analyzes two paintings of a Hawaiian volcano by Titian Ramsay Peale titled Kilauea by Day and Kilauea by Night (1842). It understands the blank between Peale's landscapes as expressive of the failure of expeditionary imaging in unknown territory.

Together, the case studies distinguish the pendant as a representational practice deeply engaged with problems of history, art, and science contemporary to nineteenth-century America. The introduction considers the variety of forces that gave rise to this practice in antebellum America, and the epilogue meditates on format, and the interval in particular, as a category of art historical study. To my knowledge, this project is the first in-depth study of the pendant. Its focus on interstitial representation brings to light a concept new to nineteenth-century American art history and of theoretical importance to diverse periods and disciplines.
Notes: "May 2009."

Thesis (Ph.D., Dept. of History of Art and Architecture)--Harvard University, 2009.

Includes bibliographical references.