Amelia Rauser | Franklin & Marshall College (original) (raw)
Papers by Amelia Rauser
A Cultural History Of Color in the Age of Enlightenment, 2020
Fashion in European Art, 2017
Journal18, 2017
published in Journal18 issue 3, "Lifelike"
Art History, 2015
One day in 1790, the German artist J. H. W. Tischbein observed a beautiful girl running in fear t... more One day in 1790, the German artist J. H. W. Tischbein observed a beautiful girl running in fear through the woods of King Ferdinand's estate near Naples. He recounted in his memoirs the incident, which occurred at the conclusion of a hunt. There was a crush of horses and carriages when the noble guests scrambled to fall into the departing procession behind the king: The Duke of Argyle then came, leading his daughter by the arm, just as a carriage appeared coming toward them. The daughter was terrifi ed, left his arm and fl ed to save herself. Where she had gone, she encountered another carriage in full gallop. She turned around again, hurriedly left this path, and when she had fl ed to a free clearing other carriages came speeding toward her. So she fl ed in fear from one place to another, between the rushing carriages. Despite the sadness one felt for her because she believed her life in danger, it was a glorious sight for those with an eye for the fast, strenuous exercise of a beautiful fi gure. In some dances one sees pleasing turns, but what is that compared to this natural running, turning, reversing, indecision, and quick decision! Each change was expressive and showed clearly both her interior thoughts, as well as her slim, youthful fi gure, because the garment clung tightly due to the pressure of the air, so to speak, through which she fl ed. What I had admired otherwise only in art, the beautiful, youthful, fl eeing fi gures on bas-reliefs and the fl oating dancers in the paintings of Herculaneum, here I saw in nature. 1 Motivated by fear, the young woman, Lady Charlotte Campbell, moves with authenticity and transparency, with 'each change' showing 'clearly … her interior thoughts'. In contrast to the studied elegance of a dancer, this fearful body lacks artifi ce and causes her movements and expressions to be stripped of social decorum, reducing them to a raw essence that is made visible by the clinging of her garments. Tischbein likens the frightened and fl eeing Charlotte Campbell to both nature and ancient art. On the one hand, Campbell is like the deer that had so recently run through those same woods, pursued by the hunters. On the other hand, only in classical bas-reliefs or the Herculaneum Dancers, artworks so truthful that they captured the authenticity of transparent, expressive embodiment, had Tischbein ever before seen such pure beauty. In this fl eeting moment, nature and classicism converge, art lives, and a pretty teenager could be equal parts bacchante and wild animal.
Choice Reviews Online, 2011
Acknowledgements Lenders to the Exhibition Foreword by James Mundy, the Anne Hendricks Bass Direc... more Acknowledgements Lenders to the Exhibition Foreword by James Mundy, the Anne Hendricks Bass Director, The Frances Lehman Loeb Art Center, Vassar College An Introduction by Patricia Phagan Rowlandson's London by Vic Gatrell Amoral Humor: Desire and Mockery in Rowlandson's Comic Art by Amelia Rauser Catalogue by Patricia Phagan High Society and Politics The Street Clubs and Taverns Outdoor Entertainments and Other Diversions Art, Theater, and Dance Sex and Romance.
The Art Bulletin, 2020
It is a truism among women that our clothes do not have enough pockets. Where are we to stash the... more It is a truism among women that our clothes do not have enough pockets. Where are we to stash the keys, phones, and credit cards that facilitate the navigation of our daily lives? Barbara Burman an...
Disseminating Dress, 2022
Eighteenth-Century Studies, 2016
published in Journal18 issue 3, "Lifelike"
Albion: A Quarterly Journal Concerned with British Studies, 2002
Albion: A Quarterly Journal Concerned with British Studies, 2000
One day in 1790, the German artist J. H. W. Tischbein observed a beautiful girl running in fear t... more One day in 1790, the German artist J. H. W. Tischbein observed a beautiful girl running in fear through the woods of King Ferdinand's estate near Naples. He recounted in his memoirs the incident, which occurred at the conclusion of a hunt. There was a crush of horses and carriages when the noble guests scrambled to fall into the departing procession behind the king:
Oxford Art Journal, Jan 1, 1998
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
Eighteenth-century studies, Jan 1, 2002
Eighteenth-century studies, Jan 1, 2004
In the 1774 satire What is this my son Tom, a rustic country farmer pokes unceremoniously at the ... more In the 1774 satire What is this my son Tom, a rustic country farmer pokes unceremoniously at the tiny hat sitting atop his son's enormous wig ( ). Though he is nowhere so labeled by title or verse, Tom is a country boy turned macaroni, bearing all the marks that by that year had been codified into the macaroni type: fine sprigged fabric, tight clothes, oversized sword, tasseled walking stick, delicate shoes, and, most recognizably, an enormous wig. This wig, combining a tall front with a fat queue or "club" of hair behind, was the feature that epitomized the macaroni's extravagant artifice during London's macaroni craze of the early 1770s.
A Cultural History Of Color in the Age of Enlightenment, 2020
Fashion in European Art, 2017
Journal18, 2017
published in Journal18 issue 3, "Lifelike"
Art History, 2015
One day in 1790, the German artist J. H. W. Tischbein observed a beautiful girl running in fear t... more One day in 1790, the German artist J. H. W. Tischbein observed a beautiful girl running in fear through the woods of King Ferdinand's estate near Naples. He recounted in his memoirs the incident, which occurred at the conclusion of a hunt. There was a crush of horses and carriages when the noble guests scrambled to fall into the departing procession behind the king: The Duke of Argyle then came, leading his daughter by the arm, just as a carriage appeared coming toward them. The daughter was terrifi ed, left his arm and fl ed to save herself. Where she had gone, she encountered another carriage in full gallop. She turned around again, hurriedly left this path, and when she had fl ed to a free clearing other carriages came speeding toward her. So she fl ed in fear from one place to another, between the rushing carriages. Despite the sadness one felt for her because she believed her life in danger, it was a glorious sight for those with an eye for the fast, strenuous exercise of a beautiful fi gure. In some dances one sees pleasing turns, but what is that compared to this natural running, turning, reversing, indecision, and quick decision! Each change was expressive and showed clearly both her interior thoughts, as well as her slim, youthful fi gure, because the garment clung tightly due to the pressure of the air, so to speak, through which she fl ed. What I had admired otherwise only in art, the beautiful, youthful, fl eeing fi gures on bas-reliefs and the fl oating dancers in the paintings of Herculaneum, here I saw in nature. 1 Motivated by fear, the young woman, Lady Charlotte Campbell, moves with authenticity and transparency, with 'each change' showing 'clearly … her interior thoughts'. In contrast to the studied elegance of a dancer, this fearful body lacks artifi ce and causes her movements and expressions to be stripped of social decorum, reducing them to a raw essence that is made visible by the clinging of her garments. Tischbein likens the frightened and fl eeing Charlotte Campbell to both nature and ancient art. On the one hand, Campbell is like the deer that had so recently run through those same woods, pursued by the hunters. On the other hand, only in classical bas-reliefs or the Herculaneum Dancers, artworks so truthful that they captured the authenticity of transparent, expressive embodiment, had Tischbein ever before seen such pure beauty. In this fl eeting moment, nature and classicism converge, art lives, and a pretty teenager could be equal parts bacchante and wild animal.
Choice Reviews Online, 2011
Acknowledgements Lenders to the Exhibition Foreword by James Mundy, the Anne Hendricks Bass Direc... more Acknowledgements Lenders to the Exhibition Foreword by James Mundy, the Anne Hendricks Bass Director, The Frances Lehman Loeb Art Center, Vassar College An Introduction by Patricia Phagan Rowlandson's London by Vic Gatrell Amoral Humor: Desire and Mockery in Rowlandson's Comic Art by Amelia Rauser Catalogue by Patricia Phagan High Society and Politics The Street Clubs and Taverns Outdoor Entertainments and Other Diversions Art, Theater, and Dance Sex and Romance.
The Art Bulletin, 2020
It is a truism among women that our clothes do not have enough pockets. Where are we to stash the... more It is a truism among women that our clothes do not have enough pockets. Where are we to stash the keys, phones, and credit cards that facilitate the navigation of our daily lives? Barbara Burman an...
Disseminating Dress, 2022
Eighteenth-Century Studies, 2016
published in Journal18 issue 3, "Lifelike"
Albion: A Quarterly Journal Concerned with British Studies, 2002
Albion: A Quarterly Journal Concerned with British Studies, 2000
One day in 1790, the German artist J. H. W. Tischbein observed a beautiful girl running in fear t... more One day in 1790, the German artist J. H. W. Tischbein observed a beautiful girl running in fear through the woods of King Ferdinand's estate near Naples. He recounted in his memoirs the incident, which occurred at the conclusion of a hunt. There was a crush of horses and carriages when the noble guests scrambled to fall into the departing procession behind the king:
Oxford Art Journal, Jan 1, 1998
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
Eighteenth-century studies, Jan 1, 2002
Eighteenth-century studies, Jan 1, 2004
In the 1774 satire What is this my son Tom, a rustic country farmer pokes unceremoniously at the ... more In the 1774 satire What is this my son Tom, a rustic country farmer pokes unceremoniously at the tiny hat sitting atop his son's enormous wig ( ). Though he is nowhere so labeled by title or verse, Tom is a country boy turned macaroni, bearing all the marks that by that year had been codified into the macaroni type: fine sprigged fabric, tight clothes, oversized sword, tasseled walking stick, delicate shoes, and, most recognizably, an enormous wig. This wig, combining a tall front with a fat queue or "club" of hair behind, was the feature that epitomized the macaroni's extravagant artifice during London's macaroni craze of the early 1770s.