Gilbert Stuart and the Impact of Manic Depression
Regular price
€198.40
14 days return policy
Shipping & Delivery
A01=Dorinda Evans
Age Group_Uncategorized
Age Group_Uncategorized
art history research
Author_Dorinda Evans
automatic-update
bipolar disorder in artists
Captain Macheath
Category1=Non-Fiction
Category=ACQ
Category=ACV
Category=AFC
Category=AGA
Category=AGB
Chinese Export Porcelain
cognitive deficits in painting
Commemorative Exhibitions
COP=United Kingdom
Delivery_Pre-order
Devoted Widow
eighteenth century portraiture
Emerald Isle
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=2
eq_nobargain
eq_non-fiction
family
Family Illness
Gogh
Lady Mary Fox
Language_English
Life Portraits
Mad House
Madhouse
mental illness influence on artistic style
National Academy
neuropsychology of creativity
PA=Temporarily unavailable
Price_€100 and above
PS=Active
psychological analysis of art
Royal Academy
softlaunch
Stuart's Daughter
Stuart's Death
Stuart's Family
Stuart's Portrait
Stuart's Work
Stuart’s Daughter
Stuart’s Death
Stuart’s Family
Stuart’s Portrait
Stuart’s Work
Thomas Bisse
Todd Family
Uncle's Work
Uncle’s Work
Valuable Heirloom
Van Dyck Painting
Vincent Van Gogh
Young Man
Product details
- ISBN 9781409441649
- Weight: 666g
- Dimensions: 156 x 234mm
- Publication Date: 18 Jan 2013
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
- Language: English
Secure
checkout
Fast Shipping
Easy returns
Early American painter Gilbert Stuart has long been mistakenly represented as a hard-drinking rogue, habitual liar, and inexplicable financial failure. To explain his stylistic unevenness as an artist, he is assumed to have had an inferior assistant, but the documentary evidence for an assistant who painted on his portraits is non-existent-in fact, there is evidence to the contrary. This ground-breaking study demonstrates that Stuart suffered from a hereditary form of manic depression, leading him to create pictures that contain peculiar lapses characteristic of a manic-depressive, or bipolar, artist. Using documentary and empirical evidence-from diaries and letters to x-radiographs of paintings-this book fills important gaps in our knowledge of Stuart, and connects the strange visual effects in some of Stuart's paintings with cognitive deficits attendant with the disorder. In addition to Stuart, other bipolar artists, including George Romney, Raphaelle Peale, Gilbert Stuart Newton, and William Rimmer, are discussed in relation to these deficits, revealing patterns which carry broader implications for all manic-depressive artists. This volume is a significant contribution not only to studies of Stuart and the four other painters but also to our understanding of the mind of a manic-depressive artist. It bridges the broad disciplines of art history and psychopathology.
Dorinda Evans is Professor Emerita of Art History at Emory University, USA.
