Williamstown, Massachusetts: Sterling and Francine Clark Art Institute. Dallas Museum of Art and Amon Carter Museum of American Art, Fort Worth. Alexander Nemerov takes a performance of Macbeth in Washington, D. Miss Charlotte Cushman as Lady Macbeth, ca. I thought that finding a performance to study would be a random process. I imagined the woods outside a small-town theater, a forest beyond the reach of gaslights, dark and hostile to those fitful gleams, and I even thought, with grim pleasure, of describing the production from the point of view of the trees.
United States—History—Civil War, 1861—1865—Theater and the war. Mellon Lectures in the Fine Arts at the National Gallery of Art in Washington, D. Acoustic Shadows: The Battle of Bristoe Station 5. New Haven: Yale University Press. I think nothing equals Macbeth, Lincoln wrote to the actor James Hackett in August 1863.
For Nemerov, that evening's performance of Macbeth reached across the tragedy of civil war to acknowledge the horrors and emptiness of a world it tried and ultimately failed to change. ¹¹ I even thought I might end up writing about a show with almost no documentary record, so intent was I on finding an obscure production. This book has the revelatory power that only wide-ranging curiosity and true independence of mind can achieve. Committed to teaching the history of art more broadly as well as topics in American visual culture — the history of American photography, for example — he is a noted writer and speaker on the arts. Bio A scholar of American art, Nemerov writes about the presence of art, the recollection of the past, and the importance of the humanities in our lives today.
When I started thinking about this book, I had in mind a staging of the play in a northeastern town like Poughkeepsie, in the 1850s. In that small space of light, they are surrounded also by that immenser mystery which envelopes our little life, and into which friends vanish from us, one by one. This fact, well-known to any Lincoln scholar and probably to many scholars of Shakespeare, came as news to me, an art historian. His most recent books are To Make a World: George Ault and 1940s America 2011 , the catalogue to the exhibition of the same title he curated at the Smithsonian American Art Museum, and Acting in the Night: Macbeth and the Places of the Civil War 2010. His new book, Wartime Kiss: Visions of the Moment in the 1940s, will be published by Princeton University Press this fall.
The Civil War is even more important, imparting an extra urgency to the aesthetic questions I explore. Certainly, on occasion he gives the opposite view. The Union armies marched to and fro across this bridge throughout the war on their way into and back from enemy territory. Also in spring 2017, Nemerov will deliver the 66th annual Andrew W. A slightly later photograph of the building, which existed only until 1873 when it burned down , shows the venue where Cushman performed fig. The play that night, I began to discover, wanted to create a uniform space, a vast level field of ideological purpose, but the war inevitably worked to splinter that space into a great disarray of bones and bullets, a heterodox field in which every death, no matter how honored in the name of a cause, became a bloody spot, a single place, resisting all grandiosities of national explanation.
On October 11 she had boarded the Carrie Martin, in company with Secretary of State Seward and British ambassador Lord Lyons, among others, for a trip down the Potomac. In the sleep walking scene she was great. What can the performance of a single play on one specific night tell us about the world this event inhabited so briefly? So the pure-watered diamond drop will healthful glow. Walt Whitman once watched as a procession of some thirty thousand Union soldiers took four or five hours to cross this bridge. Then come out those fiery effulgences, infernally superb; then the evil-blazing diamond, once the divinest symbol of the crystal skies, looks like some crown-jewel stolen from the King of Hell. Among his recent essays are pieces on Danny Lyon, William Eggleston, Bill Yates, and Gregory Crewdson. Harvard Theatre Collection, Houghton Library, Harvard University.
Committed to teaching the history of art more broadly as well as topics in American visual culture--the history of American photography, for example--he is a noted writer and speaker on the arts. Pickets were thrown out 4 miles at Mt. On October 17 Cushman may well have been thinking of those Virginia spaces, summoning them into her imagination of what it would be like to play her role on that day and place. The one caught in it could be forgiven for believing that the greatest aesthetic act is one that holds its flame most clearly to the void. Atlanta: High Museum of Art.
Bobbing alone in the immense ocean, he finds that his ringed horizon began to expand around him miserably. Going from there to the green room and then out onto the stage—looking out at three gaslit ampitheatrical tiers seating those twenty-five hundred people—Cushman might then have felt an expansion, a becoming-vast, befitting her star power. San Diego Museum of Art. Brodhead, author of Cultures of Letters: Scenes of Reading and Writing in 19th Century America Review What can the performance of a single play on one specific night tell us about the world this event inhabited so briefly? The Washington newspapers described the performance only in general terms, reporting that it gave the utmost satisfaction, that the audience was enthusiastic throughout the play, that Abraham Lincoln and his family were in attendance, and that at the end Cushman stood before the curtain and received an elegant bouquet from the ladies in Mr. .