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• W233750605 abstract "daguerreotype was not just an invention, was an intervention into ways of seeing and being.--Cathy N. Davidson Ultimately, what I am seeking in the photograph taken of me (the intention according to which I look at it) Death: Death the eidos of that Photograph.--Roland Barthes There no such thing as a true portrait. ... They are all delusions.--Nathaniel Hawthorne In the summer of 1857, Nathaniel Hawthorne's sojourn as a United States consul in Liverpool was pleasantly interrupted by several excursions to the historic Manchester Arts Exhibition. exhibition was an extremely successful, if unlikely, showcase of art gathered from some of the finest private collections in England. (1) Hawthorne's initial impression, however, was that the Manchester exhibit, every great show, was a kind of humbug that forced even the most conscientious viewer merely to [skim] the surface (343) because of the vast quantity of works on display. In the English Notebooks, a frustrated Hawthorne complains: Such a quantity of objects must be utterly rejected, before you can any real profit from one! (343). Nevertheless, Hawthorne's subsequent visits, chronicled in notebook and journal entries, reveal more sustained encounters with various schools, artists, and works, and his attempted self-education in art and self-conscious examination of how the visual arts enlarge or challenge his own aesthetic views as a writer. As he remarks in a letter to his friend and publisher James T. Fields, We spent several weeks in Manchester, and went most diligently to the Arts-Exhibition; and I really begin to be sensible of the rudiments of a taste in pictures (Letters XVIII 95). For Hawthorne, who, in the preface to of the Seven Gables (1851) utilizes the artistic metaphor of chiaroscuro when he announces that he will manage his atmospherical medium as to bring out or mellow the lights and deepen and enrich the shadows of the picture (1), painting, and, in particular, portraiture, offers a useful visual correlative for the literary romance. As Gordon Hutner has observed, of the Seven Gables, like many of Hawthorne's works, emphasizes the transformative process of (79), specifically the ability of representation to express the 'secret character' of [its] subjects (79). Uncovering the spiritual meaning beyond the appearance of the actual central to Hawthorne's thinking about the role of the writer and artist. Poetic insight, explains the narrator of Seven Gables, observing with frustration the grotesque figure of Hepzibah Pyncheon, is the gift of discerning ... the beauty and majesty which are compelled to assume a garb so sordid (41). It this ability to make transparent the spiritual meaning behind ordinary objects that Hawthorne finds appealing in Dutch paintings. When reflecting in his journal on the artistic accomplishments of old Dutch masters (Heart 245) represented at the Manchester Arts Exhibition, he notes, for example, the paintings' expression of the perfect realities of common, domestic objects, beyond even what a photograph could accomplish; and yet, he acknowledges, it strange how spiritual and suggestive the commonest household article ... becomes when represented with entire accuracy (246). These Dutchmen, Hawthorne concludes, get at the soul of common things, and so make them types and interpreters of the spiritual world (246). In The Custom House (1850), he imagines a similar transubstantiation of the actual under the play of the dim coal-fire of the hearth and the cold spirituality of the moonbeams (Scarlet 47). Under these ocular influences, the little domestic scenery of the well-known apartment (46) famously converted into a neutral territory (46) where forms of the fancy are imbued with the sensibilities of human tenderness (47). In contrast to the obvious pleasure he takes in the spiritualizing power of the Dutch painters, Hawthorne responds to the works of certain Pre-Raphaelite painters at the Manchester Exhibition with a mixture of intellectual curiosity, artistic frustration, and barely-concealed horror. …" @default.
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• W233750605 date "2011-06-22" @default.
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• W233750605 title "Hawthorne's Material Ghosts: Photographic Realism and Liminal Selfhood in the House of the Seven Gables" @default.
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