“Studious Men are Always Painted in Gowns”: Charles Willson Peale's Benjamin Rush and the Question of Banyans in Eighteenth-Century Anglo-American Portraiture
“Studious Men are Always Painted in Gowns”: Charles Willson Peale's Benjamin Rush and the Question of Banyans in Eighteenth-Century Anglo-American Portraiture
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“好学的男人总是穿着礼服”：查尔斯·威尔森·皮尔的本杰明·拉什和十八世纪英美肖像画中的榕树问题
DOI：
10.1179/036121102805253425
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发表时间：
2002
期刊：
影响因子：
0.4
通讯作者：
Brandon Brame Fortune
中科院分区：
文献类型：
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作者：
Brandon Brame Fortune
作为一名艺术史学家，我在为1999年的一次18世纪美国科学家肖像展进行研究时，被其中包括飘逸长袍的大量图像所震撼，这些长袍通常是由奢华的材料制成的（图1）。这是我对榕树或晨衣的介绍。为什么这些美国人和他们同时代的英国人希望被描绘成裸体？他们中的许多人都是学者，但榕树是时尚的，显然不能与描绘穿着长袍的学者的旧传统相提并论。我在查阅有关服装的文献和艺术史时发现，对肖像服装的选择提出质疑的不止我一个人。历史学家玛格丽特·斯温（Margaret Swain）和帕特里夏·坎宁安（Patricia Cunningham）发表了关于榕树的重要研究。这些文章提供了他们的历史，建设和使用广泛的帐户。2斯温和坎宁安还推测在漫长的十八世纪的肖像画中，这种服装的内涵。近年来，其他艺术史学家也开始问，为什么长的，结构松散的长袍-通常被认为是不太正式的，男性的内衣-经常出现在英国和美国的商人，艺术家，作家，音乐家和科学家的男人的肖像中，以及它们在创造模特的形象中扮演什么角色。为什么这样一批有才华的，通常
As an art historian conducting research for a 1999 exhibition on portraits of eighteenth-century American men of science, I was struck by the number of images that included long, flowing robes, often made of luxurious materials (Figure 1). This was my introduction to the banyan, or morning gown. Why would these Americans and their British contemporaries wish to be portrayed in undress? Many of them were scholars, but banyans were fashionable and not obviously comparable to the older tradition of depicting scholars in their gowns. I found, in checking the literature of costume as well as art history, that I was not alone in questioning this choice of portrait dress. Costume historians, particularly Margaret Swain and Patricia Cunningham, have published important studies of banyans. These essays provide extensive accounts of their history, construction and use.2 Both Swain and Cunningham also speculated on the connotations of such garments in portraits created during the long eighteenth century. In recent years, other art historians have also begun to ask why long, loosely constructed robesusually considered to be less formal, masculine undress-occur frequently in English and American portraits of men who were merchants, artists, writers, musicians and men of science, and what role they may play in the creation of a pictorial identity for the sitter. Why would such an array of talented, usually