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Citizen SpectatorArt, Illusion, and Visual Perception in Early National America$
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Wendy Bellion

Print publication date: 2011

Print ISBN-13: 9780807833889

Published to North Carolina Scholarship Online: September 2014

DOI: 10.5149/9780807838907_Bellion

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PRINTED FROM UNIVERSITY OF NORTH CAROLINA PRESS SCHOLARSHIP ONLINE (www.northcarolina.universitypressscholarship.com). (c) Copyright University of North Carolina Press, 2017. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in CSO for personal use (for details see http://www.northcarolina.universitypressscholarship.com/page/privacy-policy).date: 19 November 2017

Conclusion

Conclusion

Chapter:
(p.329) Conclusion
Source:
Citizen Spectator
Author(s):

Wendy Bellion

Publisher:
University of North Carolina Press
DOI:10.5149/northcarolina/9780807833889.003.0008

This book concludes by discussing the possibilities and limits of discernment with a picture that cannot be seen. Charles Willson Peale's Staircase Self-Portrait, painted in 1823, marked the artist's greatest achievement of trompe l'oeil illusionism to date. Upon its completion, it easily rivaled The Artist in His Museum in terms of scale, content, and sheer autobiographical bravado. Unlike the latter picture—one of the most visible images in the canon of American art history—the Staircase Self-Portrait remains unknown. The painting passed out of view during the early 1850s, presumed destroyed by fire. Fortunately, a rich archive of writing about the Staircase Self-Portrait has survived, allowing us to reconstruct the creation and understand the significance of a picture otherwise lost to visibility.

Keywords:   discernment, Charles Willson Peale, Staircase Self-Portrait, American art history, trompe l'oeil illusionism

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