Edward Hicks: Painter of the Peaceable Kingdom (Pennsylvania Paperbacks) by Alice Ford |
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Editorial Reviews
From Library Journal
Although he is now seen as a progenitor of the "na?ve" style, during his lifetime Edward Hicks (1780-1849) was known only as a devout, impoverished Quaker minister who liked to paint. With a few exceptions, his extant body of work is made up of 62 "Peaceable Kingdom" pictures, based on Isaiah's biblical prophecy. Although these paintings, known for their charmingly wide-eyed and sensuous beasts, use potent color and effective design, they are technically unsophisticated and repetitive in the extreme. But they contain a powerfully serene devoutnessAa mood probably expressed in compensation for Hicks's guilt about an avocation viewed as frivolous by other Quakers. As the popularity of folk art boomed in the early 20th century, Hicks's homely visions were popularized and became the focus of scholarly attention, and this work is probably the best to date. Weekley, the director of museums at Colonial Williamsburg, shrewdly considers Hicks's "secular" life and art through the filter of his intense piety and copiously illustrates her large-format book with brilliant color plates. Recommended for academic libraries.ADouglas F. Smith, Oakland P.L., CA
Copyright 1999 Reed Business Information, Inc.
The New York Times Book Review, Amy Todd
...a scholarly history of Hicks as both minister and painter, and of the turmoil these conflicting vocations wrought on his own kingdom.
Although he is now seen as a progenitor of the "na?ve" style, during his lifetime Edward Hicks (1780-1849) was known only as a devout, impoverished Quaker minister who liked to paint. With a few exceptions, his extant body of work is made up of 62 "Peaceable Kingdom" pictures, based on Isaiah's biblical prophecy. Although these paintings, known for their charmingly wide-eyed and sensuous beasts, use potent color and effective design, they are technically unsophisticated and repetitive in the extreme. But they contain a powerfully serene devoutnessAa mood probably expressed in compensation for Hicks's guilt about an avocation viewed as frivolous by other Quakers. As the popularity of folk art boomed in the early 20th century, Hicks's homely visions were popularized and became the focus of scholarly attention, and this work is probably the best to date. Weekley, the director of museums at Colonial Williamsburg, shrewdly considers Hicks's "secular" life and art through the filter of his intense piety and copiously illustrates her large-format book with brilliant color plates. Recommended for academic libraries.ADouglas F. Smith, Oakland P.L., CA
Copyright 1999 Reed Business Information, Inc.
The New York Times Book Review, Amy Todd
...a scholarly history of Hicks as both minister and painter, and of the turmoil these conflicting vocations wrought on his own kingdom.
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Look Inside This Book
Citations
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3
books
cite this book:
- Quaker Aesthetics: Reflections on a Quaker Ethic in American Design and Consumption, 1720-1920 by Emma Jones Lapsansky in Back Matter (1), and Back Matter (2)
- Marie Adrien Persac: Louisiana Artist by Marie Adrien Persac on page 20
- Emblems of Pluralism: Cultural Differences and the State (The Cultural Lives of Law) by Carol Weisbrod on page 97
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