Simeon Solomon's work before 1873: interpretation and identity

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http://eprints.org/relation/isVolatileVersionOf http://etheses.bham.ac.uk/id/document/1746 http://eprints.org/relation/ispreviewThumbnailVersionOf http://etheses.bham.ac.uk/id/document/1746 http://eprints.org/relation/isVersionOf http://etheses.bham.ac.uk/id/document/1746 archive 4031 disk0/00/00/07/14 2010-06-03 12:55:14 2019-01-23 09:52:42 2011-07-19 16:22:14 thesis show 0 Naylor Aileen Elizabeth Cusack Tricia University of Birmingham Simeon Solomon's work before 1873: interpretation and identity unpub ND 10col_artl Supervisor's Library of Congress Authority form is Cusack, Tricia, 1945- but Supervisor asked us to remove year of birth. This thesis has two aims. The first is to demonstrate that commentaries on the work produced by Simeon Solomon (1840-1905) before 1873, an artist who was Jewish and homosexual, have been dominated by critics’ perceptions of him as a marginal figure. Solomon’s Jewish heritage and homosexuality doubly marginalised him in the Christian, heterosexual culture of Victorian England so it is understandable that commentators have focused on his minority position and read signs of difference in his works. However, my second aim is to challenge this perspective. I will show how much Solomon’s art had in common with that of his contemporaries and broaden the discussion by analysing paintings which have been given less critical attention, possibly because they do not present so many opportunities to refer to the artist’s marginality. I will suggest alternative interpretations of specific paintings which draw upon other aspects of nineteenth-century English society in order to show how explanations which focus primarily on Solomon’s marginalised identities are not the only and, in some cases, not the most useful ways to read his work. 2010-07 2009-09 graduation eng author unchecked This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. public 131 University of Birmingham School of Languages, Cultures, Art History and Music, Department of Art History, Curating and Visual Studies m_ph FALSE na 2010-07 graduation