Washington Allston's Dead Man Revived

Johns, Elizabeth
March 1979
Art Bulletin;Mar1979, Vol. 61 Issue 1, p78
Academic Journal
Provides information on the painting 'Dead Man Revived by Touching the Bones of the Prophet Elisha, 1811-14,' by Washington Allston. Reasons for neglecting the painting; Role of the Directors of the British Institution as patrons; Factor that influenced the patronage of the British Institution; Allston's association with French artists in Rome.


Related Articles

  • The Paint-Kings. Allston, Washington // Sylphs of the Season with Other Poems;3/1/2006, p28 

    Presents the poem "The Paint-Kings," by Washington Allston. First Line: Fair Ellen was long the delight of the young, Last Line: With grace more than ever divine!

  • Apocalypse THEN. Rosen, Aaron // New Humanist;Sep/Oct2011, Vol. 126 Issue 5, p42 

    The article discusses the two paintings "Belshazzar's Feast" and "The Great Day of His Wrath" created by John Martin in Great Britain. It notes that the style of these artworks portrays some religious subjects where it allows individuals to play at feeling puny and overwhelmed. Both of these...

  • A Winning Royal Napkin. Cohn-Sherbok, Dan // Jewish Quarterly;Autumn/Winter2015, Vol. 62 Issue 4, p9 

    The article describes the author's napkin portrait of Rembrandt's painting "Belshazzar's Feast" housed at the National Gallery in London, England.

  • Romanticism and The American Tradition. SMITH, DAVID LOEFFLER // American Artist;Mar1962, Vol. 26 Issue 3, p28 

    The article focuses on the development of romanticism as a style of painting in the U.S. According to the author, the influence of painter Albert Pinkham Ryder on romantic painting can be vaguely seen in the styles of Washington Allston, George B. Fuller and a few more American painters. He...

  • 19th century aristocrat.  // Art in America;Mar84, Vol. 72 Issue 3, p144 

    With an argument based on a previously unrecorded painting which hangs in a private institution outside Philadelphia, the author presents early 19th century Allston as a homosexual aristocrat who came to see in Saint Peter a figure of his own conflicts and denials. Documented with 68 footnotes.

  • Chapter 7: Washington Allston's Moonlit Landscape. Wallace, Marcia Briggs // Italian Presence in American Art, 1760-1860;1989, p82 

    Chapter 7 of the book "The Italian Presence in American Art, 1760-1860" is presented. It explores autobiographical and self-referential imagery in Washington Allston's painting "Moonlit Landscape." The author discusses the link of the painting with English Romanticism and the theme of memory in...

  • Boyhood. Allston, Washington // Collected Classic Poems, Abercrombie to Clough;2012, p1 

    The poem "Boyhood," by Washington Allston is presented. First Line: Ah, then how sweetly closed those crowded days! Last Line: E'en now that nameless kiss I feel.

  • Coleridge and Washington Allston's "The Sisters." Paley, Morton D. // Wordsworth Circle;Summer2005, Vol. 36 Issue 3, p113 

    This article presents a letter of Washington Allston which talks about the works of Samuel Taylor Coleridge, named as "The Sisters." The work of art was painted in England and was brought to America by Allston when he deported himself in 1818. The painting portrays Mary Morgan and Charlotte...

  • The Sylphs of the Seasons. Allston, Washington // Sylphs of the Season with Other Poems;3/1/2006, p2 

    Presents the poem "The Sylphs of the Seasons," by Washington Allston. First Line: Long has it been my fate to hear; Last Line: And with the pain I woke.


Read the Article


Sorry, but this item is not currently available from your library.

Try another library?
Sign out of this library

Other Topics