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Charles Willson Peale’s The Exhumation of the Mastodon and the Great Chain of Being: The Interaction of Religion, Science, and Art in Early-Federal America

dc.contributor.authorZygmont, Bryan J.en
dc.date.accessioned2015-12-04T11:05:22Z
dc.date.available2015-12-04T11:05:22Z
dc.date.issued2015-11-17en
dc.identifier.issn2083-2931en
dc.identifier.urihttp://hdl.handle.net/11089/15025
dc.description.abstractIn this paper, I explore Peale’s monumental painting, a work that is many things, a self-portrait and history painting among others. Indeed, in this painting, Peale was responding to science, religion, and their shifting positions within early-nineteenth-century America. When viewed together, Peale’s The Exhumation of the Mastodon is not merely a record of an event that occurred in New York during the early nineteenth century, and instead is a document of Peale and the interaction of science and religion in early-Federal America.en
dc.publisherWydawnictwo Uniwersytetu Łódzkiegoen
dc.relation.ispartofseriesText Matters;5en
dc.rightsThis work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.en
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/4.0en
dc.titleCharles Willson Peale’s The Exhumation of the Mastodon and the Great Chain of Being: The Interaction of Religion, Science, and Art in Early-Federal Americaen
dc.typeArticle
dc.page.number95-111en
dc.contributor.authorAffiliationClarke University, Dubuqueen
dc.identifier.eissn2084-574X
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dc.identifier.doi10.1515/texmat-2015-0008en


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