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Notes
to Essays
The Painter and the City The Evolution of the New York Subject |
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| 1 |
The Works of Walt Whitman (New York: Modern Library, 1948), vol. 1, p. 167.
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| 2 |
Herman Melville, Moby-Dick (reprint, New York: Modern Library, 1926), pp. 1 -2.
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| 3 |
Theodore Dreiser, Sister Carrie (New York: Modern Library, 1927), p. 341.
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| 4 |
I have been unable to find the origin of the term cityscape, although it was in common use by the end of the nineteenth century, probably as an extension of the genre of landscape painting to works depicting ocean perspectives. See Svetlana Alpers, The Art of Describing: Dutch Art in the Seventeenth Century (Chicago: University of Chicago Press, 1983), pp. 119 -168. |
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| 5 |
Ibid.
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| 6 |
Museum Archives
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| 7 |
See Alpers, The Art of Describing, chap. 4.
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| 8 |
Peter Buckley, To The Opera House (Oxford: Oxford University Press, forthcoming).
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| 9 |
Ibid.
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| 10 |
The Greensward Plan, 1857. Reprinted in Roy Rosenzweig and Elizabeth Blackmar, The Park and the People: A History of Central Park (Ithaca: Cornell University Press, 1992), pp. 122 -123.
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| 11 |
Buckley, To the Opera House.
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| 12 |
On Inman, see Museum Archives.
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| 13 |
Horatio Alger, Ragged Dick (reprint, New York: Modern Library, 1969), p. 83.
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| 14 |
On Kollner, see Museum Archives.
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| 15 |
On Meyer, see Museum Archives.
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| 16 |
Christine Stansell, City of Women: Sex and Class in New York, 1789 -1860 (New York: Knopf, 1986).
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| 17 |
Francis S. Osgood, Cries of New-York with Fifteen Illustrations (New York: John Dogget, Jr., 1846), p. 5.
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