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Capture: Color Plates

Capture

Color Plates

Color Plates

Painting of a white man with long hair looking into the distance. He's wearing a blue, furred overcoat and holding a riffle.

Plate 1. John Syme, John James Audubon, 1826. Oil on canvas, 35 1/2 × 27 1/2 inches. White House Historical Association: 485.

Painting of a golden eagle with a rabbit in its talons.

Plate 2. John James Audubon, Golden Eagle, Aquila chrysaetos, 1833. Watercolor, pastel, graphite, and selective glazing, 38 × 25 1/2 inches. Collection of the New-York Historical Society. Digital image created by Oppenheimer Editions. United States public domain.

Painting of Napoleon in full military uniform atop a white horse. The horse is pivoted onto its hind legs, and Napoleon, pointing skyward with his freehand, is looking toward the viewer.

Plate 3. Jacques-Louis David, Bonaparte franchissant le Grand-Saint-Bernard, 1800. Oil on canvas, 101 × 87 inches. Collection of the Musée national des châteaux de Versailles et de Trianon.

Painting of a golden eagle in flight, smoke issuing from its mouth. One of its legs is enclosed within a steel trap.

Plate 4. Walton Ford, Delirium, 2004. Watercolor, gouache, ink, and pencil on paper, 62 5/8 × 43 1/2 inches. Courtesy of the artist and Paul Kasmin Gallery.

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This book is freely available in an open access edition thanks to TOME (Toward an Open Monograph Ecosystem)—a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries—and the generous support of the University of Michigan’s College of Literature, Science, and the Arts and the Provost Office. Learn more at the TOME website, available at: openmonographs.org.

The University of Minnesota Press gratefully acknowledges financial support from the University of Michigan to contribute to the publication of this book.

Portions of chapter 1 are adapted from “Huntology: Ontological Pursuits and Still Lives,” Diacritics 40, no. 2 (2012): 4–25; copyright 2013 Cornell University. A portion of chapter 2 was previously published as “American Entrapments: Taxonomic Capture in James Fenimore Cooper’s The Prairie,” Novel: A Forum on Fiction 49, no. 1 (2016): 26–48; copyright Duke University. Portions of chapter 4 are adapted from “Le faune et la sirène: la situation de Cuvier dans l’économie de The Marble Faun, de Nathaniel Hawthorne,” Transatlantica 2 (2011); online since June 5, 2012; http://journals.openedition.org/transatlantica/5563.

Copyright 2020 by Antoine Traisnel

Capture: American Pursuits and the Making of a New Animal Condition is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License (CC BY-NC-ND 4.0): https://creativecommons.org/licenses/by-nc-nd/4.0/.
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