The Octonaire in Thomas Smith’s Self-Portrait

Research output: Contribution to journal › Article › peer-review

Standard

The Octonaire in Thomas Smith’s Self-Portrait. / Auger, P.

In: Huntington Library Quarterly, Vol. 80, 01.03.2017, p. 1-19.

Research output: Contribution to journal › Article › peer-review

Harvard

Auger, P 2017, 'The Octonaire in Thomas Smith’s Self-Portrait', Huntington Library Quarterly, vol. 80, pp. 1-19. https://doi.org/10.1353/hlq.2017.0000

APA

Auger, P. (2017). The Octonaire in Thomas Smith’s Self-Portrait. Huntington Library Quarterly, 80, 1-19. https://doi.org/10.1353/hlq.2017.0000

Vancouver

Auger P. The Octonaire in Thomas Smith’s Self-Portrait. Huntington Library Quarterly. 2017 Mar 1;80:1-19. https://doi.org/10.1353/hlq.2017.0000

Author

Auger, P. / The Octonaire in Thomas Smith’s Self-Portrait. In: Huntington Library Quarterly. 2017 ; Vol. 80. pp. 1-19.

Bibtex

@article{b6a7c1b97c0a471aa6ee82236a8e61db,
title = "The Octonaire in Thomas Smith{\textquoteright}s Self-Portrait",
abstract = "Thomas Smith{\textquoteright}s Self-Portrait (ca. 1680) is the earliest known self-portrait produced in New England and the only painting extant from this period identified with a specific artist. Smith is commonly assumed to have composed the eight-line poem “Why Why Should I the World Be Minding” that appears in the portrait. In fact, these verses are the English translator Josuah Sylvester{\textquoteright}s version of a French octonaire that was written by the Huguenot minister and author Simon Goulart and set to music by Paschal de L{\textquoteright}Estocart in the early 1580s. This discovery casts fresh light on how the arrangement of elements in the portrait was consistent with the aesthetic values of early American Puritan culture that the painting is taken to embody. Specifically, it calls attention to how the poem functions like a “motto” (the word used when the English poem was first printed in Sylvester{\textquoteright}s Devine Weekes, and Workes) that illuminates the spiritual significance of the portrait{\textquoteright}s emblematic features.",
author = "P Auger",
year = "2017",
month = mar,
day = "1",
doi = "10.1353/hlq.2017.0000",
language = "English",
volume = "80",
pages = "1--19",
journal = "Huntington Library Quarterly",
issn = "0018-7895",
publisher = "University of California Press",

}

RIS

TY - JOUR

T1 - The Octonaire in Thomas Smith’s Self-Portrait

AU - Auger, P

PY - 2017/3/1

Y1 - 2017/3/1

N2 - Thomas Smith’s Self-Portrait (ca. 1680) is the earliest known self-portrait produced in New England and the only painting extant from this period identified with a specific artist. Smith is commonly assumed to have composed the eight-line poem “Why Why Should I the World Be Minding” that appears in the portrait. In fact, these verses are the English translator Josuah Sylvester’s version of a French octonaire that was written by the Huguenot minister and author Simon Goulart and set to music by Paschal de L’Estocart in the early 1580s. This discovery casts fresh light on how the arrangement of elements in the portrait was consistent with the aesthetic values of early American Puritan culture that the painting is taken to embody. Specifically, it calls attention to how the poem functions like a “motto” (the word used when the English poem was first printed in Sylvester’s Devine Weekes, and Workes) that illuminates the spiritual significance of the portrait’s emblematic features.

AB - Thomas Smith’s Self-Portrait (ca. 1680) is the earliest known self-portrait produced in New England and the only painting extant from this period identified with a specific artist. Smith is commonly assumed to have composed the eight-line poem “Why Why Should I the World Be Minding” that appears in the portrait. In fact, these verses are the English translator Josuah Sylvester’s version of a French octonaire that was written by the Huguenot minister and author Simon Goulart and set to music by Paschal de L’Estocart in the early 1580s. This discovery casts fresh light on how the arrangement of elements in the portrait was consistent with the aesthetic values of early American Puritan culture that the painting is taken to embody. Specifically, it calls attention to how the poem functions like a “motto” (the word used when the English poem was first printed in Sylvester’s Devine Weekes, and Workes) that illuminates the spiritual significance of the portrait’s emblematic features.

UR - https://qmro.qmul.ac.uk/xmlui/handle/123456789/23108

U2 - 10.1353/hlq.2017.0000

DO - 10.1353/hlq.2017.0000

M3 - Article

VL - 80

SP - 1

EP - 19

JO - Huntington Library Quarterly

JF - Huntington Library Quarterly

SN - 0018-7895

ER -