An intimate and revealing portrait of the TV star who played J.R. on Dallas—as seen through the eyes of his daughter. When you have a very famous father, like mine, everyone thinks they know him. My dad, Larry Hagman, portrayed the ruthless oilman J.R. on the TV series Dallas. He was the man everyone loved to hate, but he had a personal reputation for being a nice guy who lived by his motto: DON’T WORRY! BE HAPPY! FEEL GOOD! Dad had a famous parent, too—Mary Martin, best known for playing Peter Pan on Broadway. Both were beloved performers, masters of crafting their public personas. But their relationship was complex and often fraught. In the hours before he died, I heard my dad beg for forgiveness, though he could not tell me what troubled him. After he died, I was compelled to learn why he felt the need to be forgiven. As I pursued the mystery of my happy-go-lucky, pot-smoking, LSD-taking dad, I came to know him—and my grandmother—better than I had known them in life.
An intimate and revealing portrait of the TV star who played J.R. on Dallas—as seen through the eyes of his daughter. When you have a very famous father, like mine, everyone thinks they know him. My dad, Larry Hagman, portrayed the ruthless oilman J.R. on the TV series Dallas. He was the man everyone loved to hate, but he had a personal reputation for being a nice guy who lived by his motto: DON’T WORRY! BE HAPPY! FEEL GOOD! Dad had a famous parent, too—Mary Martin, best known for playing Peter Pan on Broadway. Both were beloved performers, masters of crafting their public personas. But their relationship was complex and often fraught. In the hours before he died, I heard my dad beg for forgiveness, though he could not tell me what troubled him. After he died, I was compelled to learn why he felt the need to be forgiven. As I pursued the mystery of my happy-go-lucky, pot-smoking, LSD-taking dad, I came to know him—and my grandmother—better than I had known them in life.
In the Forbidden City and other palaces around Beijing, Emperor Qianlong (r. 1736-1795) surrounded himself with monumental paintings of architecture, gardens, people, and faraway places. The best artists of the imperial painting academy, including a number of European missionary painters, used Western perspectival illusionism to transform walls and ceilings with visually striking images that were also deeply meaningful to Qianlong. These unprecedented works not only offer new insights into late imperial China’s most influential emperor, but also reflect one way in which Chinese art integrated and domesticated foreign ideas. In Imperial Illusions, Kristina Kleutghen examines all known surviving examples of the Qing court phenomenon of “scenic illusion paintings” (tongjinghua), which today remain inaccessible inside the Forbidden City. Produced at the height of early modern cultural exchange between China and Europe, these works have received little scholarly attention. Richly illustrated, Imperial Illusions offers the first comprehensive investigation of the aesthetic, cultural, perceptual, and political importance of these illusionistic paintings essential to Qianlong’s world. Art History Publication Initiative. For more information, visit http://arthistorypi.org/books/imperial-illusions
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