Abstract
By analyzing theatrical aspects of Junius Brutus Stearns’s earliest extant history painting, Hannah Duston Killing the Indians (1847), and by examining how class divisions among various New York audiences affected its reception, this essay illuminates the importance as well as the limitations of melodrama as a strategy employed by American painters during the 1840s—a decade during which political and class tensions in New York gave rise to heated battles over what kind of theater best represented the city and the nation.
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