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Written by a group of highly respected art historians, the fifth edition of this classic book now features full-colour artworks throughout, new chapter introductions, examinations of key ideas, and other helpful pedagogical support. Emphasizing the vitality of 19th-century art, the authors demonstrate how paintings, sculptures, prints and drawings by David, Gericault, Turner, Homer, Cassatt, Rodin, Van Gogh and many others remain relevant today. Using evocative and lucid prose, the authors reveal how concerns about class and gender, race and ethnicity, modernity and tradition, and popular and elite culture - ideas that arose in the course of the 19th century - motivated artists and propelled the movements under review.
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This book presents an interdisciplinary and inclusive view of nineteenth-century art, observed from the vantage point of the new twenty-first century. The areas of expertise represented by these twenty-eight essays span the full range of nineteenth-century studies, and include discussions of such artistic styles as romanticism, realism, impressionism, and art nouveau, as well as early twentieth-century movements that owe their formative influence to the nineteenth century. Topics span the historical gamut from eighteenth-century influences to the roots of twentieth-century modernism, considering along the way such themes as the depiction of women, Orientalism, art criticism, evolutionary theory, political propaganda, history painting, landscape, and national identity.
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• Introduction-- Classicism and Romanticism-- New World Frontiers-- Realism and Naturalism-- Modern Art and Life.
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The indispensable one-volume reference work on 19th-century art in Europe and America has been substantially updated and enlarged. In this edition, two completely new chapters examine the varied facets of architecture and design from 1790 to 1851, and from mid-century leading into the early twentieth century. In addition, there are new sections on challenges to academic painting in Russia and on the Vienna Secession, and Pre-Raphaelitism in England and the rise of naturalism in Germany are considered in greater depth. Many more illustrations are now in colour. A rich and diverse volume, "Nineteenth Century Art: A Critical History" will interest students, specialists and anyone fascinated by this dynamic period.
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• Part 1. 1776-1815. PAINTING. Changes in History Painting. Crossing the Atlantic: Anglo-American. Connections and the Wooing of John Singleton Copley. France. Jacques-Louis David. Challenging Apollo: David and the Martyrdom of Jean-Paul Marat. Francisco de Goya y Lucientes Goya and the Imaging of Royalty in Spain. The Rise of Romanticism in England. The NeoclassicRomantic Dilemma. Painting in France after David. The Primitifs: An Early Artistic Brotherhood in the Nineteenth Century. The Image of the Ruler. Varieties of Landscape Painting. The Nazarenes. The Nazarenes: German Romantics in Rome. Romantic Meditations in Germany and France. SCULPTURE. Introduction. England. Scandinavia. France. A 'Pedestrian Statue': Houdon, Jefferson, and Washington. Antonio Canova. The Early Thorvaldsen. Austria and Germany.
• Part 2. 1815-1848. PAINTING. Retrospection and Introspection: The Congress of Vienna and Late Goya. TheA'odore GeA'ricault. GeA'ricault and The Raft of the Medusa. Delacroix, Ingres, and the Romantic-Classic Conflict in France. Turner and Romantic Visionaries. Turner and his Champion, John Ruskin: The Snowstorm at Sea and the Oscillating Critic. Constable and Romantic Naturalism. From History Painting to Biedermeier. Caspar David Friedrich's Woman by the Window. Empirical Directions. Social Observers. SCULPTURE. Introduction. The Mature Thorvaldsen. England. The United States. Italy. Germany. France. Baudelaire and the Challenge for Sculpture in the Mid-Nineteenth Century. The Romantic Theory of Sculpture.
• Part 3. 1848-1870. PAINTING. The 1848 Revolution: Some Pictorial Responses. Jean-Francois Millet and Peasant Painters. Rosa Bonheur: Painting in the Nivernais. Gustave Courbet. Materialism versus Idealism. Courbet, the Pavillion du ReA'alisme, and The Painter's Studio in
• 1855. Poverty and Piety. The Pre-Raphaelite Brotherhood. Cross-cultural Reactions to the Pre Raphaelites: John Ruskin and Eugene Delacroix. History Painting. Menzel, Modernity and Realism in Germany. Escapist Modes in Figure and Landscape Painting. Frederic Edwin Church, Cotopaxi, and the American Sublime. The 1860s: Manet and Painting in Paris. Painting Out-of Doors: Toward Impressionism. Silvestro Lega and the Macchiaioli. SCULPTURE. France. Carpeaux and La Danse: The Tribulations of Public Art. Italy. England. The United States Germany and Austria.
• Part 4. 1870-1900. PAINTING. Reflections of the Franco-Prussian War.
• 1874: The First Impressionist Exhibition.
• 1874: At the Paris Salon and the Royal Academy. The 1870s: From Realism to Aestheticism. Interiors: Domestic and Erotic. Changes in History Painting and Portraiture. Sargent's "Broken Realism": The Bolt Sisters. National Landscape. Paul CeA'zanne. Georges Seurat and Neo-Impressionism. Seurat and Pointillism: The Dot as Marxist Matrix. Vincent van Gogh. Ensor, Klinger, Redon. Paul Gauguin and the Origins of Symbolism. Gauguin, Reprised Romanticism, and Christian Symbolism. The 1890s: Postscript and Prologue. SCULPTURE. Introduction. France. Italy. Belgium. Germany. England. Leighton's Athlete Wrestling with a Python: A Restless Modernity. The United States. Postscript: The Fin de Sie'cle. Bibliography. Photographic Credits. Index.
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Appropriate for Art majors. Originally published twenty years ago, Nineteenth Century Art, Second Edition remains true to the original, with its superior survey of Western painting and sculpture presented in four historical parts, beginning in 1776 and ending with the dawn of the new century. This text draws on the historical documentation of the period, tracing the dynamics of the making and viewing of art, and examining the reciprocal influences of art and technology, art and politics, art and literature, art and music.
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The indispensable one-volume reference work on 19th-century art in Europe and America has been substantially updated and enlarged. This second edition contains: a revised, expanded and illustrated Introduction; 3 new chapters - Landscape Art and Romantic Nationalism in Germany and America; Photography, Modernity and Art; and The Appeal of Modern Art: Toulouse-Lautrec; fully updated selected bibliography; a revised list of Illustrations and Index; 47 new monochrome illustrations; 13 new colour illustrations.
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• Andrew McClellan, The Musee du Louvre as Revolutionary Metaphor During the Terror. Janis Tomlinson, Burn It, Hide It, Flaunt It: Goya's Majas and the Censorial Mind. Timothy Mitchell, What Mad Pride! Tradition and Innovation in the RAMDOHRSTREIT. Wendy Leeks, Ingres Other-Wise. Patricia Mainardi, The Political Origins of Modernism. Deborah Johnson, Confluence and Influence: Photography and the Japanese Print in
• 1850. Michael Fried, Manet in His Generation: The Face of Painting in the 1860s. Paul Tucker, The First Impressionist Exhibition and Monet's Impression, Sunrise: A Tale of Timing, Commerce and Patriotism. Carol M. Armstrong, Edgar Degas and the Representation of the Female Body. Zeynep A A elik and Leila Kinney, Ethnography and Exhibitionism at the Expositions Universelles. Hollis Clayson, The Family and the Father: The Grand Jatte and Its Absences. Tamar Garb, Berthe Morisot and the Feminizing of Impressionism. Anne M. Wagner, Rodin's Reputation.
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A supplement to upper-level undergraduate courses in Nineteenth-Century European Art. This chronological anthology of recent critical scholarship on 19th-century European art represents a wide range of current methodologies and issues.
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• Part 1 Conformity and innovation.
• Part 2 Classicism, historicism, romanticism: patriotism and virtue - David to the Young Ingres-- classicism in crisis - Gros to Delacroix-- the end of Enlightenment - Goya-- visionary history painting - Blake and his contemporaries-- historical nature - Constable, Turner and Romantic landscape painting.
• Part 3 New World frontiers: Old World, New World - the encounter of cultures on the American frontier - King, Catlin and Cohoe-- black and white in America - Homer, Lewis, Eakins and Tanner.
• Part 4 Realism and naturalism: the generation of 1830 and the crisis in the public sphere-- the rhetoric of realism - Courbet and the origins of the avant-garde-- the decline of history painting - naturalism, individualism and French salon art.
• Part 5 Modern art and life: Manet and the Impressionists-- issues of gender in Cassatt and Eakins-- mass culture and Utopia - Seurat and Neo-Impressionism-- abstraction and populism - Van Gogh-- symbolism and the dialectics of retreat-- the failure and success of Cezanne.
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In art, as in every field, the 19th century was a period of experimentation: in which artists divined and portrayed the crucial connections between seeing and knowing, vision and society, explored the links between perception and history. Today, this legacy has been obscured by revisionism's that have changed art history. This book embraces the "new" methods while recovering the vitality, salience and subversiveness of the era's best art. This volume suggests that 19th-century art remains compelling today because its critical insights have rarely been surpassed. It will be of interest not just to the specialist, but to anyone fascinated by this unique period.
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Ranging right across a period of baffling and complex social, political and cultural changes, this masterly introduction to the visual arts identifies the major concepts and stylistic characteristics of an age which encompassed movements as varied as Neoclassicism and Impressionism. The author begins with a consideration of both Neoclassical and Romantic currents. He looks at the roles of such eminent figures as Benjamin West and Sir Joshua Reynolds, and considers the work of the leading artists of both movements - David, Ingres and then Goya and Rodin (among others). He goes on to an examination of the effect of the romantic sensibility on English landscape painting with particular attention to the work of Turner and Constable. The book also covers the French Realist and Impressionist movements and the final chapter considers the Post-Impressionists, the pre-Raphaelites, Whistler and the exponents of the growing Arts and Crafts movement.
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• Acknowledgements.A Note on the Presentation and Editing of Texts.General Introduction.Part I: Feeling and Nature:1. Originality and Genius.2. Responses to Nature.Part II: The Demands of the Present:3. Utility and Revolution.4. Art and Nature Moralised.5. Systems and Techniques.6. The Individual in the Present.Part III: Modernity and Bourgeois Life:7. Modern Conditions.8. Realism and Naturalism.9. Morals and Standards.10. The Conditions of Art.Part IV: Temperaments and Techniques:11. Effects and Impressions.12. Photography as an Art.13. Science and Method.Part V: Aesthetics and Historical Awareness:14. Empathy and the Problem of Form.15. Cultural Criticism.16. The Independence of Art.Part VI: The Idea of Modern Art:17. Modernist Themes: Paris and Beyond.18. Expression and Colour.19. Symbolism.Bibliography.Copyright Acknowledgements.Index.
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"Art in Theory 1815-1900" provides the most wide-ranging and comprehensive collection of documents ever assembled on nineteenth-century theories of art. Like its highly successful companion volume, "Art in Theory 1900-1990", also edited by Charles Harrison and Paul Wood, its primary aim is to provide students and teachers with the documentary material for informed and up-to-date study. Its 260 texts, clear organization and considerable editorial content in this anthology furnish a vivid and indispensable introduction to the history of the art of the period. The anthology is also invaluable to anyone interested in the wider cultural debates of the nineteenth century, and in the development of modern aesthetic theories. Harrison, Wood and Gaiger collect writings by artists, critics, philosophers and literary figures, some reprinted in their entirety, others excerpted from longer works. Among the major themes treated are concepts of genius and originality, modes of landscape painting, approaches to Realism, the question of Modernity and debates over Impressionism, theories of optics and color, the aesthetics of photography, and the rise of photography. Each section is prefaced by an essay that situates the ideas of the period in their historical context, while relating theoretical concerns and debates to developments in the practice of art. Each text is briefly introduced by an outline giving the circumstances of its original appearance and indicating its relevance to the development of modern artistic theory. An extensive bibliography is also provided.
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• La critique d'art et ses conditions actuelles.--Le Musée du Louvre.--Le dessin chez Léonard de Vinci.--Les paysagistes et l'étude d'après nature.--Claude Fabri de Peiresc et sa correspondance.--Constantin Huygens: un homme d'état ami des arts, en Hollande.