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Books : Arts & Photography : Schools, Periods & Styles : Neoclassical
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This refreshingly direct study addresses 19th-century European art along with the forces that informed it. After introducing historical events and cultural and artistic trends from about 1760 that would exert their influence well into the new century, author Petra ten-Doesschate Chu discusses the advent of Modernism and its many interpretations. She considers the changing relationship between artist and audience; evolving attitudes toward the depiction of nature; and the confrontation of European artists with non-Western art due to expanding trade and travel. An impressive 550 illustrations-200 in full color-illustrate her themes.Incidents from individual artists' lives enrich the reader's understanding of the art, as do sidebars that focus on specific works, techniques, or historical circumstances. Although painting and sculpture are central in her narrative, Chu also covers a broad scope of visual culture, including architecture, decorative arts, and the burgeoning fields of photography and graphic design. A timeline, glossary, and thorough bibliography, listing not only books but also films related to the period, complete this major achievement.
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"An important phase in the history of decorative arts is here given authoritative treatment."—Interior Design
The impact of Japan on Western art was as immediate and almost as cataclysmic as the influence of the West on Japanese life. After Commodore Perry opened Japan's door to the outside world in1858—ending a 200-year period of total isolation—a wealth of visual information from the superb Japanese traditions of ceramics, metalwork, architecture, printmaking, and painting reached the West and brought with it electrifying new ideas of composition, color, and design.
One has only to see a celebrated painting by Monet, Degas, Whistler, or van Gogh, a print by Toulouse-Lautrec, an Art Nouveau glass vase, or a lacquered hair comb side by side with its Japanese source to see how these ideas have inspired European artists. Nor is the influence a superficial one: Japanese conventions of symbolism underlie the use of decorative motifs in European Symbolism and Art Nouveau, and the Zen idea of spontaneity is the ultimate source of both the apparently capricious shapes of Art Nouveau objects and the development of an abstract "calligraphy" in Abstract Expressionism.
Siegfried Wichmann, the acknowledged expert on Japonisme, accompanies the breathtaking illustrations with a text that organizes a wealth of detail and opens up new lines of inquiry. 1,105 illustrations, 243 in color.
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In art as in music, literature, philosophy, and political economy, the nineteenth century was a period of questioning, experimentation, discovery, and modernization. From Goya to Blake, from David to Delacroix, from Courbet to Cézanne, artists explored the links between perception and history, and in so doing challenged the prevailing definitions of art and the existing order of society. First published in 1994, this innovative and ground-breaking survey details the development of a critical perspective in nineteenth-century painting and sculpture. For the revised edition, a new introduction by Stephen Eisenman provides a cogent overview of the century, its issues, and its art. Three completely new chapters have been added, which discuss photography and its crucial role in nineteenth-century art; American and German landscape painting and its effect on the growth of romantic nationalism in each country; and Toulouse-Lautrec, whose popular appeal consists both in his work's novel technique and medium and in its exotic sexual perspectives. Nineteenth Century Art embraces many aspects of the "new" art history—attention to issues of class and gender, racism, and Eurocentrism—but it also emphasizes the remarkable vitality and subversiveness of the era's best art. Indeed, nineteenth-century artists addressed many of the aesthetic, political, and moral issues that preoccupy audiences and historians today, such as the relationship between popular and elite culture, and the representation of women and non-European peoples in Western art. This rich and diverse volume demonstrates that nineteenth-century art remains compelling today because its critical insights have rarely been surpassed. It will prove of interest not only to the specialist, but to anyone fascinated by the art, history, and culture of the era. 428 illustrations, 63 in color.
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In A Social History of Modern Art, a sweeping multivolume social history of Western art from the French Revolution to World War I, Albert Boime moves beyond the concern with style and form that has traditionally characterized the study of art history and, in the tradition of Arnold Hauser, examines art in a broad historical context. Into his wide-ranging cultural inquiry Boime incorporates not only frequently studied mainstream artists and sculptors but also neglected and lesser known artists and unattributed popular imagery. He examines popular as well as official culture, the family as well as the state, and the conditions of the poor as well as of the affluent that affected cultural practice.
This inaugural volume explores the artistic repercussions of the major political and economic events of the latter half of the eighteenth century: the Seven Years' War, the French Revolution, and the English industrial revolution. Boime examines the prerevolutionary popularity of the rococo style and the emergence of the cult of antiquity that followed the Seven Years' War. He shows how the continual experiments of Jacques-Louis David and others with neoclassical symbols and themes in the latter part of the century actively contributed to the transformation of French and English politics. Boime's analyses reveal the complex relationship of art with a wide range of contemporary attitudes and conditions—technological innovation, social and political tensions, commercial expansion, and the growth of capitalism.
"Provocative and endlessly revealing."—Christopher Knight, Los Angeles Herald Examiner
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In this second volume, Albert Boime continues his work on the social history of Western art in the Modern epoch. This volume offers a major critique and revisionist interpretation of Western European culture, history, and society from Napoleon's seizure of power to 1815. Boime argues that Napoleon manipulated the production of images, as well as information generally, in order to maintain his political hegemony. He examines the works of French painters such as Jacques-Louis David and Jean Auguste Dominique Ingres, to illustrate how the art of the time helped to further the emperor's propagandistic goals. He also explores the work of contemporaneous English genre painters, Spain's Francisco de Goya, the German Romantics Philipp Otto Runge and Caspar David Friedrich, and the emergence of a national Italian art.
Heavily illustrated, this volume is an invaluable social history of modern art during the Napoleonic era.
Stimulating and informative, this volume will become a valuable resource for faculty and undergraduates.—R. W. Liscombe, Choice
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With its fluid organic forms and its devotion to beauty in design, art nouveau has enjoyed great popularity, both at its inception and during the modern resurgence of interest and enthusiasm. Alastair Duncan tells the story of its meteoric rise from its origins as a reaction by young artists and designers to the traditionalism and revivalism of the mid-19th-century fine and decorative arts. The "new art" first made itself felt around 1895, in architecture, furniture, glass, ceramics and the other applied arts, and fell into eclipse after World War I, until its rediscovery in the 1960s. The author recounts the history of this important and influential movement in detail, introducing the main personalities - Galle, Lalique, Tiffany and others - and relating their aims and accomplishments to the background from which the movement emerged. Alastair Duncan, for 14 years associated with Christie's, New York, is an independent consultant on the decorative arts and a recognised authority on art nouveau and art deco. His many books include "Art Nouveau Furniture" (1982) "Art Deco" (1988) and "Louis Majorelle" (1991), all published by Thames and Hudson.
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This book focuses on Jacques-Louis David's Marat, one of the key works of art created during the period of the French Revolution and one of the most important works of Western painting. Providing an introduction that outlines the general history of the painting, it provides six new essays, each specially written for this volume, which examine the work from a variety of methodologies, including feminist, psychoanalytic and material analysis approaches. Each of these essays provides for a broader and deeper understanding of the painting, the circumstances in which it was created and commissioned, and its critical and art historical reception over two centuries.
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The Musee D'Orsay in Paris, formerly a grand train station, houses one of the world's finest collections of 19th-century art. Opened as a museum in 1986, its constant flow of traffic is a testament to a worldwide love affair with impressionist art. While the museum contains an extensive collection of drawings, sculpture, decorative arts, architecture, and photography from 1848-1914, its true pride is its collection of paintings. Flip through pages of work by some of history's most celebrated artists: Ingres, Delacroix, Manet, Degas, Renoir, Monet, Cézanne, Rodin, Van Gogh, Gauguin, and Toulouse-Lautrec. While the bulk of the 240 color illustrations are devoted to paintings, a fine selection of the museum's entire collection is reproduced here.
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From the European revolutions of 1848 through the Italian independence movement, the American Civil War, and the French Commune, the era Albert Boime explores in this fourth volume of his epic series was, in a word, transformative. The period, which gave rise to such luminaries as Karl Marx and Charles Darwin, was also characterized by civic upheaval, quantum leaps in science and technology, and the increasing secularization of intellectual pursuits and ordinary life. In a sweeping narrative that adds critical depth to a key epoch in modern art’s history, Art in an Age of Civil Struggle shows how this turbulent social environment served as an incubator for the mid-nineteenth century’s most important artists and writers.
Tracing the various movements of realism through the major metropolitan centers of Europe and America, Boime strikingly evokes the milieus that shaped the lives and works of Gustave Courbet, Edouard Manet, Émile Zola, HonorÉ Daumier, Walt Whitman, Abraham Lincoln, and the earliest photographers, among countless others. In doing so, he spearheads a powerful new way of reassessing how art emerges from the welter of cultural and political events and the artist’s struggle to interpret his surroundings. Boime supports this multifaceted approach with a wealth of illustrations and written sources that demonstrate the intimate links between visual culture and social change. Culminating at the transition to impressionism, Art in an Age of Civil Struggle makes historical sense of a movement that paved the way for avant-garde aesthetics and, more broadly, of how a particular style emerges at a particular moment.
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This chronological anthology of recent critical scholarship on 19th-century European art represents a wide range of current methodologies and issues. The book features recent scholarship — since the mid-1980s; represents a diversity of methods; deals with major figures of 19th-century art; emphasizes French art — reflecting the interests of recent scholarship and a contemporary focus; and focuses on the concerns of recent scholarship — e.g., the recurrence of themes such as the female nude, the role of the critic, and exhibitions and institutions.
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Featuring British, European, and American houses from the 1850s to the 1930s, this concentrated examination provides fresh insight into the lives of the architects and clients who fostered a dynamic movement that has enduring popular appeal. Including an introduction to the sociopolitical background of the movement and its rejection of industrialization, this is an essential sourcebook for period decorators and others drawn to the craftsmanship, vernacular materials, and motifs that characterize Arts and Crafts style. The pivotal roles played by William Morris, Philip Webb, Gertrude Jekyll, Gustav Stickley, and others are richly documented. 180 color illustrations.
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Traces the life and career of one of the world's greatest painters and analyzes Rembrandt's paintings, discussing the artist's use of light and assessing his powerful and perceptive portraits. Original.
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Between 1760 and 1800, British aristocrats became preoccupied with the acquisition of ancient Greek and Roman artifacts. From marble busts to intricately painted vases, these antiquities were amassed in vast collections held in country houses and libraries throughout Britain. In Fabricating the Antique, Viccy Coltman examines these objects and their owners, as well as dealers, restorers, designers, and manufacturers. She provides a close look at the classical revival that resulted in this obsession with collecting antiques.
Looking at the theoretical foundations of neoclassicism, Coltman contends this reinvention of ancient material culture was more than a fabrication of style. Based in the strong emphasis on classical education during this time, neoclassicism, Coltman claims, could be more accurately described as a style of thought translated into material possessions. Fabricating the Antique is a new take on both well-known collections of ancient art and newly cataloged artifacts. This book also covers how these objects—once removed from their original context—were received, preserved, and displayed. Art historians, classicists, and archaeologists alike will benefit from this important examination of British eighteenth-century history.
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A marvellous repose: American neo-classical sculpture, 1825-1876 : November 16, 1996-January 4, 1997
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