ARTH 434 Nineteenth-Century Art

This is a reconsideration of the origins of modern painting, sculpture and photography in Europe and North America. In the arenas of art and representation, the nineteenth century was a time of questioning, experimentation, discovery and modernization; artists challenged, as never before, prevailing definitions of art and the social order.

Using the tools of the "new" art history (feminism, Marxism, social context, etc.) An Introduction to Nineteenth-Century Art offers a richly textured, yet clear and logical, introduction to nineteenth-century art and culture. Michelle Facos goes beyond existing histories of nineteenth-century art, which often focus solely on France, Britain, and the United States, to incorporate artists and artworks from Scandinavia, Germany, and Eastern Europe.

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 book 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.

This essential survey of European art and visual culture in the nineteenth-century treats art forms within a broad historical framework to show the connections between visual cultural production and the political, social, and economic order of the time.

The authors seek to explain the most important issues confronting any study of modern art, without attempting exhaustive coverage. The books present a range of approaches characteristic of current art-historical debates. The book focuses on aspects of Realism, Impressionism and Post-Impressionism in Paris between about 1848 and 1900.

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 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.

Art in Theory 1815-1900 provides a wide-ranging and comprehensive collection of documents on nineteenth-century theories of art.

Beginning with The Great Exhibition of 1851 in London, Brettell follows the development of the major European avant-garde groups: the Realists, Impressionists, Post-Impressionists, Symbolists, Cubists, and Surrealists. Giving attention to the changing social, economic, and political climate, the book focuses on conditions for the development of modern art such as urban capitalism, modernity, and the accessible image made possible by art museums, temporary exhibitions, lithography, and photography.

Hudson River School paintings are among America's most admired and well-loved artworks. Such artists as Thomas Cole, Frederic Church, Albert Bierstadt, and Martin Johnson Heade left a powerful legacy to American art, embodying in their epic works the reverence for nature and the national idealism that prevailed during the middle of the nineteenth century. Each work is beautifully reproduced in full color and is accompanied by a concise description of its significant and historical background. The book also includes artists' biographies and a brief introduction to American nineteenth-century landscape painting.

Barbara Novak illuminates what is essentially American about American art. She highlights not only those aspects that appear indigenously in our art works, but also those features that consistently reappear over time. Novak examines the paintings of Washington Allston, Thomas Cole, Asher B. Durand, Fitz H. Lane, William Sidney Mount, Winslow Homer, Thomas Eakins, and Albert Pinkham Ryder. She draws provocative and original conclusions about the role in American art of spiritualism and mathematics, conceptualism and the object, and Transcendentalism and the fact. She analyzes not only the paintings but nineteenth-century aesthetics as well, achieving a unique synthesis of art and literature.

Ambroise Vollard (1867-1939) played a key role in the transformation of the art world in the late 19th century. A pioneering Parisian dealer, Vollard introduced many of the era's leading artists to the public.
Vollard's groundbreaking exhibition in 1895 of Cezanne's work definitively established the artist's reputation, and Vollard subsequently organized major exhibitions of the Nabis, Gauguin, and Van Gogh; promoted the work of artists ranging from Degas to Rouault to the Fauves; and gave many young artists, including Picasso and Matisse, their first solo shows.
This important volume features twenty-two essays that examine Vollard's career and expertise in the art market, his relationships with individual artists and collectors, and a wealth of previously unpublished material from the newly available archive of Vollard's documents and from the archives of the artists he represented.

The period of Neoclassicism in the visual arts was an age of Classicalevival, drawing directly on antiquity itself. At a time when archaeologistsere making fresh dicoveries and The Grand Tour of ancient sites in theediateranian was in vogue, Neoclassicism flourished and spread in allirections as far as St Petersburg, Philadelphia and Sydney.;Neoclacissismas the favourite style of Napoleon and Thomas Jefferson and became the mostervasive stle in the history of European art. David Irwin's text providesnsight into the richness and variety of the movement and embraces allanifestations of Neoclassicism from its broad territorial scope to itsppeal for every branch of art.

Here is a rich, informative introduction to an exciting period in art history. Neoclassicism, which arose during the 18th century's Age of Enlightenment, was inspired by the rationality, simplicity, and grandeur of ancient Greece and Rome. In fact, many of its greatest works reflect archaeological discoveries of the time. In reaction to this austere style, Romanticism sought to re-infuse art with passion, drama, and mysticism. Here are the key masterpieces of both schools;works by Canova, Constable, Copley, David, Blake, Delacroix, Gericault, Turner, Ingres, and others;complete with biographies of the artists, and accompanied by a text that illuminates the ideas and events that shaped an era of artistic ferment.

Romanticism was "a way of feeling" rather than a style in art in the period c.775-1830. Against the background of the French Revolution and Napoleonic wars, artists, poets and composers across Europe initiated their own rebellion against the dominant political, religious and social ethos of the day. Their quest was for personal expression and individual liberation, directness and spontaneity, with an emphasis on the unique integrity of every work. In the process, the Romantics changed the idea of art, seeing it as an instrument of social and psychological change.;In this comprehensive volume,David Blayney Brown takes a thematic approach to this fascinating period of art history, relating it to the concurrent, more stylistic movements of neoclassicism and the Gothic Revival, and discussing its integral relationship with the political and social developments of the era.

Contents:
1. The nature of realism --
2. Death in the mid nineteenth century --
3. 'Il faut être de son temps' : realism and the demand for contemporaneity
4. The heroism of modern life.

Contents:
The fingerprint : a vignette --
Romanticism : the permanent revolution --
Caspar David Friedrich and the language of landscape --
The Romantic vignette and Thomas Bewick --
The reproductive image and photography --
The Juste milieu and Thomas Couture --
Realism and the avant-garde --
The recovery of the past and the modern tradition --
The ideology of the licked surface : official art.

Published in conjunction with an exhibition that originated at The Metropolitan Museum of Art in New York and is scheduled to travel to several locations during 1994 and 1995. Serving as both a catalog and an exposition, this abundantly illustrated volume explores the continuities and differences between American Impressionism and Realism, two movements that are traditionally viewed as merely opposed. The thrust of the exhibition (and this volume) is to forge a new approach to an area of American art history that has heretofore tended more towards description than interpretation, offering historical and social contexts for the works and movements under consideration as well as stylistic analyses, and a biography of each of the 26 artists in the exhibition. Distributed by Abrams. Annotation c. by Book News, Inc., Portland, Or.

Considered revolutionary in the 19th century, the Impressionists sought to capture on canvas the immediacy of experience. This book offers a scholarly (yet accessible) treatment of the art and cultural and intellectual context of Impressionism.

Sumptuously illustrated with many of the most beautiful Impressionist images, this book presents provocative new interpretations of a wide range of famous masterpieces, showing how they were fully integrated into the social and cultural life of the times.

The essays in this wide-ranging, beautifully illustrated volume capture the theoretical range and scholarly rigor of recent criticism that has fundamentally transformed the study of French Impressionist and Post-Impressionist art. Readers are invited to consider the profound issues and penetrating questions that lie beneath this perennially popular body of work as the contributors examine the art world of late nineteenth-century France--including detailed looks at Monet, Manet, Pissarro, Degas, CÉzanne, Morisot, Seurat, Van Gogh, and Gauguin. The authors offer fascinating new perspectives, placing the artworks from this period in wider social and historical contexts. They explore these painters' pictorial and market strategies, the critical reception and modern criteria the paintings engendered, and the movement's historic role in the formation of an avant-garde tradition. Their research reflects the wealth of new documents, critical approaches, and scholarly exhibitions that have fundamentally altered our understanding of Impressionism and Post-Impressionism. These essays, several of which have previously been familiar only to scholars, provide instructive models of in-depth critical analysis and of the competing art historical methods that have crucially reshaped the field.

The Symbolist art movement of the late nineteenth century forms an important bridge between Impressionism and Modernism. But because Symbolism, more than the two movements it links, emphasizes ideas over objects and events, it has suffered from vague and conflicting definitions. In Symbolist Art in Context,Michelle Facos offers a clearly written, comprehensive, and accessible description of this challenging subject. Reaching back into Romanticism for Symbolism's origins, Facos argues that Symbolism enabled artists (including Munch and Gauguin) to confront an increasingly uncertain and complex world--one to which pessimists responded with themes of decadence and degeneration and optimists with idealism and reform.

Henri Dorra, in his comprehensive new book, presents the development and the aesthetic theories of the symbolist movement in art and literature. Included are writings (many never before translated or reprinted) by artists, designers, architects, and critics, along with Dorra's learned commentary. Fifty photographs of symbolist works complement his encyclopedic coverage. Dorra traces symbolism and its roots from artist to artist and critic to critic from the 1860s to the early twentieth century. The decorative arts and architecture are examined as well as painting and sculpture. The Arts and Crafts movement, art nouveau, the work of Eiffel in France and Sullivan in the United States are all well represented. The close relations between symbolist poets and artists are reflected in the chapter on literary developments. Baudelaire, Rimbaud, Verlaine, and Mallarmeacute; are here, but so, too, are writers less well-known. A section on the Post-Impressionists and the "Artists of the Soul" rounds out Dorra's rich and varied text, and his epilogue lays the groundwork for what was to follow symbolism. Dorra beautifully integrates the different aesthetic branches of symbolism, the different media and national variations, without ever losing sight of the whole. The historical context provided makes this a particularly appealing collection for students and scholars of art history and literature, as well as for anyone interested in the evolution of symbolism.

Lawrence Alma-Tadema was the quintessential Classicist painter, taking many of his themes from Greek & Roman Mythology. His work has a rich dream-like quality which is well illustrated in this book.

William Blake: The Painter at Work offers an innovative and revealing approach to one of the most individual of all British artists. Although the highly idiosyncratic nature of Blake's techniques has long been recognized, this is the first book to explore the practical methods behind his unique style--providing a fuller understanding of exactly how this secretive artist worked as a painter. Richly illustrated with Blake's temperas, watercolors, and color prints and drawings, the book includes essays by leading international authorities who illuminate Blake's techniques and materials using up-to-the-minute research methods. The book consists of four main sections. Introductory chapters are followed by essays on Blake's watercolors, large color prints, and temperas.

Examines the works of the American impressionist painter and her place in the art world of the late nineteenth century.

"Published in conjunction with the exhibition Cézanne, held at the Galleries nationales du Grand Palais, Paris, September 25, 1995, to January 7, 1996, the Tate Gallery, London, February 8 to April 28, 1996, and the Philadelphia Museum of Art, May 30 to August 18, 1996"-

"This book is the catalogue of an international exhibition of Chardin's work, timed to coincide with both the twentieth anniversary of the great 1979 Chardin exhibition and the tercentenary of the painter's birth. Beginning at the Grand Palais in Paris, the exhibition travels to the Kunstmuseum im Ehrenhof in Dusseldorf, the Royal Academy of Arts in London, and The Metropolitan Museum of Art in New York."

This beautifully illustrated book, focusing on a selection of later paintings and drawings by Jacques-Louis David, is published to accompany the first major exhibition of the artist's work in the United States. Organized by the Sterling and Francine Clark Art Institute and the J. Paul Getty Museum, this exhibition of 27 paintings and 29 drawings is also the first to examine the transformation of David's art during the post-Revolutionary period. Each of the works, many of which were previously unknown or inaccessible, is reproduced in color and accompanied by an entry with complete scholarly information.

This compact and appealing volume is the second in the Artists in Focus series from The Art Institute. It is intended for the general reader, but the quality of the works featured and the eloquence of their authors will attract students and scholars.

#Catalog of an exhibition held at the Metropolitan Museum of Art, Oct. 1, 1997-Jan. 11, 1998.#Includes bibliographical references and index.
When Edgar Degas died in 1917, his enormous art collection, consisting of several thousand paintings, drawings, and prints, came to light. This remarkable assemblage included great numbers of works by the French nineteenth-century masters whom Degas revered - Delacroix, Ingres, and Daumier - and at the same time demonstrated Degas's profound interest in the art of certain of his contemporaries, particularly Manet, Cezanne, Gauguin, and Mary Cassatt.

Responding to resurgent interest in nineteenth-century French painting--with its rich connections to revolutionary politics, exoticism, romance, and nationalism--Barthélémy Jobert offers this long-awaited, first comprehensive book on one of the period's greatest and most elusive artists: Eugene Delacroix (1798-1863). This solitary genius produced stormy, romantic works like The Death of Sardanapalus and then turned to more classically inspired paintings, such as Liberty Leading the People--a fact that has never been fully explained. I

In this penetrating and daring biography of Paul Gauguin (1848P1903), Mathews traces the themes of sex and violence through the artist's life, from the near-murderous quarrels of his grandparents to his abusive treatment of his wife to his sexual encounters in French Polynesia. 80 illustrations.

This beautifully illustrated volume presents French Romantic painter Théodore Géricault in a fascinating new light: through his works that addressed the physical and psychological torments of modern life. The book presents hundreds of images of Géricault's paintings, in stunning full-color reproductions, to show how his emphasis on the suffering inherent in modern existence represented a completely new way of depicting life. Four essays by scholars steeped in Géricault and his period round out the volume, which will be essential for fans of the Romantic tradition.

An overview of Gérôme's oeuvre from his sources of inspiration to his influences on others. The public perception of Jean-Léon Gérôme has changed greatly over the past decades. Long stigmatized as an emblem of sterile academicism, he is now considered one of the nineteenth century's great image makers. This catalog highlights and analyzes his bountiful expression of a visual grammar that takes illusionist obsession to the limits of the bizarre and establishes a resonance with all visual arts, including prints, photography, and cinema.

With characteristic critical fervor and sure-eyed insight, Hughes brings us the story of an artist whose life and work bridged the transition from the eighteenth-century reign of the old masters to the early days of the nineteenth-century moderns. With his salient passion for the artist and the art, Hughes brings Goya vividly to life through dazzling analysis of a vast breadth of his work. Building upon the historical evidence that exists, Hughes tracks Goya's development, as man and artist, without missing a beat, from the early works commissioned by the Church, through his long, productive, and tempestuous career at court, to the darkly sinister and cryptic work he did at the end of his life.

Francisco José de Goya y Lucientes spent the last four years of his life living in Bordeaux with other political émigrés from Spain and South America. In those years he created small-scale, intimate pieces, including uncommissioned portraits of friends and family, miniature paintings on ivory plaques, and numerous drawings and lithographs. These works attest to the artist's continuing vitality in his old age and also offer insight into his life in Bordeaux.

"This volume unites texts by American and European scholars with the most complete visual presentation ever of Ingres's portraits. The biographical essays and the catalogue entries provide fresh insights based on examination and interpretation of original correspondence, contemporary reviews, and newly discovered documents; supplementing these are an introduction that discusses Ingres's sources of inspiration, essays on the critical reception of the portraits and on the artist's use of assistants, and a detailed illustrated chronology."

Today, it seems astonishing that the work of Edouard Manet (1832-83), the master French painter, was controversial in his day. His subversive handling of both paint and subject matter, coupled with his detached gaze, shocked contemporaries--but established him as the father of modern painting. This remarkable book, published to accompany an important traveling exhibition, explores the artist's stylistic evolution in the context of his portraiture.

An overview of the artist's scope of work. The highlights are: Important works; illustrations with an index for each work; details on each illustration with its size and where it is displayed.

Gustave Moreau (1826-1898) was one of the most influential and idiosyncratic painters of the nineteenth century. He developed a reputation as an artistic hermit, committed to a highly personal vision of painting that combined myth, mysticism, history, and a fascination with the bizarre and exotic. Yet Moreau was also a prominent public figure in the Paris art world, winning praise for exhibits at the Salon, becoming a respected teacher at the Ecole des Beaux-Arts, and exerting a powerful influence on Henri Matisse, Georges Rouault, and the schools of Symbolism and Surrealism.

"Love, jealousy, loneliness, angst, and death - fundamental experiences of human life - are described with penetrating immediacy in the works of Norwegian artist Edvard Munch (1863-1944), many of which have become icons of modern art. Presenting 70 paintings and 135 works on paper, accompanied by a collection of new essays by recognized Munch scholars, this book explores the origins, development, and interdependence of theme and variation in Munch's oeuvre."--BOOK JACKET.

During his long and highly productive career, Renoir created works ranging in subject matter from scenes of modern life to portraiture, nudes, landscape and still life. He was also an ardent draftsman, as this accessible volume reveals.

"Henri Rousseau, called 'Le Douanier' because of his early career with the French customs service, is one of the most important, fascinating and least studied of late nineteenth-century artists. His determined and unapologetic primitivism distanced his work from most of his contemporaries, but he was widely admired by Picasso, Apollinaire and Kandinsky, and is now seen as one of the pioneers of the modern movement. This book offers a detailed portrait of Rousseau's life and career as well as sensitive interpretations of his unusual, individualistic art."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Georges Seurat, painter of Sunday on the Island of La Grande Jatte, had a meteoric career that ended in 1891 with his death at age 31. In this generously illustrated book, the leading specialist on Seurat examines the entire range of the artist's work, focusing on individual paintings and drawings and interpreting the personal and social meanings of their subjects.

This is the first publication to focus on J. M. W. Turner's lifelong fascination with the sea, from his Royal Academy debut in 1796, Fishermen at Sea, to his iconic maritime subjects of the 1830s and 1840s such as Staffa, Fingal's Cave. It places Turner and his work firmly in the broader field of maritime painting that flourished in nineteenth-century Britain, France, Germany, Holland, and America.The majority of the works illustrated here--paintings, watercolors, sketches, sketchbooks, and engravings--are by Turner, but there are also comparative works by some forty other artists including Winslow Homer, James McNeill Whistler, John Constable, Benjamin West, and Gustave Courbet.

Working with the full cooperation of the Van Gogh Museum in Amsterdam, Naifeh and Smith have accessed a wealth of previously untapped materials. While drawing liberally from the artist's famously eloquent letters, they have also delved into hundreds of unpublished family correspondences, illuminating with poignancy the wanderings of Van Gogh's troubled, restless soul. Naifeh and Smith bring a crucial understanding to the larger-than-life mythology of this great artist-his early struggles to find his place in the world; his intense relationship with his brother Theo; his impetus for turning to brush and canvas; and his move to Provence, where in a brief burst of incandescent productivity he painted some of the best-loved works in Western art.

James McNeill Whistler was one of the most misinterpreted creative talents of his age. While devoted to the expression of the beautiful, he was among the first to recognize that popularized arts and commercialized leisure were complex, interrelated phenomena that made urban life "modern." Whistler's showmanship had far greater impact than countless imitations of his The White Girl and Portrait of the Painter's Mother might suggest. His purposeful use of past art; his intermingling of private and public spaces; his ability to tailor his work to the realities of the Victorian marketplace; his understanding and exploitation of shifting economic, class, and gender roles; and his clever use of fashion and decoration all lead us to a richer understanding of "modernism" and a broader assessment of his contribution to it.

Disc four: Masterpieces 1851 to 1900: Edouard Manet: Le dejeuner sur l'herbe ; James McNeill Whistler: Portrait of the artist's mother ; Edvard Munch: The scream --
Disc five: Impressionism and the post impressionists: Auguste Renoir: Dance at Le Moulin de la Galette ; Vincent van Gogh: The sunflowers ; Georges Seurat: A sunday on La Grande Jatte 1884 --

In his landscape and still-life paintings, Cezanne developed a revolutionary new approach to color and perspective. His influence on 20th century artists was so great that he is now referred to as the Father of Modern Painting.

Examines the life and work of post-impressionist master Paul Gaugin, featuring expert commentary and location footage.

In 1893 Edvard Munch created a masterpiece which has become a defining image of the 20th Century. The Scream is a picture whose sense of anguish reveals much about our own lives, as well as the life of the artist who created it.

Examines the life and work of post-impressionist painter Henri Rousseau, featuring expert commentary and location footage.

Examines the life and work of post-impressionist painter Henri Toulouse-Lautrec, featuring expert commentary and location footage.

Examines the life and work of van Gogh, featuring expert commentary and location footage.