Verfügbarkeit: Nineteenth-century art | Technische Universität München

Nineteenth-century art: a critical history

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Bibliographische Detailangaben
Beteiligte Personen:	Eisenman, Stephen 1956- (VerfasserIn), Crow, Thomas E. 1948- (VerfasserIn), Lukacher, Brian 1955- (VerfasserIn), Nochlin, Linda 1931-2017 (VerfasserIn), Phillips, David L. (VerfasserIn), Pohl, Frances K. 1952- (VerfasserIn)
Format:	Buch
Sprache:	Englisch
Veröffentlicht:	London Thames & Hudson 2020
Ausgabe:	Fifth edition
Schlagwörter:	Geschichte 1800-1900 Geschichte 1780-1905 Geschichte 1801-1900 Art - 19e siècle - Histoire Kunst Art, Modern > 19th century Malerei
Links:	http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032181029&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA
Umfang:	528 Seiten Illustrationen
ISBN:	9780500294895

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Datensatz im Suchindex

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adam_text	E Contents Preface............................................................................................ 8 Introduction: Critical Art and History................................. 10 The Disasters of War........................................................................... 100 The “Black Paintings”........................................................................103 The First Modem Century............................................................... 10 Art and Emancipation, Art and Reaction....................................... 11 A Critical Survey of Nineteenth-Century Art................................ 14 4 Visionary History Painting: Blake and His Contemporaries c. 1780-1810........................................................................... 106 BRIAN LUKACHER PARTI CLASSICISM AND ROMANTICISM Introduction......................................................................................106 Blake’s Revolution............................................................................. 107 Body Politics and Religious Mysticism........................................... 108 Blake’s Public Art...............................................................................112 Blake and Contemporary English Art of the Sublime.................. 114 Prophecy and Prehistory.................................................................. 118 5 1 Patriotism and Virtue: David to the Young Ingres e. 1780-1810............................................................................. 16 BRIAN LUKACHER THOMAS CROW Introduction...................................................................................... 16 The Cult of Civic Virtue.................................................................... 17 A Call to Order.................................................................................. 18 The Enterprise of Women................................................................. 21 The Circle of Men............................................................................. 24 A Violent Patrimony......................................................................... 25 Tragedy and the Republic of Equals................................................ 28 Figures of Revolutionary Virtue...................................................... 31 Figures of Revolutionary Death........................................................ 33 Leaving Terror Behind...................................................................... 37 The Sublime of Authoritarianism...................................................... 45 Dreams beyond History.................................................................... 51 Introduction......................................................................................124 Landscape Instincts and the Picturesque........................................125 Three Critical Thinkers: Marx, Ruskin, and Baudelaire......................................................................... 128 Ruins and Cities.............................................................................. 129 Constable’s Rustic Naturalism....................................................... 131 Constable and the Ruin of England.............................................. 133 Լ՜, I Art and the Industrial Revolution........................................136 Visionary Landscapes of Palmer and Martin................................ 138 Turner’s Meaningful Obscurity........................................................142 Turner’s Later Work......................................................................... 144 6 2 Classicism in Crisis: Gros to Delacroix c. 1800-1830........................................................................... 55 Landscape Art and Romantic Nationalism in Germany and America C. 1800-1865......................................................................... 149 BRIAN LUKACHER THOMAS CROW Introduction...................................................................................... Force of Arms.................................................................................... An Imperial Antiquity...................................................................... The Artist Hero in the Face of Empire........................................... Return from the Wreckage............................................................... Punishments of the Damned........................................................... Suicide of the Despot........................................................................ Nature and History in English Romantic Landscape Painting C. 1790-1845............................................................................. 124 55 56 58 64 67 73 77 3 The Tensions of Enlightenment: Goya c. 1775-1828 ........................................................................ 83 Introduction...................................................................................... 83 Reason and Madness: Conflicts of the Age.................................... 84 Divided Allegiance, Rapid Success.................................................. 85 The Anti-Enlightenment.................................................................. 88 The Image of the Pueblo: The Later Art of Goya........................... 92 □ Madness.................................................................................... 93 Los Caprichos.........................................................................................94 The Mythic Pueblo: The Second of May and Third of May.................96 Introduction.................................................................................... 149 Runge’s New Age............................................................................. 150 A Soulful Past: Lukasbund...............................................................153 Friedrich and the Mediation of Landscape....................................156 Progress and its Discontents: Thomas Cole and the American Landscape...............................................................159 To Silence or to Reveal Nature’s Allegory......................................165 7 Architecture Unshackled 1790-1851.............................................................................. 169 BRIAN LUKACHER Introduction.................................................................................... 169 A Modern Enlightenment.............................................................. 170 The New Architecture of Social Institutions................................ 173 Architecture and the Gothic Imagination......................................178 Changing Urban Landscapes........................................................... 180 Faith or Technology........................................................................... 184 PART 2 NEW WORLD FRONTIERS p ~ Æ^JÈë ľ 1—11 Art and Revolution................................................................................. 269 Courbet’s Trilogy of 1849֊50................................................................ 271 Art anc* p°Pular Culture........................................................................276 Courbet’s The Studio of the Painter.........................................................278 12 Photography, Modernity, and Art 8 Old World, New World: The Encounters ofCultures on the American Frontier 1790-1900...............................................................................190 FRANCES K. POHL Introduction.......................................................................................... 190 The Myth of the Frontier......................................................................191 The Stain on a Painter’s Palette: Charles Bird King and George Catiin............................................................................. 196 Alternative Representations: Photography and Ledger Art....... 202 9 Black and White in America 1810-1900................................................................................ 211 FRANCES K. POHL Introduction.......................................................................................... 211 The Abolitionist Movement and Challenges to Racial Stereotypes...................................................212 Prelude to the Civil War........................................................................215 African Americans and the Civil War............................................... 217 Images of Reconstruction: Prisoners from the Front and A Visit from the Old Mistress.....................................................224 African American Artists at Home and Abroad: c. 1830-1917............................................................................... 284 DAVID LLEWELLYN PHILLIPS Introduction...........................................................................................284 The Daguerreotype in France...............................................................285 Fox Talbot and Photography in Britain............................................. 288 The Identity of Photography................................................................ 290 The Discourses of Photography...........................................................292 The Daguerreotype in America...........................................................294 Paper Photography in Europe.............................................................298 The Expansion of Photography...........................................................300 Disdéri and the Carte-de-Visite...........................................................300 Nadar and Portraiture.......................................................................... 302 Photography and Art..............................................................................303 Art Photography in Britain.................................................................. 305 Cameron and the Debate over Focus................................................. 310 Emerson and Scientific Vision.............................................................311 Kodak and Amateur Photography.......................................................313 Pictorialism and the Photo-Secession............................................... 314 Stieglitz in New York............................................................................316 Strand and Modernism........................................................................317 Conclusion...............................................................................................318 Edmonia Lewis and Henry Osawa Tanner..................................228 13 The Decline of History Painting: Germany, Italy, France and Russia PART 3 REALISM AND NATURALISM c. 1855-1890................................................................................320 Introduction...........................................................................................320 Liberating Art from History................................................................ 321 The Rise of Naturalism in Germany................................................. 321 The Italian Macchiaioli........................................................................ 325 10 The Generation of1830 and the Crisis in tlíc Public Sphere 1830-1848...............................................................................239 Introduction.......................................................................................... 239 Romanticism and the Burden of Truth............................................. 240 The July Monarchy and the Art of the fuste Milieu........................ 241 Genre Historique.....................................................................................244 The Paradox of Patriotism: David d’Angers’s Pantheon Pediment......................................................................... 247 Classicism and the Woman Question: Thomas Couture............... 252 ! Ί Three Fundamental Concepts: Academic Art, the Avant-Garde, and Modernism..........................................253 13 Race and Racism......................................................................... 256 11 The Rhetoric ofRealism: Courbet and the Origins ofthe Avant-Garde c. 1840-1880......................................................................... 260 Introduction.......................................................................................... 260 Rhetorics of Realist Art and Politics................................................. 261 The Pre-Raphaelite Brotherhood.......................................................263 Ford Madox Brown’s Work..................................................................268 í J Art and Animals............................................................................326 Individualism in French Salon Art..................................................... 329 The Salon and the Salon des Refusés................................................. 330 Classicists at the Salon..........................................................................333 Romanticists at the Salon.................................................................... 334 Naturalists at the Salon........................................................................ 336 Ш Ecology...........................................................................................338 Challenges to Academic Painting in Russia....................................340 1JJ— j h VI pi՜ Vi. I PART 4 MODERN ARTAND LIFE լ _ _ _ _ _ _ _ _ _ _ _ _ _ ,ι* л rsz. „՝ wwlv v. ..v. ;.ւ՞ i 14 Architecture and Design in the Age of Industry C. 1850-1900.......................................................................... 343 Introduction.................................................................................... 343 Handcraft and Machine Production..............................................344 Opposition to Mechanization........................................................ 347 William Morris................................................................................. 348 EÜ2 Charles Darwin and the Evolution of Form.................... 350 Arts and Crafts Architecture and Town Planning........................ 353 The Garden City............................................................................... 356 Reconciliation with the Machine................................................... 358 Art Nouveau.....................................................................................358 Wright and the Emergence of an American Machine Esthetic.......................................................................... 361 The Architecture of World’s Fairs and Capitalist Commerce............................................................362 The Crystal Palace............................................................................363 The Eiffel Tower............................................................................... 364 Louis Sullivan: Form Follows Function........................................ 366 15 Manet and the Impressionists c. 1850-1882............................................................................ 368 Introduction.....................................................................................368 Edouard Manet and Haussmannization........................................ 369 The Flâneur...................................................................................... 370 Manet’s Olympia............................................................................... 372 Impressionism and the Commodity................................................376 Impressionism Defined................................................................... 377 The “Mirror of Painting”................................................................. 385 16 Issues of Gender in Cassatt and Eakins 1860-1900..............................................................................388 LINDA NOCHLIN Introduction.....................................................................................388 Gender and Difference..................................................................... 389 The Portrait...................................................................................... 393 Cassatt and the Gaze.........................................................................396 Eakins and the American Hero....................................................... 397 Women and Children.......................................................................399 Cassatt, Eakins, and the Modern Allegory..................................... 405 17 Mass Culture and Utopia: Seurat and Ncoimpressionism c. 1880-1900 ....................................................................... 408 Introduction.....................................................................................408 The Antinomies of Georges Seurat................................................409 Seurat’s Drawings and Their Dispersion of Meaning................... 409 A “Manifesto Painting”: A Sunday on La Grande Jatte................... 411 Seurat’s Method: “Chromo-Luminarism”..................................... 413 Q Utopianism..............................................................................416 The Paradox of Pleasure: Le Chahut................................................ 418 Mass Culture.....................................................................................421 18 The Appeal ofModern Art: Toulouse-Lautrec c. 1880-1900......................................................................... 424 Introduction.................................................................................... 424 Novelty and Desire......................................................................... 425 The Crowd........................................................................................425 Toulouse-Lautrec and Urban Art.................................................. 426 Modern Form, Popular Content.................................................... 427 Poster Art......................................................................................... 430 The Metropolitan Fetish.................................................................431 19 Abstraction and Populism: Van Gogli 1880-1890............................................................................. 433 Introduction.................................................................................... 433 Seurat and Van Gogh Compared.................................................... 434 Two Myths about Van Gogh........................................................... 435 Van Gogh’s First Statements of Purpose........................................436 Early Art in The Hague and Neunen: The Potato Eaters.............. 436 Academic Training and Avant-Garde Education in Antwerp and Paris....................................................................... 441 Van Gogh in Arles...........................................................................443 Starry Night and Critical Modernism.............................................447 20 Symbolism and the Dialectics of Retreat c. 1885-1910......................................................................... 449 Introduction....................................................................................449 Modernism versus Symbolism....................................................... 450 The Rhetoric of Symbolism...........................................................451 Gauguin and Symbolism in Brittany.............................................453 Ensor and Populism....................................................................... 456 Symbolist Landscape Painting: Munch, Redon, Monet, and Hodler......................................... 460 The Vienna Secession..................................................................... 471 Gauguin and Symbolism in Tahiti................................................ 473 21 The Failure and Success of Cézanne c. 1865-1906......................................................................... 482 Introduction....................................................................................482 Symbolism in Extremis..................................................................483 Cézanne: The Cultural Revolutionary...........................................483 Cezanne’s Development: The Quest for Totality......................... 484 Cezanne’s Artistic Maturity...........................................................488 Cézanne and the End of Nineteenth-Century Art..................... 490 Method in Cézanne ....................................................................... 491 Ш Chronology....................................................................................... 495 Glossary...............................................................................................504 Select Bibliography........................................................................... 509 Picture credits....................................................................................515 Index.................................................................................................. 519
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id	DE-604.BV046771637
illustrated	Illustrated
indexdate	2024-12-20T19:00:31Z
institution	BVB
isbn	9780500294895
language	English
oai_aleph_id	oai:aleph.bib-bvb.de:BVB01-032181029
oclc_num	1164647304
open_access_boolean
owner	DE-739 DE-11 DE-Y3
owner_facet	DE-739 DE-11 DE-Y3
physical	528 Seiten Illustrationen
publishDate	2020
publishDateSearch	2020
publishDateSort	2020
publisher	Thames & Hudson
record_format	marc
spellingShingle	Eisenman, Stephen 1956- Crow, Thomas E. 1948- Lukacher, Brian 1955- Nochlin, Linda 1931-2017 Phillips, David L. Pohl, Frances K. 1952- Nineteenth-century art a critical history Art - 19e siècle - Histoire Kunst Art, Modern 19th century Kunst (DE-588)4114333-4 gnd Malerei (DE-588)4037220-0 gnd
subject_GND	(DE-588)4114333-4 (DE-588)4037220-0
title	Nineteenth-century art a critical history
title_auth	Nineteenth-century art a critical history
title_exact_search	Nineteenth-century art a critical history
title_full	Nineteenth-century art a critical history Stephen F. Eisenman, Thomas Crow, Brian Lukacher, Linda Nochlin, David L. Phillips, Frances K. Pohl
title_fullStr	Nineteenth-century art a critical history Stephen F. Eisenman, Thomas Crow, Brian Lukacher, Linda Nochlin, David L. Phillips, Frances K. Pohl
title_full_unstemmed	Nineteenth-century art a critical history Stephen F. Eisenman, Thomas Crow, Brian Lukacher, Linda Nochlin, David L. Phillips, Frances K. Pohl
title_short	Nineteenth-century art
title_sort	nineteenth century art a critical history
title_sub	a critical history
topic	Art - 19e siècle - Histoire Kunst Art, Modern 19th century Kunst (DE-588)4114333-4 gnd Malerei (DE-588)4037220-0 gnd
topic_facet	Art - 19e siècle - Histoire Kunst Art, Modern 19th century Malerei
url	http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032181029&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA
work_keys_str_mv	AT eisenmanstephen nineteenthcenturyartacriticalhistory AT crowthomase nineteenthcenturyartacriticalhistory AT lukacherbrian nineteenthcenturyartacriticalhistory AT nochlinlinda nineteenthcenturyartacriticalhistory AT phillipsdavidl nineteenthcenturyartacriticalhistory AT pohlfrancesk nineteenthcenturyartacriticalhistory

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