Nineteenth Century European Art
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|Author||: Petra ten-Doesschate Chu|
|Editor||: Prentice Hall Press|
This survey explores the history of nineteenth-century European art and visual culture. Focusing primarily on painting and sculpture, it places these two art forms within the larger context of visual culture including photography, graphic design, architecture, and decorative arts. In turn, all are treated within a broad historical framework to show the connections between visual cultural production and the political, social, and economic order of the time. Topics covered include The Classical Paradigm, Art and Revolutionary Propaganda In France, The Arts under Napoleon and Francisco Goya and Spanish Art at the Turn of the Eighteenth Century. For art enthusiasts, or anyone who wants to learn more about Art History.
|Author||: Petra ten-Doesschate Chu,Discontinued 3pd|
|Editor||: Discontinued 3pd|
This 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, Petra ten-Doesschate Chu discusses the advent of modernism and its many interpretations. She considers the changing relationship between artist and audience, evolving attitudes towards the depiction of nature, and the confrontation of European artists with non-Western art due to expanding trade and travel. 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, photography and graphic design. A timeline, glossary and bibliography, listing not only books but also films related to the period, complete the volume.
|Author||: Terry W. Strieter|
|Editor||: Greenwood Publishing Group|
A dictionary of terms, artists, art works, major themes, contemporary events, and art movements of nineteenth-century European art.
|Author||: William Rau|
|Editor||: ACC Distribution|
Nineteenth-Century European Painting: From Barbizon to Belle poque represents a comprehensive guide to the range of stylistically diverse genres of nineteenth-century European painting. Accessible and insightful, this exquisitely illustrated volume pres
|Author||: AdrienneL. Childs|
Compelling and troubling, colorful and dark, black figures served as the quintessential image of difference in nineteenth-century European art; the essays in this volume further the investigation of constructions of blackness during this period. This collection marks a phase in the scholarship on images of blacks that moves beyond undifferentiated binaries like ?negative? and ?positive? that fail to reveal complexities, contradictions, and ambiguities. Essays that cover the late eighteenth through the early twentieth century explore the visuality of blackness in anti-slavery imagery, black women in Orientalist art, race and beauty in fin-de-si?e photography, the French brand of blackface minstrelsy, and a set of little-known images of an African model by Edvard Munch. In spite of the difficulty of resurrecting black lives in nineteenth-century Europe, one essay chronicles the rare instance of an American artist of color in mid-nineteenth-century Europe. With analyses of works ranging from G?cault's Raft of the Medusa, to portraits of the American actor Ira Aldridge, this volume provides new interpretations of nineteenth-century representations of blacks.
|Author||: Lorenz Eitner|
|Editor||: HarperCollins Publishers|
"The 418 plates illustrate the main movements of the period--Neoclassicism, Riomanticism, Realism, Academics and Salon Painters, and Impressionism"--Back cover.
|Author||: Robert Justin Goldstein,Andrew M. Nedd|
In this comprehensive account of censorship of the visual arts in nineteenth-century Europe, when imagery was accessible to the illiterate in ways that print was not, specialists in the history of the major European countries trace the use of censorship by the authorities to implement their fears of the visual arts, from caricature to cinema.
|Author||: Sarah Lees|
The core of the Clark's collection was assembled by Robert Sterling Clark (1877-1956), who once declared, "I like all kinds of art if it is good of its kind." This monumental, two-volume publication is the first fully documented catalogue of the Institute's collection of European paintings. The quality of this collection reflects the founder's philosophy in its inclusion of masterpieces as diverse as William-Adolphe Bouguereau's Nymphs and Satyr (1873) and Pierre-Auguste Renoir's A Box at the Theater (1880); works by academic painters such as Jean-Léon Gérôme; Barbizon painters such as Camille Corot and Jean-François Millet; and the Impressionists Camille Pissarro and Edgar Degas. More recent acquisitions include Théodore Rousseau's Farm in the Landes (1844-67) and Claude Monet's Rouen Cathedral (1894), and works by John Constable and J. M. W. Turner. Published on the 100th anniversary of Sterling Clark's first purchase of a European painting, these handsome volumes document each of the 374 paintings in the collection, with essays by prominent scholars, detailed bibliographic and art historical apparatus, technical notes, and over 450 color illustrations.
|Author||: Elisa Evett|
|Author||: Janis A. Tomlinson|
|Editor||: Pearson College Division|
This chronological anthology of recent critical scholarship on 19th-century European art represents a wide range of current methodologies and issues. KEY TOPICS: 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.
|Author||: Joshua Charles Taylor|
|Editor||: Univ of California Press|
This unique and extraordinarily rich collection of writings offers a thematic approach to understanding the various theories of art that illumined the direction of nineteenth-century artists as diverse as Tommaso Minardi and Georges Seurat. It is significant that during the nineteenth century most artists felt compelled to found their artistic practice on a consciously established premise.