Full Description
For one-semester courses in 19th-Century Art, and two-semester courses that cover the periods of 1760-1830 and 1830-1900. 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. Nineteenth-Century European Art was written to address a need in the market for a readable undergraduate textbook dealing with the period from 1760-1900. The new edition has been revised based in response to reviewer comments and criticisms, making it an even better and more readable book.
Contents
Preface 13Introduction 15Chapter 1 Rococo, Enlightenment, and the Call for a New Art in the Mid Eighteenth Century 20The Emergence of the Rococo during the Reign of Louis XV 21Decorative Paintings, Sculptures, and Porcelains 23The Enlightenment and the Encyclopedie 26The Rococo outside France 28Eighteenth-Century Art in Northern Europe 31The Eighteenth-Century Artist: Between Patronage and the Art Market 33The Education of the Artist and the Academy 36Academy Exhibitions 37Salon Critics and the Call for a New Art in France 38Count d'Angiviller and the Promotion of Virtuous Art 39Reynolds and the Call for a New Art in Britain 43BoxesReproducing Works of Art 33Chapter 2 The Classical Paradigm44Winckelmann and Reflections on the Imitation of Greek Works in Painting and Sculpture 45Classical Art and Idealism 46Contour 47Archaeology and the Discovery of Pompeii and Herculaneum 48Winckelmann's History of Ancient Art 49Greece and Rome 50The Beginnings of Neoclassicism 52David 58Sculpture 62Canova 63Thorvaldsen 66Flaxman 67The Industrial Revolution and the Popularization of Neoclassicism 69The Neoclassical Home 71BoxesThe Elgin Marbles 50The Grand Tour 53Chapter 3 British Art during the Late Georgian Period74The Sublime 75The Lure of the Middle Ages 76Horace Walpole, William Beckford, and the Taste for the "Gothick" in Architecture 77The Sublime and the Gothick in Painting: Benjamin West 80Boydell's Shakespeare Gallery 82Henry Fuseli 83William Blake 85Visual Satire 92Grand Manner and Bourgeois Portraits 94BoxGeorgian Britain 76Chapter 4 Art and Revolutionary Propaganda in France98Marie Antionette, Before and After 100David's Brutus 102Commemorating the Heroes and Martyrs of the Revolution 104Creating a Revolutionary Iconography 107Pierre-Paul Prud'hon 108Quatremere de Quincy, the Pantheon, and the Absent Republican Monument 109Demolition as Propaganda 112BoxMajor Events of the French Revolution 1789-1795 100Chapter 5 The Arts under Napoleon114The Rise of Napoleon 116Vivant Denon and the Napoleon Museum 117Napoleonic Public Monuments 118Empire Style 120The Imperial Image 123Antoine-Jean Gros and the Napoleonic Epic 131The School of David and the "Crisis" of the Male Nude 132The Transformation of History Painting: New Subjects and Sensibilities 137The Lesser Genres: Genre, Portraiture, and Landscape 139BoxesNapoleonic Battles 117Painting Genres and their Hierarchy 142Chapter 6 Francisco Goya and Spanish Art at the Turn of the Eighteenth Century144Court Patronage under Carlos III: Tiepolo and Mengs 145The Making of Francisco Goya 148Goya as Court Painter 151Goya's Prints 153The Execution of the Rebels 156Quinta del Sordo 158Spanish Art after Goya 158BoxEtching 154Chapter 7 The Beginnings of Romanticism in the German Speaking World160The Romantic Movement 161Early Nazarenes: Friedrich Overbeck and Franz Pforr 162Peter Cornelius and the Transformation of Nazarene Art 166German Painting in Context 167Philipp Otto Runge 167Caspar David Friedrich 173Chapter 8 The Importance of Landscape-British Painting in the Early Nineteenth Century178Nature Enthusiasm in Great Britain 179The Picturesque 180The Popularity of Watercolor: Amateurs and Professionals 183Thomas Girtin, John Sell Cotman, and the Pictorial Possibilities of Watercolor 184Joseph Mallord William Turner 189John Constable 195BoxesWatercolor 183Girtin and the Vogue for the Painted Panorama 184Landscape Painting-Subjects and Modalities 188Chapter 9 The Restoration Period and the Rejection of Classicism in France200Government Patronage and the Rejection of Classicism 201The Academy 203The Salons of the Restoration Period 204Madame de Stael and the Introduction ofRomantic Ideas into France 205Stendhal 205Orientalism 206Horace Vernet 207Theodore Gericault 207Eugene Delacroix 214Ingres and the Transformation of Classicism 218Classicism and Romanticism 221BoxesParis Salons 204The Making of The Raft of the Medusa 210Lithography 212Chapter 10 The Popularization of Art and Visual Culture in France during the July Monarchy (1830-1848)222The Salons of the Second Republic 256The Origins of Realism 256Gustave Courbet's A Burial at Ornans 258Courbet, Millet, and an Art of Social Consciousness 261Daumier and the Urban Working Class 263Realism 265Chapter 11 The Revolution of 1848 and the Emergence of Realism in France254Napoleon III and the "Hausmannization" of Paris 267The Opera and Mid-Nineteenth-Century Sculpture 270Salons and Other Exhibitions during the Second Empire 275Popular Trends at the Second Empire Salons 275History through a Magnifying Glass: Meissonier and Gerome 277Second Empire Orientalism-Gerome, Fromentin, Du Camp, Cordier 279The Nude 283Landscape and Animal Painting: Courbet and Bonheur 283Second Empire Peasant Painting: Millet and Jules Breton 286Baudelaire and "The Painter of Modern Life" 289Courbet, Manet, and the Beginnings of Modernism 291Photography 298New Roles for Photography 300BoxesEmile Zola and Second Empire France 268Viollet-le-Duc and France's Gothic Heritage 270Women's Fashions and Women's Journals 290Chapter 12 Progress, Modernity, and Modernism-French Visual Culture during the Second Empire, 1852-1870266Classicism, Romanticism, and the Juste-Milieu 224Louis-Philippe and the Museum of the History of France 225Monumentalizing Napoleon 227The Revival of Religious Mural Painting 229The Salon during the July Monarchy 230Historical Genre and Orientalist Painting 232Landscape Painting: Corot and the Historical Landscape Tradition 235Landscape: The Picturesque Tradition 236Landscape Painting: The Barbizon School and Naturalism 238Portraiture 240Sculpture in the Salon 243The Explosion of the Press and the Rise of Popular Culture 244Honore Daumier 245Gavarni and Grandville 249Louis Daguerre and the Beginnings of Photography in France 251BoxesWood Engraving 245Physiognomy and Phrenology 246Chapter 13 Art in the German-Speaking World from the Congress of Vienna to the German Empire, 1815-1871302Berlin and Munich 303Official Nazarene Art in Munich 306Biedermeier Culture 309Biedermeier Painting 309German Academies 312Academic History Painting 313Adolph Menzel 314Realism and Idealism: Diverging Trends in the Early 1870s 317BoxTableaux Vivants 315Chapter 14 Art in Victorian Britain, 1837-1901320Social and Economic Conditions during the Victorian Age 322The Victorian Art Scene 324Painting during the Early Victorian Period: Anecdotal Scenes 325Fairy Painting: Paton and Dadd 327Early Victorian Landscape and Animal Painting: Martin and Landseer 329Early Victorian Photography 331 Government Patronage and the Houses of Parliament 332The Pre-Raphaelite Brotherhood 336The Pre-Raphaelites and Secular Subject Matter 338Genre Painting and Photography in the Mid-Victorian Period 341From Pre-Raphaelitism to the Aesthetic Movement 344The Royal Academy 348BoxThe Whistler-Ruskin Trial 348Chapter 15 National Pride and International Rivalry-The Great International Expositions350Origins of the International Expositions 351The Great Exhibition of the Works of Industry of All Nations 352The Crystal Palace: A Revolution in Architecture 352The Great Exhibition and the Design Crisis in Britain 354New Attitudes toward Design: Owen Jones and John Ruskin 355The International Exhibition in London, 1862 356The Japanese Court at the Exhibition of 1862 358The Universal Exposition of 1855 in Paris 360The International Art Exposition 362The French Show 362Courbet's Private Pavilion 362Foreign Artists at the International Exposition of 1855 364The Paris Universal Exposition of 1867 366The Fine Arts Exhibition of 1867 367The Japanese Pavilion 368The Importance of the International Exhibitions of the 1850s and 1860s 369BoxesMachines at the International Exhibitions 353Major Nineteenth-Century International Exhibitions 360Chapter 16 French Art after the Commune-Conservative and Modernist Trends370The Commune and Early Photo-Journalism in Europe 371Republican Monuments 373Mural Painting during the Third Republic 376The Third Republic and the Demise of the State-Sponsored Salon 380Academic and Realist Art at the Salons of 1873-1890 380Naturalism at the Salons of 1870-1890 382Manet at the Salons of the 1870s and 1880s 385Salon Alternatives 387Origin and Definition of the Term "Impressionism" 387Claude Monet and the Impressionist Landscape 389Other Impressionist Landscape Painters: Pissarro and Sisley 390Monet's Early Painting Series 393Impressionist Figure Painting 395Impressionism and the Urban Scene: Edgar Degas 397Impressionists and the Urban Scene: Caillebotte 402Women at the Impressionist Exhibitions 405Impressionism and Modern Vision 407BoxesPastel 400Eadweard Muybridge and Animal Locomotion 401Chapter 17 French Avant-garde Art in the 1880s408Georges Seurat and Neo-Impressionism 409Neo-Impressionism and Utopianism: Signac and Pissarro 415The "Crisis" in Impressionism 417Monet and the Later Series Paintings 418Degas in the 1880s 420Renoir in the 1880s 422Paul Cezanne 425Vincent van Gogh 430Post-Impressionism 436BoxThe Letters of Van Gogh 431Chapter 18 When the Eiffel Tower Was New438The Eiffel Tower 439The Gallery of Machines 440The History of Habitation Pavilions 441Colonial Exhibits 442The Fine Arts on Exhibit 443The Triumph of Naturalism 445Nordic Naturalism: Nationalism and Naturism 447Naturalism in Germany: Max Liebermann and Fritz von Uhde 451Naturalism in Belgium 453Jozef Israels and the Hague School in the Netherlands 454Russian Painting 456The 1889 Exposition in Review 459BoxNineteenth-Century Imperialism 443Chapter 19 France during la Belle Epoque460Transport of Soul and Body: Sacre Coeur and the Metro 462Art Nouveau, Siegfried Bing, and the Concept of Decoration 464The Sources of Art Nouveau 465Henri de Toulouse-Lautrec and the Art Nouveau Poster 466Toulouse-Lautrec, the Painter 470Paul Gauguin and Emile Bernard: Cloisonnism and Synthetism 472Paul Gauguin: The Passion for Non-Western Culture 474Symbolism 480Symbolism and Romanticism: Gustave Moreau and Odilon Redon 480Symbolist Cult Groups: Rosicrucians and Nabis 483Fin-de-Siecle Sculpture 486Camille Claudel 493BoxesPosters 467The Techniques of Sculpture 490Chapter 20 International Trends ca. 1900494New Art outside France 495Art Nouveau in Belgium 496Antoni Gaudi and Spanish Modernisme 496Glasgow Style 500Art Nouveau and Symbolism 502Salons of the Rose + Croix 502Les XX or The Group of Twenty 504The Vienna Secession 506Gustav Klimt 508Ferdinand Hodler 511The Berlin Secession 512Edvard Munch 513Stile Floreale and Italian Symbolism 515The Paris Universal Exposition of 1900 517Timeline 522Glossary 526Bibliography 530Picture Credits 547Index 549
