Neoclassical

Theories of Modern Art A Source Book by Artists and Critics (California Studies in the History of Art)

Nineteenth Century European Art

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.

19th Century Art

Art in Theory: 1815-1900 An Anthology of Changing Ideas

The ideas of some of the most influential artists, writers and thinkers of our times about 19th century art are collected in this vast collection of essays. Collectively they tackle difficult issues like the definition of Modern art and tracing the history of aesthetics. Schopenhauer addresses originality and genius, Karl Marx tackles the modern condition, Sir William Newton and Charles Baudelaire struggle with the new notion of photography as art. An 1881 essay by Juis-Karl Huysmans in which he writes of Degas's Little Dancer as "the only genuinely modern experiment in sculpture that I have yet encountered" is a notable inclusion in this volume which includes literally hundreds of texts (many of them translated into English in order to be included in the anthology) that address the artistic issues of the era as well as the social, historical and cultural elements that impacted it. The editors are noted art historians and philosophers who do an excellent job of introducing each chapter as well as the individual pieces of writing where necessary. Art in Theory is an essential reference for students of art as well as anyone interested in the cultural development of the 19th century.

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

Post-Impressionism to World War II (Blackwell Anthologies in Art History)

Post-Impressionism to World War II is an exciting anthology of the best art history writings of the Post-Impressionist period. Several key essays by critics including Benjamin, Greenberg and Bürger knit together primary sources and classic, “canonical” criticism.

• Collects the most important writings on art history from Post-Impressionism to the mid-20th century, covering both canonical and contemporary perspectives
  
• Offers a chronicle of avant-garde practice during an especially creative, if volatile, period of history
  
• Features several key essays by critics including Benjamin, Greenberg and Bürger
  
• Includes recent critical interventions from a range of methodological perspectives – both well-known and less familiar
  
• Organizes material thematically, and features introductory essays to each of the five sections
  
• Provides a valuable, stimulating resource for students and teachers alike and offers new ways to think about and teach this important period in art history.

Post-Impressionism to World War II is an exciting anthology of writings by artists, critics, and historians. The texts include primary sources from the 1880s to the eve of war in the late 1930s, knit together by classic analyses from critics such as Benjamin, Greenberg, and Burger. The volume also includes more recent critical interventions from a range of methodological perspectives, both well-known and less familiar. Introductory essays explore the key themes raised by the texts. The result is a vivid chronicle of avant-garde practice in Europe during an especially creative, and volatile, period of history.

ArtSpoke: A Guide to Modern Ideas, Movements, and Buzzwords, 1848-1944

Japonisme: The Japanese Influence on Western Art Since 1858

"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.

Readings in Nineteenth-Century Art

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.

Marketing Modernism in Fin-de-Siecle Europe

In this fundamental rethinking of the rise of modernism from its beginnings in the Impressionist movement, Robert Jensen reveals that market discourses were pervasive in the ideological defense of modernism from its very inception and that the avant-garde actually thrived on the commercial appeal of anti-commercialism at the turn of the century. The commercial success of modernism, he argues, depended greatly on possession of historical legitimacy. The very development of modern art was inseparable from the commercialism many of its proponents sought to transcend. Here Jensen explores the economic, aesthetic, institutional, and ideological factors that led to its dominance in the international art world by the early 1900s. He emphasizes the role of the emerging dealer/gallery market and of modernist art historiographies in evaluating modern art and legitimizing it through the formation of a canon of modernist masters.

In describing the canon-building of modern dealerships, Jensen considers the new "ideological dealer" and explores the commercial construction of artistic identity through such rhetorical concepts as temperament and "independent art" and through such institutional structures as the retrospective. His inquiries into the fate of the juste milieu, a group of dissidents who saw themselves as "true heirs" of Impressionism, and his look at a new form of art history emerging in Germany further expose a linear, dealer- oriented history of modernist art constructed by or through the modernists themselves.

Nineteenth Century Art: A Critical History

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.