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Preface 13
Introduction 15
Chapter 1 Rococo, Enlightenment, and the Call for a New Art in the Mid Eighteenth Century 20
The Emergence of the Rococo during the Reign of Louis XV 21
Decorative Paintings, Sculptures, and Porcelains 23
The Enlightenment and the Encyclopédie 26
The Rococo outside France 28
Eighteenth-Century Art in Northern Europe 31
The Eighteenth-Century Artist: Between Patronage and the Art Market 33
The Education of the Artist and the Academy 36
Academy Exhibitions 37
Salon Critics and the Call for a New Art in France 38
Count d’Angiviller and the Promotion of Virtuous Art 39
Reynolds and the Call for a New Art in Britain 43
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Reproducing Works of Art 33
Chapter 2 The Classical Paradigm 44
Winckelmann and Reflections on the Imitation of Greek Works in Painting and Sculpture 45
Classical Art and Idealism 46
Contour 47
Archaeology and the Discovery of Pompeii and Herculaneum 48
Winckelmann’s History of Ancient Art 49
Greece and Rome 50
The Beginnings of Neoclassicism 52
David 58
Sculpture 62
Canova 63
Thorvaldsen 66
Flaxman 67
The Industrial Revolution and the Popularization of Neoclassicism 69
The Neoclassical Home 71
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The Elgin Marbles 50
The Grand Tour 53
Chapter 3 British Art during the Late Georgian Period 74
The Sublime 75
The Lure of the Middle Ages 76
Horace Walpole, William Beckford, and the Taste for the “Gothick” in Architecture 77
The Sublime and the Gothick in Painting: Benjamin West 80
Boydell’s Shakespeare Gallery 82
Henry Fuseli 83
William Blake 85
Visual Satire 92
Grand Manner and Bourgeois Portraits 94
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Georgian Britain 76
Chapter 4 Art and Revolutionary Propaganda in France 98
Marie Antionette, Before and After 100
David’s Brutus 102
Commemorating the Heroes and Martyrs of the Revolution 104
Creating a Revolutionary Iconography 107
Pierre-Paul Prud’hon 108
Quatremère de Quincy, the Panthéon, and the Absent Republican Monument 109
Demolition as Propaganda 112
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Major Events of the French Revolution 1789—1795 100
Chapter 5 The Arts under Napoleon 114
The Rise of Napoleon 116
Vivant Denon and the Napoleon Museum 117
Napoleonic Public Monuments 118
Empire Style 120
The Imperial Image 123
Antoine-Jean Gros and the Napoleonic Epic 131
The School of David and the “Crisis“ of the Male Nude 132
The Transformation of History Painting: New Subjects and Sensibilities 137
The Lesser Genres: Genre, Portraiture, and Landscape 139
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Napoleonic Battles 117
Painting Genres and their Hierarchy 142
Chapter 6 Francisco Goya and Spanish Art at the Turn of the Eighteenth Century 144
Court Patronage under Carlos III: Tiepolo and Mengs 145
The Making of Francisco Goya 148
Goya as Court Painter 151
Goya’s Prints 153
The Execution of the Rebels 156
Quinta del Sordo 158
Spanish Art after Goya 158
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Etching 154
Chapter 7 The Beginnings of Romanticism in the German Speaking World 160
The Romantic Movement 161
Early Nazarenes: Friedrich Overbeck and Franz Pforr 162
Peter Cornelius and the Transformation of Nazarene Art 166
German Painting in Context 167
Philipp Otto Runge 167
Caspar David Friedrich 173
Chapter 8 The Importance of Landscape–British Painting in the Early Nineteenth Century 178
Nature Enthusiasm in Great Britain 179
The Picturesque 180
The Popularity of Watercolor: Amateurs and Professionals 183
Thomas Girtin, John Sell Cotman, and the Pictorial Possibilities of Watercolor 184
Joseph Mallord William Turner 189
John Constable 195
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Watercolor 183
Girtin and the Vogue for the Painted Panorama 184
Landscape Painting–Subjects and Modalities 188
Chapter 9 The Restoration Period and the Rejection of Classicism in France 200
Government Patronage and the Rejection of Classicism 201
The Academy 203
The Salons of the Restoration Period 204
Madame de Staël and the Introduction of
Romantic Ideas into France 205
Stendhal 205
Orientalism 206
Horace Vernet 207
Théodore Géricault 207
Eugène Delacroix 214
Ingres and the Transformation of Classicism 218
Classicism and Romanticism 221
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Paris Salons 204
The Making of The Raft of the Medusa 210
Lithography 212
Chapter 10 The Popularization of Art and Visual Culture in France during the July Monarchy (1830—1848) 222
The Salons of the Second Republic 256
The Origins of Realism 256
Gustave Courbet’s A Burial at Ornans 258
Courbet, Millet, and an Art of Social Consciousness 261
Daumier and the Urban Working Class 263
Realism 265
Chapter 11 The Revolution of 1848 and the Emergence of Realism in France 254
Napoleon III and the “Hausmannization“ of Paris 267
The Opéra and Mid-Nineteenth-Century Sculpture 270
Salons and Other Exhibitions during the Second Empire 275
Popular Trends at the Second Empire Salons 275
History through a Magnifying Glass: Meissonier and Gérôme 277
Second Empire Orientalism–Gérôme, Fromentin, Du Camp, Cordier 279
The Nude 283
Landscape and Animal Painting: Courbet and Bonheur 283
Second Empire Peasant Painting: Millet and Jules Breton 286
Baudelaire and “The Painter of Modern Life” 289
Courbet, Manet, and the Beginnings of Modernism 291
Photography 298
New Roles for Photography 300
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Emile Zola and Second Empire France 268
Viollet-le-Duc and France’s Gothic Heritage 270
Women’s Fashions and Women’s Journals 290
Chapter 12 Progress, Modernity, and Modernism–French Visual Culture during the Second Empire, 1852—1870 266
Classicism, Romanticism, and the Juste-Milieu 224
Louis-Philippe and the Museum of the History of France 225
Monumentalizing Napoleon 227
The Revival of Religious Mural Painting 229
The Salon during the July Monarchy 230
Historical Genre and Orientalist Painting 232
Landscape Painting: Corot and the Historical Landscape Tradition 235
Landscape: The Picturesque Tradition 236
Landscape Painting: The Barbizon School and Naturalism 238
Portraiture 240
Sculpture in the Salon 243
The Explosion of the Press and the Rise of Popular Culture 244
Honoré Daumier 245
Gavarni and Grandville 249
Louis Daguerre and the Beginnings of Photography in France 251
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Wood Engraving 245
Physiognomy and Phrenology 246
Chapter 13 Art in the German-Speaking World from the Congress of Vienna to the German Empire, 1815—1871 302
Berlin and Munich 303
Official Nazarene Art in Munich 306
Biedermeier Culture 309
Biedermeier Painting 309
German Academies 312
Academic History Painting 313
Adolph Menzel 314
Realism and Idealism: Diverging Trends in the Early 1870s 317
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Tableaux Vivants 315
Chapter 14 Art in Victorian Britain, 1837—1901 320
Social and Economic Conditions during the Victorian Age 322
The Victorian Art Scene 324
Painting during the Early Victorian Period: Anecdotal Scenes 325
Fairy Painting: Paton and Dadd 327
Early Victorian Landscape and Animal Painting: Martin and Landseer 329
Early Victorian Photography 331
Government Patronage and the Houses of Parliament 332
The Pre-Raphaelite Brotherhood 336
The Pre-Raphaelites and Secular Subject Matter 338
Genre Painting and Photography in the Mid-Victorian Period 341
From Pre-Raphaelitism to the Aesthetic Movement 344
The Royal Academy 348
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The Whistler—Ruskin Trial 348
Chapter 15 National Pride and International Rivalry–The Great International Expositions 350
Origins of the International Expositions 351
The Great Exhibition of the Works of Industry of All Nations 352
The Crystal Palace: A Revolution in Architecture 352
The Great Exhibition and the Design Crisis in Britain 354
New Attitudes toward Design: Owen Jones and John Ruskin 355
The International Exhibition in London, 1862 356
The Japanese Court at the Exhibition of 1862 358
The Universal Exposition of 1855 in Paris 360
The International Art Exposition 362
The French Show 362
Courbet’s Private Pavilion 362
Foreign Artists at the International Exposition of 1855 364
The Paris Universal Exposition of 1867 366
The Fine Arts Exhibition of 1867 367
The Japanese Pavilion 368
The Importance of the International Exhibitions of the 1850s and 1860s 369
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Machines at the International Exhibitions 353
Major Nineteenth-Century International Exhibitions 360
Chapter 16 French Art after the Commune–Conservative and Modernist Trends 370
The Commune and Early Photo-Journalism in Europe 371
Republican Monuments 373
Mural Painting during the Third Republic 376
The Third Republic and the Demise of the State-Sponsored Salon 380
Academic and Realist Art at the Salons of 1873—1890 380
Naturalism at the Salons of 1870—1890 382
Manet at the Salons of the 1870s and 1880s 385
Salon Alternatives 387
Origin and Definition of the Term “Impressionism” 387
Claude Monet and the Impressionist Landscape 389
Other Impressionist Landscape Painters: Pissarro and Sisley 390
Monet’s Early Painting Series 393
Impressionist Figure Painting 395
Impressionism and the Urban Scene: Edgar Degas 397
Impressionists and the Urban Scene: Caillebotte 402
Women at the Impressionist Exhibitions 405
Impressionism and Modern Vision 407
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Pastel 400
Eadweard Muybridge and Animal Locomotion 401
Chapter 17 French Avant-garde Art in the 1880s 408
Georges Seurat and Neo-Impressionism 409
Neo-Impressionism and Utopianism: Signac and Pissarro 415
The “Crisis” in Impressionism 417
Monet and the Later Series Paintings 418
Degas in the 1880s 420
Renoir in the 1880s 422
Paul Cézanne 425
Vincent van Gogh 430
Post-Impressionism 436
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The Letters of Van Gogh 431
Chapter 18 When the Eiffel Tower Was New 438
The Eiffel Tower 439
The Gallery of Machines 440
The History of Habitation Pavilions 441
Colonial Exhibits 442
The Fine Arts on Exhibit 443
The Triumph of Naturalism 445
Nordic Naturalism: Nationalism and Naturism 447
Naturalism in Germany: Max Liebermann and Fritz von Uhde 451
Naturalism in Belgium 453
Jozef Israëls and the Hague School in the Netherlands 454
Russian Painting 456
The 1889 Exposition in Review 459
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Nineteenth-Century Imperialism 443
Chapter 19 France during la Belle Epoque 460
Transport of Soul and Body: Sacré Coeur and the Metro 462
Art Nouveau, Siegfried Bing, and the Concept of Decoration 464
The Sources of Art Nouveau 465
Henri de Toulouse-Lautrec and the Art Nouveau Poster 466
Toulouse-Lautrec, the Painter 470
Paul Gauguin and Emile Bernard: Cloisonnism and Synthetism 472
Paul Gauguin: The Passion for Non-Western Culture 474
Symbolism 480
Symbolism and Romanticism: Gustave Moreau and Odilon Redon 480
Symbolist Cult Groups: Rosicrucians and Nabis 483
Fin-de-Siècle Sculpture 486
Camille Claudel 493
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Posters 467
The Techniques of Sculpture 490
Chapter 20 International Trends ca. 1900 494
New Art outside France 495
Art Nouveau in Belgium 496
Antoni Gaudí and Spanish Modernisme 496
Glasgow Style 500
Art Nouveau and Symbolism 502
Salons of the Rose + Croix 502
Les XX or The Group of Twenty 504
The Vienna Secession 506
Gustav Klimt 508
Ferdinand Hodler 511
The Berlin Secession 512
Edvard Munch 513
Stile Floreale and Italian Symbolism 515
The Paris Universal Exposition of 1900 517
Timeline 522
Glossary 526
Bibliography 530
Picture Credits 547
Index 549
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