19th-Century Art

by Rosenblum, Robert; Janson, H.W.

• ISBN13: 9780131895621
• ISBN10: 0131895621
• Edition: 2nd
• Format: Paperback
• Copyright: 2004-07-29
• Publisher: Pearson

Summary

Originally published twenty years ago,Nineteenth Century Art, Second Editionremains true to the original, with its superior survey of Western painting and sculpture presented in four historical parts, beginning in 1776 and ending with the dawn of the new century.This book draws on the historical documentation of the period, tracing the dynamics of the making and viewing of art, and examining the reciprocal influences of art and technology, art and politics, art and literature, art and music.For nineteenth century art enthusiasts.

Table of Contents

Preface and Acknowledgments	9	(5)
Part 1 1776--1815
Painting
Changes in History Painting	14	(9)
Crossing the Atlantic: Anglo-American Connections and the Wooing of John Singleton Copley	17	(6)
France	23	(3)
Jacques-Louis David	26	(14)
Challenging Apollo: David and the Martyrdom of Jean-Paul Marat	35	(5)
Francisco de Goya y Lucientes	40	(8)
Goya and the Imaging of Royalty in Spain	45	(3)
The Rise of Romanticism in England	48	(7)
The Neoclassic-Romantic Dilemma	55	(3)
Painting in France after David	58	(5)
The Primitifs: An Early Artistic Brotherhood in the Nineteenth Century	59	(4)
The Image of the Ruler	63	(10)
Varieties of Landscape Painting	73	(9)
The Nazarenes	82	(3)
The Nazarenes as Romantics in Rome and Germany	84	(1)
Romantic Meditations in Germany and England	85	(7)
Sculpture
Introduction	92	(2)
England	94	(5)
Scandinavia	99	(1)
France	100	(9)
A ``Pedestrian Statue'': Houdon, Jefferson, and Washington	106	(3)
Antonio Canova	109	(4)
The Early Thorvaldsen	113	(1)
Austria and Germany	114	(6)
Part 2 1815--1848
Painting
Retrospection and Introspection: The Congress of Vienna and Late Goya	120	(5)
Theodore Gericault	125	(8)
Gericault and The Raft of the Medusa	129	(4)
Delacroix, Ingres, and the Romantic--Classic Conflict in France	133	(14)
Turner and Romantic Visionaries	147	(9)
Turner and his Champion, John Ruskin: The Snowstorm and the Oscillating Critic	151	(5)
Constable and Romantic Naturalism	156	(6)
From History Painting to Biedermeier	162	(19)
Caspar David Friedrich's Woman by the Window	179	(2)
Empirical Directions	181	(13)
Social Observers	194	(6)
Sculpture
Introduction	200	(1)
The Mature Thorvaldsen	200	(2)
England	202	(2)
The United States	204	(2)
Italy	206	(2)
Germany	208	(3)
France	211	(14)
Baudelaire and the Challenge for Sculpture in the Mid-Nineteenth Century	216	(9)
The Romantic Theory of Sculpture	225	(3)
Part 3 1848--1870
Painting
The 1848 Revolution: Some Pictorial Responses	228	(3)
Jean-Francois Millet and Peasant Painters	231	(6)
Rosa Bonheur: Painting in the Nivernais	235	(2)
Gustave Courbet	237	(6)
Materialism versus Idealism	243	(7)
Courbet, The Painter's Studio and the Pavillon du Realisme in 1855	247	(3)
Poverty and Piety	250	(6)
The Pre-Raphaelite Brotherhood	256	(11)
Cross-cultural Reactions to the Pre-Raphaelites: John Ruskin and Eugene Delacroix	258	(9)
History Painting	267	(7)
Menzel, Modernity and Realism in Germany	269	(5)
Escapist Modes in Figure and Landscape Painting	274	(14)
Frederic Edwin Church, Cotopaxi, and the American Sublime	282	(6)
The 1860s: Manet and Painting in Paris	288	(22)
Painting Out-of Doors: Toward Impressionism	310	(13)
Silvestro Lega and the Macchiaioli	318	(5)
Sculpture
France	323	(11)
Carpeaux and La Danse: The Tribulations of Public Art	330	(4)
Italy	334	(2)
England	336	(2)
The United States	338	(2)
Germany and Austria	340	(4)
Part 4 1870--1900
Painting
Reflections of the Franco-Prussian War	344	(5)
1874: The First Impressionist Exhibition	349	(9)
1874: At the Paris Salon and the Royal Academy	358	(5)
The 1870s: From Realism to Aestheticism	363	(19)
Interiors: Domestic and Erotic	382	(4)
Changes in History Painting and Portraiture	386	(8)
Sargent's ``Broken Realism'': The Boit Sisters	393	(1)
National Landscape	394	(2)
Paul Cezanne	396	(11)
Georges Seurat and Neo-Impressionism	407	(15)
Seurat and Pointillism: The Dot as Marxist Matrix	413	(9)
Vincent van Gogh	422	(11)
Ensor, Klinger, Redon	433	(6)
Paul Gauguin and the Origins of Symbolism	439	(11)
Gauguin, Reprised Romanticism, and Christian Symbolism	446	(4)
The 1890s: Postscript and Prologue	450	(27)
Sculpture
Introduction	477	(1)
France	478	(21)
Italy	499	(3)
Belgium	502	(2)
Germany	504	(2)
England	506	(5)
Leighton's Athlete Wrestling with a Python: A Restless Modernity	507	(4)
The United States	511	(8)
Postscript: The Fin de Siecle	519	(3)
Bibliography	522	(8)
Picture Credits	530	(1)
Text Credits	531	(1)
Index	532

Excerpts

About Nineteenth-Century ArtTwo decades have passed since the first publication of this book in 1984; and in that time, our knowledge of nineteenth-century art has made countless quantum leaps. For one, there is the often overwhelming quantity of new information that monographs and exhibition catalogues have brought us, a bounty that is reflected in this new edition's updated bibliography. But there is also the constant changing of viewpoints from which the nineteenth century can be seen. Many issues began to loom large. Feminists made us aware of the hundreds of nineteenth-century women artists who seemed to be buried forever but who deserved resurrection. And feminists also made us look differently at how women fitted into the various social structures implied by the roles they play in nineteenth-century paintings. For a century that witnessed one dehumanizing crisis after another--slavery, factory life, slums, famine, desperate migrations of workers--it also became necessary to come to grips with the ways in which artists confronted or concealed these painful truths. There were, comparably, new questions about the issues of nationalism and imperialism, which required a new reading of the way in which Western artists generated patriotic fervor or confronted the problem of depicting people and cultures remote from their own. And a waning of modernism's inherited hostility to academic art opened yet another huge vista, demanding reconsideration of hundreds of painters who had been thrown into the dustbin of history. Moreover, the welling interest in photography similarly fostered new ways of looking at those nineteenth-century painters whose hyper-realism had once disqualified them from the category of respectable art. About the Revised and Updated EditionRevising and republishing a historical survey now twenty years old entailed, among other things, a reconsideration of how old- or new-fashioned the text would be today. The answer, of course, should be left to the readers, young or old; but this author, at least, has his own strong opinions. As for the section on sculpture, written by the late H.W lanson, this was, in fact, the first survey that approached the subject in a democratic way, rejecting the earlier twentieth-century's exclusive focus on an underpopulated pantheon of great sculptors, from Canova to Rodin, and exploring a multitude of lesser figures from both sides of the Atlantic and from all parts of Europe. Inherited standards of what was boring, silly, or ugly in nineteenth-century sculpture were swept away in favor of fresh readings of this vast, unstudied body of work. Pointing forward, not backwards, this survey laid many of the foundations of books and exhibitions to come. It now stands as a pioneering work for charting new maps in the ongoing explorations of nineteenth-century sculpture, and this revision benefits from the inclusion of additional illustrations to accompany Janson's original text. Thanks go to Pamela Potter-Hennessey for her advice and suggested changes to the text, which have helped to enhance the links between painting and sculpture in the nineteenth century.As for the section on painting, in retrospect, this also seems future-oriented, not only in its interpretations but in its selection of works. There are, for instance, far more works by women than had ever before appeared in a comparable survey; and the social roles of women in the nineteenth century, whether as ideal mothers, adulteresses, prostitutes, or mythical temptresses, were emphasized. Grinding poverty, class structures, social reforms were also viewed as essential to understanding the period, much as the rapidly changing image of the ruler, whether king, empress, or president, was seen in its role as mirroring political history. Academic art, vilified by almost all earlier surveys, was for the first time given its due, looked at with an eye to integrating it with the acknowled