An Introduction to Nineteenth-Century Art

An Introduction to Nineteenth-Century Art

Michelle Facos

Language: English

Pages: 464

ISBN: 0415780721

Format: PDF / Kindle (mobi) / ePub


Using the tools of the "new" art history (feminism, Marxism, social context, etc.) An Introduction to Nineteenth-Century Art offers a richly textured, yet clear and logical, introduction to nineteenth-century art and culture. This textbook will provide readers with a basic historical framework of the period and the critical tools for interpreting and situating new and unfamiliar works of art.

Michelle Facos goes beyond existing histories of nineteenth-century art, which often focus solely on France, Britain, and the United States, to incorporate artists and artworks from Scandinavia, Germany, and Eastern Europe.

The book expertly balances its coverage of trends and individual artworks: where the salient trends are clear, trend-setting works are highlighted, and the complexity of the period is respected by situating all works in their proper social and historical context. In this way, the student reader achieves a more nuanced understanding of the way in which the story of nineteenth-century art is the story of the ways in which artists and society grappled with the problem of modernity.

Key pedagogical features include:

  • Data boxes provide statistics, timelines, charts, and historical information about the period to further situate artworks.
  • Text boxes highlight extracts from original sources, citing the ideas of artists and their contemporaries, including historians, philosophers, critics, and theorists, to place artists and works in the broader context of aesthetic, cultural, intellectual, social, and political conditions in which artists were working.
  • Beautifully illustrated with over 250 color images.
  • Margin notes and glossary definitions.
  • Online resources at www.routledge.com/textbooks/facos with access to a wealth of information, including original documents pertaining to artworks discussed in the textbook, contemporary criticism, timelines and maps to enrich your understanding of the period and allow for further comparison and exploration.

Chapters take a thematic approach combined within an overarching chronology and more detailed discussions of individual works are always put in the context of the broader social picture, thus providing students with a sense of art history as a controversial and alive arena of study.

Michelle Facos teaches art history at Indiana University, Bloomington. Her research explores the changing relationship between artists and society since the Enlightenment and issues of identity. Prior publications include Nationalism and the Nordic Imagination: Swedish Painting of the 1890s (1998), Art, Culture and National Identity in Fin-de-Siècle Europe, co-edited with Sharon Hirsh (2003), and Symbolist Art in Context (2009).

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Nationale in Paris, the British Library in London, the New York Public Library, and the Library of Congress in Washington, D.C. In moments of need, helpful information was also provided by colleagues near and far: George Alter, Susan Brodie, Christiane Gruber, Carrie Haslett, Giles Knox, Svetozar Koljevic, Lauren Lessing, Andrei Molotiu, Elyce Rotella, Jon Small, Margo Stavros, Patricia Trutty-Coohill, Julie van Voorhis, David Wilkins, and Elizabeth Zammiello. My multitalented husband, Per

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Christianity that split from Orthodox Christianity in 1054. A rigidly structured, hierarchical organization, it maintains that the Pope is ultimate earthly spiritual authority and the direct successor of the Apostle Peter. 23 Figure 1.17 Giovanni Gaulli, Triumph of the Name of Jesus, 1679. Fresco. Il Gesu, Rome. $OOHJRU\ Expression of abstract ideas through figures and symbols. 24 with action in the foreground generally parallel to the picture plane, before a vista that appeared more like a

River School ........................................................................................ 133 American West .................................................................................................... 137 Conclusion .......................................................................................................... 138 Chapter 6: Colonialism, Imperialism, Orientalism 140 Documenting Distant Lands and Peoples ..................................................... 141

Lack of funding caused the Gallery of Fine Art to close in 1853 and to transfer its holdings to the recently established New York Historical Society. CONCLUSION In order to comfort and pacify the public during an era of incessant and often unsettling change and to foster support for those in power, links to the past were forged. References to wise, respected ancient rulers and altruistic, devout saints served DV HIIHFWLYH PHDQV RI  HQQREOLQJ WKH GHHGV RI  FRQWHPSRUDU\ ÀJXUHV $W WKH

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