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Nineteenth Century Art: A Critical History 4th College ed. [Pehme köide]

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  • Formaat: Paperback / softback, 504 pages, kõrgus x laius x paksus: 267x218x33 mm, kaal: 1919 g, Illustrations, color; Illustrations, black and white
  • Ilmumisaeg: 01-Dec-2019
  • Kirjastus: Thames & Hudson Ltd
  • ISBN-10: 0500288887
  • ISBN-13: 9780500288887
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  • Formaat: Paperback / softback, 504 pages, kõrgus x laius x paksus: 267x218x33 mm, kaal: 1919 g, Illustrations, color; Illustrations, black and white
  • Ilmumisaeg: 01-Dec-2019
  • Kirjastus: Thames & Hudson Ltd
  • ISBN-10: 0500288887
  • ISBN-13: 9780500288887
"Rich in ideas and illustrations...of interest to scholars and art enthusiasts alike."-Library Journal

Since its first publication in 1994, this book has established itself as the most popular and highly regarded textbook in the field. It embraces many aspects of the so-called "new" art history while at the same time emphasizing the remarkable vitality, salience, and subversiveness of the era's best art.

The new edition includes four revised chapters together with a substantially expanded chapter on photography. With more than a dozen new images, this rich and diverse volume will interest students, specialists, and anyone fascinated by this dynamic period.

In addition to Stephen F. Eisenman, the contributors are Thomas Crow, Brian Lukacher, Linda Nochlin, David Llewellyn Phillips, and Frances K. Pohl.

Arvustused

An impressive encyclopedic volume...such vigor, clarity, and scholarship that it must be regarded as required reading. Handsomely illustrated....The interpretations of [ the artists'] work are thoughtful.

Introduction: Critical Art and History 11(11)
The First Modern Century
11(2)
Art and Emancipation, Art and Reaction
13(3)
The Nineteenth-Century Origins of Critical Art History
16(2)
A Critical Survey of Nineteenth-Century Art
18(4)
Classicism and Romanticism
1 Patriotism and Virtue: David to the Young Ingres
22(37)
Thomas Crow
The Cult of Civic Virtue
22(1)
A Call to Order
23(3)
The Enterprise of Women
26(4)
The Circle of Men
30(3)
A Violent Patrimony
33(1)
Tragedy and the Republic of Equals
34(3)
Figures of Revolutionary Virtue
37(2)
Figures of Revolutionary Death
39(3)
Leaving Terror Behind
42(10)
The Sublime of Authoritarianism
52(4)
Dreams Beyond History
56(3)
2 Classicism In Crisis: Gros to DELACROIX
59(27)
Thomas Crow
Force of Arms
59(2)
An Imperial Antiquity
61(7)
The Artist Hero in the Face of Empire
68(2)
Return from the Wreckage
70(5)
Punishments of the Damned
75(5)
Suicide of the Despot
80(6)
3 The Tensions of Enlightenment: Goya
86(20)
Reason and Madness: Conflicts of the Age
86(8)
The Image of the Pueblo: The Later Art of Goya
94(12)
4 Visionary History Painting: Blake and His Contemporaries
106(17)
Brian Lukacher
Blake's Revolution
106(1)
Body Politics and Religious Mysticism
107(4)
Blake's Public Art
111(3)
Blake and Contemporary English Art of the Sublime
114(4)
Prophecy and Prehistory
118(5)
5 Nature and History In English Romantic Landscape Painting
123(23)
Brian Lukacher
Landscape Instincts and the Picturesque
123(3)
Ruins and Cities
126(4)
Constable's Rustic Naturalism
130(1)
Constable and the Ruin of England
131(4)
Visionary Landscapes of Palmer and Martin
135(4)
Turner's Meaningful Obscurity
139(1)
Turner's Later Work
140(6)
6 Landscape Art and Romantic Nationalism In Germany and America
146(18)
Brian Lukacher
Runge's New Age
146(4)
A Soulful Past: Lukasbund
150(4)
Friedrich and the Mediation of Landscape
154(1)
Progress and its Discontents: Thomas Cole and the American Landscape
155(5)
To Silence or to Reveal Nature's Allegory
160(4)
7 Architecture Unshackled, 1790-1851
164(20)
Brian Lukacher
A Modern Enlightenment
164(3)
The New Architecture of Social Institutions
167(4)
Architecture and the Gothic Imagination
171(3)
Changing Urban Landscapes
174(4)
Faith or Technology
178(6)
New World Frontiers
8 Old World, New World: The Encounter of Cultures on the American Frontier
184(21)
Frances K. Pohl
The Buckskin Jacket and the Parker Pen
184(1)
The Myth of the Frontier
185(5)
The Stain on a Painter's Palette: Charles Bird King and George Catlin
190(7)
Alternative Representations: Photography and Ledger Art
197(8)
9 Black and White in America
205(27)
Frances K. Pohl
America as an African Invention
205(6)
African Americans and the Civil War
211(7)
Images of Reconstruction: Prisoners From the Front and A Visit From the Old Mistress
218(4)
The African American Artist at Home and Abroad: Edmonia Lewis and Henry Osawa Tanner
222(10)
Realism and Naturalism
10 The Generation of 1830 and the Crisis in the Public Sphere
232(18)
Romanticism and the Burden of Truth
232(3)
The July Monarchy and the Art of the Juste Milieu
235(5)
The Paradox of Patriotism: David d'Angers's Pantheon Pediment
240(6)
Classicism and the Woman Question: Thomas Couture
246(4)
11 The Rhetoric of Realism: Courbet and the Origins of the Avant-Garde
250(23)
Rhetorics of Realist Art and Politics
250(10)
Courbet's Trilogy of 1849-50
260(7)
Courbet's The Studio of the Painter
267(6)
12 Photography, Modernity, and Art
273(36)
David Llewellyn Phillips
Natural Magic
273(8)
Commercial Portraiture and the Industrialization of Photography
281(9)
Photography, Art, and the Debate over Focus
290(10)
Amateurs and Artists
300(9)
13 The Decline of History Painting: Germany, Italy, France, and Russia
309(17)
The Rise of Naturalism in Germany
309(3)
The Italian Macchiaioli
312(4)
Individualism and Naturalism in French Salon Art
316(7)
Challenges to Academic Painting in Russia
323(3)
Modern Art and Life
14 Architecture and Design in the Age of Industry
326(24)
Handcraft and Machine Production
326(4)
Opposition to Mechanization
330(1)
William Morris
331(4)
Arts and Crafts Architecture and Town Planning
335(5)
Reconciliation with the Machine
340(4)
The Architecture of World's Fairs and Capitalist Commerce
344(6)
15 Manet and the Impressionists
350(19)
Edouard Manet and Haussmannization
350(4)
Manet's Olympia
354(3)
Impressionism and the Commodity
357(12)
16 Issues of Gender in Cassatt and Eakins
369(19)
Linda Nochlin
Gender and Difference
369(6)
The Portrait
375(2)
Cassatt and the Gaze
377(1)
Eakins and the American Hero
378(2)
Women and Children
380(3)
Cassatt, Eakins, and the Modern Allegory
383(5)
17 Mass Culture and Utopia: Seurat and Neoimpressionism
388(14)
The Antinomies of Georges Seurat
388(1)
Seurat's Drawings and their Dispersion of Meaning
388(3)
A "Manifesto Painting": A Sunday Afternoon on the Island of the Grande Jatte
391(6)
Mass Culture and the Paradox of Pleasure: Chahut
397(5)
18 The Appeal of Modern Art: Toulouse-Lautrec
402(8)
Novelty and Desire
402(1)
The Crowd
402(1)
Toulouse-Lautrec and Urban Art
403(3)
Modern Form, Popular Content
406(1)
Poster Art
407(1)
The Metropolitan Fetish
408(2)
19 Abstraction and Populism: Van Gogh
410(16)
Seurat and Van Gogh Compared
410(1)
Two Myths about Van Gogh
411(2)
Van Gogh's First Statements of Purpose
413(1)
Early Art in The Hague and Neunen: The Potato Eaters
413(4)
Academic Training and Avant-Garde Education in Antwerp and Paris
417(4)
Van Gogh in Aries
421(3)
Starry Night and Critical Modernism
424(2)
20 Symbolism and the Dialectics of Retreat
426(34)
Modernism versus Symbolism
426(2)
The Rhetoric of Symbolism
428(1)
Gauguin and Symbolism in Brittany
429(3)
Ensor and Populism
432(7)
Symbolist Landscape Painting: Munch, Redon, Monet, and Hodler
439(11)
The Vienna Secession
450(1)
Gauguin and Symbolism in Tahiti
451(9)
21 The Failure and Success of Cezanne
460(14)
Symbolism in Extremis
460(1)
Cezanne: The Cultural Revolutionary
460(2)
Cezanne's Development: The Quest for Totality
462(4)
Cezanne's Artistic Maturity
466(4)
Cezanne and the End of Nineteenth-Century Art
470(4)
Chronology 474(11)
Glossary 485(4)
Select Bibliography 489(4)
List of Illustrations 493(6)
Index 499
Stephen F. Eisenman is Professor of Art History at Northwestern University Linda Nochlin was the Lila Acheson Wallace professor of modern art emerita at New York University's Institute of Fine Arts. Her publications include The Body in Pieces: The Fragment as a Metaphor of Modernity; Women, Art and Power and Other Essays; The Politics of Vision: Essays on Nineteenth-Century Art and Society; Courbet; Mise`re: The Visual Representation of Misery in the 19th Century; and Women Artists: The Linda Nochlin Reader. Her essay "Why Have There Been No Great Women Artists?" is considered one of the most in influential texts in modern art history. Frances K. Pohl is the Dr. Mary Ann Vanderzyl Reynolds Professor of Humanities and Professor of Art History at Pomona College in Claremont, California. She received her Ph.D. from the University of California, Los Angeles. Since moving to Pomona in 1985, she has taught a wide variety of courses in nineteenth- and twentieth-century North American art. Her work has focused on the art of the United States, in particular the work of Ben Shahn, about whom she has written two books, and the relationship between the visual arts and working-class culture. Professor Pohl has taught in the United States for many years, but her Canadian origins give her a unique continental perspective on American art.