| Introduction: Critical art and History |
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11 | (11) |
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11 | (2) |
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Art and Emancipation, Art and Reaction |
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13 | (3) |
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The Nineteenth-Century Origins of Critical Art History |
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16 | (2) |
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A Critical Survey of Nineteenth-Century Art |
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18 | (4) |
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CLASSICISM AND ROMANTICISM |
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1 Patriotism and Virtue: David to the Young Ingres |
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22 | (37) |
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22 | (1) |
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23 | (3) |
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26 | (4) |
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30 | (3) |
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33 | (1) |
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Tragedy and the Republic of Equals |
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34 | (3) |
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Figures of Revolutionary Virtue |
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37 | (2) |
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Figures of Revolutionary Death |
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39 | (3) |
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42 | (10) |
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The Sublime of Authoritarianism |
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52 | (4) |
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56 | (3) |
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2 Classicism in Crisis: Gros to Delacroix |
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59 | (27) |
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59 | (2) |
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61 | (7) |
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The Artist Hero in the Face of Empire |
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68 | (2) |
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70 | (5) |
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Punishments of the Damned |
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75 | (5) |
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80 | (6) |
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3 The Tensions of Enlightenment: Goya |
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86 | (20) |
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Reason and Madness: Conflicts of the Age |
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86 | (8) |
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The Image of the Pueblo: The Later Art of Goya |
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94 | (12) |
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4 Visionary History Painting: Blake and his Contemporaries |
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106 | (17) |
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106 | (1) |
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Body Politics and Religious Mysticism |
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107 | (4) |
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111 | (3) |
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Blake and Contemporary English Art of the Sublime |
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114 | (4) |
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118 | (5) |
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5 Nature and History in English Romantic Landscape Painting |
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123 | (23) |
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Landscape Instincts and the Picturesque |
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123 | (3) |
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126 | (4) |
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Constable's Rustic Naturalism |
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130 | (1) |
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Constable and the Ruin of England |
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131 | (4) |
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Visionary Landscapes of Palmer and Martin |
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135 | (4) |
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Turner's Meaningful Obscurity |
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139 | (1) |
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140 | (6) |
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6 Landscape art and Romantic Nationalism in Germany and America |
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146 | (18) |
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146 | (4) |
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A Soulful Past: Lukasbund |
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150 | (4) |
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Friedrich and the Mediation of Landscape |
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154 | (1) |
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Progress and its Discontents: Thomas Cole and the American Landscape |
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155 | (5) |
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To Silence or to Reveal Nature's Allegory |
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160 | (4) |
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7 Architecture Unshackled, 1790-1851 |
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164 | (20) |
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164 | (3) |
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The New Architecture of Social Institutions |
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167 | (4) |
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Architecture and the Gothic Imagination |
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171 | (3) |
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Changing Urban Landscapes |
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174 | (4) |
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178 | (6) |
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8 Old World, New World: the Encounter of Cultures on the American Frontier |
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184 | (21) |
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The Buckskin Jacket and the Parker Pen |
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184 | (1) |
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185 | (5) |
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The Stain on a Painter's Palette: Charles Bird King and George Catlin |
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190 | (7) |
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Alternative Representations: Photography and Ledger Art |
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197 | (8) |
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9 Black and White in America |
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205 | (27) |
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America as an African Invention |
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205 | (6) |
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African Americans and the Civil War |
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211 | (7) |
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Images of Reconstruction: Prisoners From the Front and A Visit From the Old Mistress |
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218 | (4) |
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The African American Artist at Home and Ahroad: Edmonia Lewis and Henry Osawa Tanner |
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222 | (10) |
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10 The Generation of 1830 and the Crisis in the Public Sphere |
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232 | (18) |
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Romanticism and the Burden of Truth |
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232 | (3) |
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The July Monarchy and the Art of the Juste Milieu |
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235 | (5) |
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The Paradox of Patriotism: David d'Angers's Pantheon Pediment |
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240 | (6) |
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Classicism and the Woman Question: Thomas Couture |
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246 | (4) |
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11 The Rhetoric of Realism: Courbet and the Origins of the Avant-Garde |
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250 | (23) |
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Rhetorics of Realist Art and Politics |
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250 | (10) |
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Courbet's Trilogy of 1849-50 |
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260 | (7) |
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Courbet's The Studio of the Painter |
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267 | (6) |
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12 Photography, Modernity, and Art |
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273 | (36) |
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273 | (8) |
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Commercial Portraiture and the Industrialization of Photography |
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281 | (9) |
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Photography, Art, and the Debate over Focus |
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290 | (10) |
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300 | (9) |
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13 The Decline of History Painting: Germany, Italy, France, and Russia |
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309 | (17) |
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The Rise of Naturalism in Germany |
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309 | (3) |
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312 | (4) |
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Individualism and Naturalism in French Salon Art |
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316 | (7) |
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Challenges to Academic Painting in Russia |
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323 | (3) |
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14 Architecture and Design in the Age of Industry |
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326 | (24) |
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Handcraft and Machine Production |
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326 | (4) |
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Opposition to Mechanization |
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330 | (1) |
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331 | (4) |
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Arts and Crafts Architecture and Town Planning |
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335 | (5) |
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Reconciliation with the Machine |
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340 | (4) |
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The Architecture of World's Fairs and Capitalist Commerce |
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344 | (6) |
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15 Manet and the Impressionists |
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350 | (19) |
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Edouard Manet and Haussmannization |
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350 | (4) |
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354 | (3) |
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Impressionism and the Commodity |
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357 | (12) |
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16 Issues of Gender in Cassatt and Eakins |
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369 | (19) |
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369 | (6) |
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375 | (2) |
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377 | (1) |
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Eakins and the American Hero |
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378 | (2) |
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380 | (3) |
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Cassatt, Eakins, and the Modern Allegory |
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383 | (5) |
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17 Mass Culture and Utopia: Seurat and Neoimpressionism |
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388 | (14) |
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The Antinomies of Georges Seurat |
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388 | (1) |
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Seurat's Drawings and their Dispersion of Meaning |
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388 | (3) |
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A "Manifesto Painting": A Sunday Afternoon on the Island of the Grande Jatte |
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391 | (6) |
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Mass Culture and the Paradox of Pleasure: Chahut |
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397 | (5) |
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18 The Appeal of Modern Art: Toulouse-Lautrec |
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402 | (8) |
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402 | (1) |
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402 | (1) |
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Toulouse-Lautrec and Urban Art |
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403 | (3) |
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Modern Form, Popular Content |
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406 | (1) |
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407 | (1) |
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408 | (2) |
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19 Abstraction and Populism: Van Gogh |
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410 | (16) |
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Seurat and Van Gogh Compared |
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410 | (1) |
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411 | (2) |
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Van Gogh's First Statements of Purpose |
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413 | (1) |
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Early Art in The Hague and Neunen: The Potato Eaters |
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413 | (4) |
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Academic Training and Avant-Garde Education in Antwerp and Paris |
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417 | (4) |
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421 | (3) |
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Starry Night and Critical Modernism |
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424 | (2) |
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20 Symbolism and the Dialectics of Retreat |
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426 | (34) |
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Modernism versus Symbolism |
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426 | (2) |
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The Rhetoric of Symbolism |
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428 | (1) |
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Gauguin and Symbolism in Brittany |
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429 | (3) |
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432 | (7) |
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Symbolist Landscape Painting: Munch, Redon, Monet, and Hodler |
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439 | (11) |
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450 | (1) |
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Gauguin and Symbolism in Tahiti |
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451 | (9) |
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21 The Failure and Success of Cezanne |
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460 | (14) |
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460 | (1) |
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Cezanne: The Cultural Revolutionary |
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460 | (2) |
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Cezanne's Development: The Quest for Totality |
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462 | (4) |
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Cezanne's Artistic Maturity |
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466 | (4) |
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Cezanne and the End of Nineteenth-Century Art |
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470 | (4) |
| Chronology |
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474 | (11) |
| Select Bibliography |
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485 | (4) |
| List of Illustrations |
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489 | (6) |
| Index |
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495 | |
