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Author: Christopher Green
Publisher: Yale University Press
ISBN: 9780300099089
Category : Art
Languages : en
Pages : 352
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Book Description
This study sets developments within the frameworks both of their unstable social, political and intellectual world and of the official and independent institutions of art.
Author: Christopher Green
Publisher: Yale University Press
ISBN: 9780300099089
Category : Art
Languages : en
Pages : 352
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Book Description
This study sets developments within the frameworks both of their unstable social, political and intellectual world and of the official and independent institutions of art.
Author: Kathleen Adler
Publisher: National Gallery Publications Limited
ISBN: 9781857093018
Category : Art
Languages : en
Pages : 288
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Book Description
John White Alexander, Cecilia Beaux, James Carroll Beckwich, Frank Weston Benson, Nelson Norris Bickford, John Leslie Breck, Dennis Miller Bunker, Mary Stevenson Cassatt, Jefferson David Chalfant, William Merritt Chase, Charles Courtney Curran, Thomas Eakins, Mary Fairchild, Elizabeth Jane Gardner, Abbott Fuller Graves, Ellen Day Hale, Frederick Childe Hassam, Winslow Homer, Thomas Hovenden, William Morris Hunt, Anna Elizabeth Klumpke, Willard Leroy Metcalf, Hermann Dudley Murphy, Elizabeth Nourse, Charles Sprague Pearce, Maurice Brazil Prendergast, Theodore Robinson, John Singer Sargent, Julius LeBlanc Stewart, Henry Ossawa Tanner, Edmund Charles Tarbell, John Henry Twachtman, Harry van der Weyden, Frederic Porter Vinton, Robert Vonnoh, Julian Alden Weir, James Abbott McNeill Whistler.
Author: Fae Brauer
Publisher: Cambridge Scholars Publishing
ISBN: 144386370X
Category : Art
Languages : en
Pages : 457
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Book Description
Once the State-run Salon in Paris closed, an array of independent Salons mushroomed starting with the French Artists Salon and Women’s Salon in 1881 followed by the Independent Artists’ Salon, National Salon of Fine Arts and Autumn Salon. Offering an unparalleled choice of art identities and alliances, together with undreamed-of opportunities for sales, commissions, prizes and art criticism, these great Salons guaranteed the centripetal and centrifugal power of Paris as the “modern art centre”. Lured by the prospect of being exhibited annually in Salons the size of Biennales today, a huge number and national diversity of artists, from the Australian Rupert Bunny to the Spaniards Pablo Picasso and Juan Gris, flocked to Paris. Yet by no means were these Salons equal in power, nor did they work consensually to forge this “modern art centre”. Formed on the basis of their different cultural politics, constantly they rivalled one another for State acquisitions and commissions, exhibition places and spaces, awards, and every other means of enhancing their legitimacy. By no means were the avant-garde salons those that most succeeded. Instead, as this culturo-political history demonstrates, the French Artists’ and National Fine Art Salons were the most successful, with the genderist French Artists' Salon being the most powerful and “official”. Despite the renown today of Neo-Impressionism, Art Nouveau, Fauvism, Cubism and Orphism, the most powerful artists in this “modern art centre” were not Sonia Delaunay, Émile Gallé, Paul Signac, Henri Matisse or even Picasso but such Academicians as Léon Bonnat, William Bouguereau, Fernand Cormon, Edouard Detaille, Gabriel Ferrier, Jean-Paul Laurens, Luc-Oliver Merson and Aimé Morot, who exhibited at the “official” Salon supported by the machinery of the State. In its exposure of the rivalry, conflict and struggle between the Salons and their artists, this is an unprecedented history of dissension. It also exposes how, just below the welcoming internationalist veneer of this “modern art centre”, intense persecutionist paranoia lay festering. Whenever France’s “civilizing mission” seemed culturally, commercially or colonially threatened, it erupted in waves of nationalist xenophobia turning artistic rivalry into bitter enmity. In exposing how rivals became transmuted into conspirators, ultimately this book reveals a paradox resonant in histories that celebrate the international triumph of French modern art: that this magnetic “centre”, which began by welcoming international modernists, ended by attacking them for undermining its cultural supremacy, contaminating its “civilizing mission” and politically persecuting the very modernist culture for which it has received historical renown.
Author: Gino Raymond
Publisher: Scarecrow Press
ISBN: 0810862565
Category : History
Languages : en
Pages : 529
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Book Description
From the construction of Notre Dame and the Eiffel Tower to the Fall of the Bastille and the Declaration of the Rights of Man and the Citizen to NapolZon Bonaparte's defeat at Waterloo to Albert Camus' L'Etranger and the existentialism of Jean-Paul Sartre, France has been a part of some of the greatest and most memorable events in human history. Author Gino Raymond relates the history of these events in the second edition of the Historical Dictionary of France. Through a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced dictionary entries on kings, politicians, authors, architects, composers, artists, and philosophers, a thorough history of France is presented.
Author: PaulaJ. Birnbaum
Publisher: Routledge
ISBN: 1351536702
Category : Art
Languages : en
Pages : 347
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Book Description
Women Artists in Interwar France: Framing Femininities illuminates the importance of the Soci? des Femmes Artists Modernes, more commonly known as FAM, and returns this group to its proper place in the history of modern art. In particular, this volume explores how FAM and its most famous members?Suzanne Valadon, Marie Laurencin, and Tamara de Lempicka?brought a new approach to the most prominent themes of female embodiment: the self-portrait, motherhood, and the female nude. These women reimagined art's conventions and changed the direction of both art history and the politics of their contemporary art world. FAM has been excluded from histories of modern art despite its prominence during the interwar years. Paula Birnbaum's study redresses this omission, contextualizing the group's legacy in light of the conservative politics of 1930s France. The group's artistic response to the reactionary views and images of women at the time is shown to be a key element in the narrative of modernist formalism. Although many FAM works are missing?one reason for the lack of attention paid to their efforts?Birnbaum's extensive research, through archives, press clippings, and first-hand interviews with artists' families, reclaims FAM as an important chapter in the history of art from the interwar years.
Author: Susan Waller
Publisher: Routledge
ISBN: 1351566911
Category : Art
Languages : en
Pages : 295
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Book Description
Foreign Artists and Communities in Modern Paris, 1870-1914 examines Paris as a center of international culture that attracted artists from Western and Eastern Europe, Asia and the Americas during a period of burgeoning global immigration. Sixteen essays by a group of emerging and established international scholars - including several whose work has not been previously published in English - address the experiences of foreign exiles, immigrants, students and expatriates. They explore the formal and informal structures that permitted foreign artists to forge connections within and across national communities and in some cases fashion new, transnational identities in the City of Light. Considering Paris from an innovative global perspective, the book situates both important modern artists - such as Edvard Munch, Sonia Delaunay-Terk, Marc Chagall and Gino Severini - and lesser-known American, Czech, Italian, Polish, Welsh, Russian, Japanese, Catalan, and Hungarian painters, sculptors, writers, dancers, and illustrators within the larger trends of international mobility and cultural exchange. Broadly appealing to historians of modern art and history, the essays in this volume characterize Paris as a thriving transnational arts community in which the interactions between diverse cultures, peoples and traditions contributed to the development of a hybrid and multivalent modern art.
Author: Claire Nettleton
Publisher: Springer
ISBN: 3030193454
Category : Literary Criticism
Languages : en
Pages : 249
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Book Description
The Artist as Animal in Nineteenth-Century French Literature traces the evolution of the relationship between artists and animals in fiction from the Second Empire to the fin de siècle. This book examines examples of visual literature, inspired by the struggles of artists such as Edouard Manet and Vincent van Gogh. Edmond and Jules de Goncourt’s Manette Salomon (1867), Émile Zola’s Therèse Raquin (1867), Jules Laforgue’s “At the Berlin Aquarium” (1895) and “Impressionism” (1883), Octave Mirbeau’s In the Sky (1892-1893) and Rachilde’s L’Animale (1893) depict vanguard painters and performers as being like animals, whose unique vision revolted against stifling traditions. Juxtaposing these literary works with contemporary animal theory (McHugh, Deleuze, Guattari and Derrida), zoo studies (Berger, Rothfels and Lippit) and feminism (Donovan, Adams and Haraway), Claire Nettleton explores the extent to which the nineteenth-century dissolution of the human subject contributed to a radical, modern aesthetic. Utilizing these interdisciplinary methodologies, Nettleton argues that while inducing anxiety regarding traditional humanist structures, the “artist-animal,” an embodiment of artistic liberation within an urban setting, is, at the same time, a paradigmatic trope of modernity.
Author: Mark Antliff
Publisher: Duke University Press
ISBN: 9780822340348
Category : Art
Languages : en
Pages : 380
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Book Description
An investigation of the central role that theories of the visual arts and creativity played in the development of fascism in France between 1909 and 1939.
Author: Patricia Leighten
Publisher: University of Chicago Press
ISBN: 0226471381
Category : Art
Languages : en
Pages : 269
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Book Description
The years before World War I were a time of social and political ferment in Europe, which profoundly affected the art world. A major center of this creative tumult was Paris, where many avant-garde artists sought to transform modern art through their engagement with radical politics. In this provocative study of art and anarchism in prewar France, Patricia Leighten argues that anarchist aesthetics and a related politics of form played crucial roles in the development of modern art, only to be suppressed by war fever and then forgotten. Leighten examines the circle of artists—Pablo Picasso, Juan Gris, František Kupka, Maurice de Vlaminck, Kees Van Dongen, and others—for whom anarchist politics drove the idea of avant-garde art, exploring how their aesthetic choices negotiated the myriad artistic languages operating in the decade before World War I. Whether they worked on large-scale salon paintings, political cartoons, or avant-garde abstractions, these artists, she shows, were preoccupied with social criticism. Each sought an appropriate subject, medium, style, and audience based on different conceptions of how art influences society—and their choices constantly shifted as they responded to the dilemmas posed by contradictory anarchist ideas. According to anarchist theorists, art should expose the follies and iniquities of the present to the masses, but it should also be the untrammeled expression of the emancipated individual and open a path to a new social order. Revealing how these ideas generated some of modernism’s most telling contradictions among the prewar Parisian avant-garde, The Liberation of Painting restores revolutionary activism to the broader history of modern art.
Author: Diane V. Silverthorne
Publisher: Bloomsbury Publishing USA
ISBN: 1501330152
Category : Art
Languages : en
Pages : 305
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Book Description
Opening with an account of print portraiture facilitating Franz Liszt's celebrity status and concluding with Riot Grrrl's noisy politics of feminism and performance, this interdisciplinary anthology charts the relationship between music and the visual arts from late Romanticism and the birth of modernism to 'postmodernism', while crossing from Western art to the Middle East. Focused on music as a central experience of art and life, these essays scrutinize 'the musicalisation of art' focusing on the visual and performing arts and detailing significant instances of intra-art relations between c. 1840 and the present day. Essays reflect on the aesthetic relationships of music to painting, performance and installation, sound-and- silence, time-and-space. The insistent influence of Wagner is considered as well as the work and ideas of Manet, Satie and Cage, Thomas Wilfred, La Monte Young and Eliasson. What distinguishes these studies are the convictions that music is never alone and that a full understanding of the “isms” of the last two hundred years is best achieved when music's influential presence in the visual arts is acknowledged and interrogated.
