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Nineteenth Century European Arttxt，chm，pdf，epub，mobi下载作者: Chu, Petra 出版社: Prentice Hall 出版年: 2011-1 页数: 560 定价: 829.00元 装帧: Hardcover ISBN: 9780205707997 内容简介 · · · · · ·For one-semester courses in 19th-Century Art, and two-semester courses that cover the periods of 1760-1830 and 1830-1900. This essential survey of European art and visual culture in the nineteenth-century treats art forms within a broad historical framework to show the connections between visual cultural production and the political, social, and economic order of the time. ... 作者简介 · · · · · ·Petra ten-Doesschate Chu is a leading authority on nineteenth century art. She is a professor at Seton Hall University and the author of numerous articles and essays, as well as several books, including French Realism and the Dutch Masters, Courbet in Perspective, The Letters of Gustave Courbet, The Popularization of Images (with Gabriel P. Weisberg), The Most Arrogant Man in F... 目录 · · · · · ·Preface 13Introduction 15 Chapter 1 Rococo, Enlightenment, and the Call for a New Art in the Mid Eighteenth Century 20 The Emergence of the Rococo during the Reign of Louis XV 21 Decorative Paintings, Sculptures, and Porcelains 23 The Enlightenment and the Encyclopédie 26 · · · · · · () Preface 13 Introduction 15 Chapter 1 Rococo, Enlightenment, and the Call for a New Art in the Mid Eighteenth Century 20 The Emergence of the Rococo during the Reign of Louis XV 21 Decorative Paintings, Sculptures, and Porcelains 23 The Enlightenment and the Encyclopédie 26 The Rococo outside France 28 Eighteenth-Century Art in Northern Europe 31 The Eighteenth-Century Artist: Between Patronage and the Art Market 33 The Education of the Artist and the Academy 36 Academy Exhibitions 37 Salon Critics and the Call for a New Art in France 38 Count d’Angiviller and the Promotion of Virtuous Art 39 Reynolds and the Call for a New Art in Britain 43 Boxes Reproducing Works of Art 33 Chapter 2 The Classical Paradigm44 Winckelmann and Reflections on the Imitation of Greek Works in Painting and Sculpture 45 Classical Art and Idealism 46 Contour 47 Archaeology and the Discovery of Pompeii and Herculaneum 48 Winckelmann’s History of Ancient Art 49 Greece and Rome 50 The Beginnings of Neoclassicism 52 David 58 Sculpture 62 Canova 63 Thorvaldsen 66 Flaxman 67 The Industrial Revolution and the Popularization of Neoclassicism 69 The Neoclassical Home 71 Boxes The Elgin Marbles 50 The Grand Tour 53 Chapter 3 British Art during the Late Georgian Period74 The Sublime 75 The Lure of the Middle Ages 76 Horace Walpole, William Beckford, and the Taste for the “Gothick” in Architecture 77 The Sublime and the Gothick in Painting: Benjamin West 80 Boydell’s Shakespeare Gallery 82 Henry Fuseli 83 William Blake 85 Visual Satire 92 Grand Manner and Bourgeois Portraits 94 Box Georgian Britain 76 Chapter 4 Art and Revolutionary Propaganda in France98 Marie Antionette, Before and After 100 David’s Brutus 102 Commemorating the Heroes and Martyrs of the Revolution 104 Creating a Revolutionary Iconography 107 Pierre-Paul Prud’hon 108 Quatremère de Quincy, the Panthéon, and the Absent Republican Monument 109 Demolition as Propaganda 112 Box Major Events of the French Revolution 1789—1795 100 Chapter 5 The Arts under Napoleon114 The Rise of Napoleon 116 Vivant Denon and the Napoleon Museum 117 Napoleonic Public Monuments 118 Empire Style 120 The Imperial Image 123 Antoine-Jean Gros and the Napoleonic Epic 131 The School of David and the “Crisis“ of the Male Nude 132 The Transformation of History Painting: New Subjects and Sensibilities 137 The Lesser Genres: Genre, Portraiture, and Landscape 139 Boxes Napoleonic Battles 117 Painting Genres and their Hierarchy 142 Chapter 6 Francisco Goya and Spanish Art at the Turn of the Eighteenth Century144 Court Patronage under Carlos III: Tiepolo and Mengs 145 The Making of Francisco Goya 148 Goya as Court Painter 151 Goya’s Prints 153 The Execution of the Rebels 156 Quinta del Sordo 158 Spanish Art after Goya 158 Box Etching 154 Chapter 7 The Beginnings of Romanticism in the German Speaking World160 The Romantic Movement 161 Early Nazarenes: Friedrich Overbeck and Franz Pforr 162 Peter Cornelius and the Transformation of Nazarene Art 166 German Painting in Context 167 Philipp Otto Runge 167 Caspar David Friedrich 173 Chapter 8 The Importance of Landscape–British Painting in the Early Nineteenth Century178 Nature Enthusiasm in Great Britain 179 The Picturesque 180 The Popularity of Watercolor: Amateurs and Professionals 183 Thomas Girtin, John Sell Cotman, and the Pictorial Possibilities of Watercolor 184 Joseph Mallord William Turner 189 John Constable 195 Boxes Watercolor 183 Girtin and the Vogue for the Painted Panorama 184 Landscape Painting–Subjects and Modalities 188 Chapter 9 The Restoration Period and the Rejection of Classicism in France200 Government Patronage and the Rejection of Classicism 201 The Academy 203 The Salons of the Restoration Period 204 Madame de Staël and the Introduction of Romantic Ideas into France 205 Stendhal 205 Orientalism 206 Horace Vernet 207 Théodore Géricault 207 Eugène Delacroix 214 Ingres and the Transformation of Classicism 218 Classicism and Romanticism 221 Boxes Paris Salons 204 The Making of The Raft of the Medusa 210 Lithography 212 Chapter 10 The Popularization of Art and Visual Culture in France during the July Monarchy (1830—1848)222 The Salons of the Second Republic 256 The Origins of Realism 256 Gustave Courbet’s A Burial at Ornans 258 Courbet, Millet, and an Art of Social Consciousness 261 Daumier and the Urban Working Class 263 Realism 265 Chapter 11 The Revolution of 1848 and the Emergence of Realism in France254 Napoleon III and the “Hausmannization“ of Paris 267 The Opéra and Mid-Nineteenth-Century Sculpture 270 Salons and Other Exhibitions during the Second Empire 275 Popular Trends at the Second Empire Salons 275 History through a Magnifying Glass: Meissonier and Gérôme 277 Second Empire Orientalism–Gérôme, Fromentin, Du Camp, Cordier 279 The Nude 283 Landscape and Animal Painting: Courbet and Bonheur 283 Second Empire Peasant Painting: Millet and Jules Breton 286 Baudelaire and “The Painter of Modern Life” 289 Courbet, Manet, and the Beginnings of Modernism 291 Photography 298 New Roles for Photography 300 Boxes Emile Zola and Second Empire France 268 Viollet-le-Duc and France’s Gothic Heritage 270 Women’s Fashions and Women’s Journals 290 Chapter 12 Progress, Modernity, and Modernism–French Visual Culture during the Second Empire, 1852—1870266 Classicism, Romant. · · · · · · () |
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