9780131895621

Originally published twenty years ago,Nineteenth Century Art, Second Editionremains true to the original, with its superior survey of Western painting and sculpture presented in four historical parts, beginning in 1776 and ending with the dawn of the new century.This book draws on the historical documentation of the period, tracing the dynamics of the making and viewing of art, and examining the reciprocal influences of art and technology, art and politics, art and literature, art and music.For nineteenth century art enthusiasts.

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Preface and Acknowledgments

9

(5)

Part 1 1776--1815

Painting

Changes in History Painting

14

(9)

Crossing the Atlantic: Anglo-American Connections and the Wooing of John Singleton Copley

17

(6)

France

23

(3)

Jacques-Louis David

26

(14)

Challenging Apollo: David and the Martyrdom of Jean-Paul Marat

35

(5)

Francisco de Goya y Lucientes

40

(8)

Goya and the Imaging of Royalty in Spain

45

(3)

The Rise of Romanticism in England

48

(7)

The Neoclassic-Romantic Dilemma

55

(3)

Painting in France after David

58

(5)

The Primitifs: An Early Artistic Brotherhood in the Nineteenth Century

59

(4)

The Image of the Ruler

63

(10)

Varieties of Landscape Painting

73

(9)

The Nazarenes

82

(3)

The Nazarenes as Romantics in Rome and Germany

84

(1)

Romantic Meditations in Germany and England

85

(7)

Sculpture

Introduction

92

(2)

England

94

(5)

Scandinavia

99

(1)

France

100

(9)

A ``Pedestrian Statue'': Houdon, Jefferson, and Washington

106

(3)

Antonio Canova

109

(4)

The Early Thorvaldsen

113

(1)

Austria and Germany

114

(6)

Part 2 1815--1848

Painting

Retrospection and Introspection: The Congress of Vienna and Late Goya

120

(5)

Theodore Gericault

125

(8)

Gericault and The Raft of the Medusa

129

(4)

Delacroix, Ingres, and the Romantic--Classic Conflict in France

133

(14)

Turner and Romantic Visionaries

147

(9)

Turner and his Champion, John Ruskin: The Snowstorm and the Oscillating Critic

151

(5)

Constable and Romantic Naturalism

156

(6)

From History Painting to Biedermeier

162

(19)

Caspar David Friedrich's Woman by the Window

179

(2)

Empirical Directions

181

(13)

Social Observers

194

(6)

Sculpture

Introduction

200

(1)

The Mature Thorvaldsen

200

(2)

England

202

(2)

The United States

204

(2)

Italy

206

(2)

Germany

208

(3)

France

211

(14)

Baudelaire and the Challenge for Sculpture in the Mid-Nineteenth Century

216

(9)

The Romantic Theory of Sculpture

225

(3)

Part 3 1848--1870

Painting

The 1848 Revolution: Some Pictorial Responses

228

(3)

Jean-Francois Millet and Peasant Painters

231

(6)

Rosa Bonheur: Painting in the Nivernais

235

(2)

Gustave Courbet

237

(6)

Materialism versus Idealism

243

(7)

Courbet, The Painter's Studio and the Pavillon du Realisme in 1855

247

(3)

Poverty and Piety

250

(6)

The Pre-Raphaelite Brotherhood

256

(11)

Cross-cultural Reactions to the Pre-Raphaelites: John Ruskin and Eugene Delacroix

258

(9)

History Painting

267

(7)

Menzel, Modernity and Realism in Germany

269

(5)

Escapist Modes in Figure and Landscape Painting

274

(14)

Frederic Edwin Church, Cotopaxi, and the American Sublime

282

(6)

The 1860s: Manet and Painting in Paris

288

(22)

Painting Out-of Doors: Toward Impressionism

310

(13)

Silvestro Lega and the Macchiaioli

318

(5)

Sculpture

France

323

(11)

Carpeaux and La Danse: The Tribulations of Public Art

330

(4)

Italy

334

(2)

England

336

(2)

The United States

338

(2)

Germany and Austria

340

(4)

Part 4 1870--1900

Painting

Reflections of the Franco-Prussian War

344

(5)

1874: The First Impressionist Exhibition

349

(9)

1874: At the Paris Salon and the Royal Academy

358

(5)

The 1870s: From Realism to Aestheticism

363

(19)

Interiors: Domestic and Erotic

382

(4)

Changes in History Painting and Portraiture

386

(8)

Sargent's ``Broken Realism'': The Boit Sisters

393

(1)

National Landscape

394

(2)

Paul Cezanne

396

(11)

Georges Seurat and Neo-Impressionism

407

(15)

Seurat and Pointillism: The Dot as Marxist Matrix

413

(9)

Vincent van Gogh

422

(11)

Ensor, Klinger, Redon

433

(6)

Paul Gauguin and the Origins of Symbolism

439

(11)

Gauguin, Reprised Romanticism, and Christian Symbolism

446

(4)

The 1890s: Postscript and Prologue

450

(27)

Sculpture

Introduction

477

(1)

France

478

(21)

Italy

499

(3)

Belgium

502

(2)

Germany

504

(2)

England

506

(5)

Leighton's Athlete Wrestling with a Python: A Restless Modernity

507

(4)

The United States

511

(8)

Postscript: The Fin de Siecle

519

(3)

Bibliography

522

(8)

Picture Credits

530

(1)

Text Credits

531

(1)

Index

532

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About Nineteenth-Century ArtTwo decades have passed since the first publication of this book in 1984; and in that time, our knowledge of nineteenth-century art has made countless quantum leaps. For one, there is the often overwhelming quantity of new information that monographs and exhibition catalogues have brought us, a bounty that is reflected in this new edition's updated bibliography. But there is also the constant changing of viewpoints from which the nineteenth century can be seen. Many issues began to loom large. Feminists made us aware of the hundreds of nineteenth-century women artists who seemed to be buried forever but who deserved resurrection. And feminists also made us look differently at how women fitted into the various social structures implied by the roles they play in nineteenth-century paintings. For a century that witnessed one dehumanizing crisis after another--slavery, factory life, slums, famine, desperate migrations of workers--it also became necessary to come to grips with the ways in which artists confronted or concealed these painful truths. There were, comparably, new questions about the issues of nationalism and imperialism, which required a new reading of the way in which Western artists generated patriotic fervor or confronted the problem of depicting people and cultures remote from their own. And a waning of modernism's inherited hostility to academic art opened yet another huge vista, demanding reconsideration of hundreds of painters who had been thrown into the dustbin of history. Moreover, the welling interest in photography similarly fostered new ways of looking at those nineteenth-century painters whose hyper-realism had once disqualified them from the category of respectable art. About the Revised and Updated EditionRevising and republishing a historical survey now twenty years old entailed, among other things, a reconsideration of how old- or new-fashioned the text would be today. The answer, of course, should be left to the readers, young or old; but this author, at least, has his own strong opinions. As for the section on sculpture, written by the late H.W lanson, this was, in fact, the first survey that approached the subject in a democratic way, rejecting the earlier twentieth-century's exclusive focus on an underpopulated pantheon of great sculptors, from Canova to Rodin, and exploring a multitude of lesser figures from both sides of the Atlantic and from all parts of Europe. Inherited standards of what was boring, silly, or ugly in nineteenth-century sculpture were swept away in favor of fresh readings of this vast, unstudied body of work. Pointing forward, not backwards, this survey laid many of the foundations of books and exhibitions to come. It now stands as a pioneering work for charting new maps in the ongoing explorations of nineteenth-century sculpture, and this revision benefits from the inclusion of additional illustrations to accompany Janson's original text. Thanks go to Pamela Potter-Hennessey for her advice and suggested changes to the text, which have helped to enhance the links between painting and sculpture in the nineteenth century.As for the section on painting, in retrospect, this also seems future-oriented, not only in its interpretations but in its selection of works. There are, for instance, far more works by women than had ever before appeared in a comparable survey; and the social roles of women in the nineteenth century, whether as ideal mothers, adulteresses, prostitutes, or mythical temptresses, were emphasized. Grinding poverty, class structures, social reforms were also viewed as essential to understanding the period, much as the rapidly changing image of the ruler, whether king, empress, or president, was seen in its role as mirroring political history. Academic art, vilified by almost all earlier surveys, was for the first time given its due, looked at with an eye to integrating it with the acknowled

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19th-Century Art

19th-Century Art

0131895621

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