A Companion to Nineteenth-Century Art E-Book
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- Herausgeber: John Wiley & Sons
- Kategorie: Geisteswissenschaft
- Serie: Blackwell Companions to Art History
- Sprache: Englisch
A comprehensive review of art in the first truly modern century
A Companion to Nineteenth-Century Art contains contributions from an international panel of noted experts to offer a broad overview of both national and transnational developments, as well as new and innovative investigations of individual art works, artists, and issues. The text puts to rest the skewed perception of nineteenth-century art as primarily Paris-centric by including major developments beyond the French borders. The contributors present a more holistic and nuanced understanding of the art world during this first modern century.
In addition to highlighting particular national identities of artists, A Companion to Nineteenth-Century Art also puts the focus on other aspects of identity including individual, ethnic, gender, and religious. The text explores a wealth of relevant topics such as: the challenges the artists faced; how artists learned their craft and how they met clients; the circumstances that affected artist’s choices and the opportunities they encountered; and where the public and critics experienced art. This important text:
- Offers a comprehensive review of nineteenth-century art that covers the most pressing issues and significant artists of the era
- Covers a wealth of important topics such as: ethnic and gender identity, certain general trends in the nineteenth century, an overview of the art market during the period, and much more
- Presents novel and valuable insights into familiar works and their artists
Written for students of art history and those studying the history of the nineteenth century, A Companion to Nineteenth-Century Art offers a comprehensive review of the first modern era art with contributions from noted experts in the field.
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Table of Contents
Cover
Series Editor’s Preface
Introduction
1 Moses Jacob Ezekiel’s
Religious Liberty
(1876) and the Nineteenth‐Century Jewish American Experience
References
Further Reading
2 The Lure of “Magick Land”
Numbers
Motivations
Patronage and the journey
Life in Rome
Training
Patronage and protection
Art Dealing and Diversifying
Portraitists
Landscape Painters
History Painting
Artists on their Return
References
3 Mining the Dutch Golden Age
Introduction
Thoré
Millet
Courbet
Van Gogh
Conclusion
References
4 “The Revenge of Art on Life”
The Palace of Art
“An Arrangement in Flesh and Blood”
“The Name of Burne‐Jones Became a Watchword”
References
5 Show and Tell
References
6 Networked
London’s art Market: Growth and Change
Artists’ societies
Dealers and galleries
Auctions houses and auctioneers
New identities: the dealer
New Identities: the Artist
New identities: The critic
Conclusion
References
7 German Art Academies and their Impact on Artistic Style
Introduction
Düsseldorf: Naturalism and Landscape Painting, 1826–1850
Munich: Colorism and Staged History, 1849–1886
Berlin: Technicolor Realism and Propaganda, 1875–1892
Conclusion
References
Further Reading
8 “Orientalism” in Art
Orientalism and the Work of Edward Said
Orientalism’s History and Geographies
Orientalism in the Visual Arts
John Frederick Lewis
Comparison/Contrasts
Conclusion
References
9 Wall to Wall
Museum, Academy, Studio
Upward and outward
Private Preserves of Color and Tone
To The Lower East Side and Back Again
Conclusion: “A Picture that Moves You”
References
Further Reading
10 “Like a Dog, Just Looking”
Phenomenological Preamble
The Critic as Philosopher
In the Wake of Geffroy
A Proto‐phenomenological Cézanne
Coda: Rilke’s Cézanne
References
11 Aesthetic Religion, Religious Aesthetics, and the Romantic Quest for Epiphany
The Cult of The Artist, a Preamble
The Cult of the Artist, and its Discontents
Franz Pforr’s Artistic Apotheosis
Aesthetic Religion
Devotion as Art and Art Criticism
Art as Epiphany
Religious Art
Raphael and Dürer Kneeling Before the Enthroned Church
Postscript: the Artist‐Saint as Intercessor
Acknowledgments
References
12 The Wanderers and Realism in Tsarist Russia
References
Further Reading
13 Thomas Cole and the Domestic Landscape of the Hudson River School
References
14 Sculpture and the Public Imagination
Introduction
The cemetery
The garden and park
The Street
Conclusion
References
15 Capturing Unconsciousness
A New Psychology of Time: World Standard Time and Neuroses
Charcot’s Neurology and “The Theatre of Hysteria”
Automatism, Magnetic Hypnosis and the New Psychology
Virilizing Hysteria: Outing Hysterical Men in the “the Age of Nerves”
References
16 Impressionism and the Mirror Image
City of Mirrors
Mirror as Metaphor
Image as Other
Self as Image
References
17 Roots
References
Further Reading
18 Australian Art in the Nineteenth‐Century
Introduction
Early Colonial Art
Mid‐ to Late Nineteenth Century
Conclusion
References
Further Reading
19 Tradition and Modernity in Nineteenth‐Century Catalan Art
References
20 Principle and Practice in Nineteenth‐Century Danish Landscape Painting
References
21 Art and Multiculturalism in Estonia and Latvia, circa 1900
Acknowledgments
References
22 Nationalism and the Myth of Hungarian Origin
References
23 In the Service of the Nation
Background
Partitions and Patriotism
Museums and National Identity
Art Education
Painting Polish History
Polish Artist in Exile
Assessing Polish Art
References
24 Facing Modernism
Acknowledgments
References
25 Identity Tourism
References
26 The Meaning of the Verb “To Be” in Painting
Who is Olympia? What is she?
Referentiality and the Question of Genre
The Genre of Olympia and the Critical Response
Bataille, Leiris, and the Undecidable Olympia
References
Further reading
27 Cassatt’s Singular Women
Becoming a Professional and a Painter of Modern life, 1866–1879
Depicting the older New Woman
References
Further Reading
28 Fashion, Lithography, and Gender Instability in Romantic‐Era Paris
References
Further Reading
29 Racist or Hero of Social Art?
Degas and his Awareness of Social and Biopolitical Conditions
The Self and the World: Historical Experience from Romanticism to Realism/Naturalism
Medicine and Positivism in the Philosophy of Auguste Comte, Inventor of the Term “Sociology”
Claude Bernard and his Impact: Physiology and the Modern Notion of “Milieu”
Taine, Zola and “Naturalism”: Sociological Awareness and Scientific Physiology
Degas, the “Pitiless Observer,” and his Adherence to Realism
References
Index
End User License Agreement
List of Illustrations
Chapter 01
Figure 1.1 Moses Jacob Ezekiel,
Religious Liberty
, 1876. Marble, 25 ft. high. National Museum of American Jewish History, Philadelphia.
Figure 1.2 Moses Jacob Ezekiel,
Religious Liberty
, 1876. Marble, 25 ft. high. National Museum of American Jewish History, Philadelphia.
Figure 1.3 Moses J. Ezekiel,
Eve Hearing the Voice
, 1876, bronze, Cincinnati Art Museum, Gift of Dr. Merlyn McClure and the Family of Dr. George W. McClure, 1997.152.
Figure 1.4 Priestly blessing gesture depicted on the gravestone of Rabbi Meschullam Kohn (1739–1819). Fürth, Germany.
Chapter 02
Figure 2.1 Domenico Cunego, engraving after Gavin Hamilton,
Achilles Dragging the Body of Hector around the Walls of Troy
, 1766.
Figure 2.2 Pietro Testa,
Achilles Dragging the Body of Hector around the Walls of Troy
, c.1648. Etching.
Figure 2.3 Domenico Cunego (engraving after Gavin Hamilton),
Achilles Mourning the Death of Patroclus
, 1767.
Figure 2.4 Sandro Botticelli,
Lamentation over the Dead Christ
, 1490–1492. Tempera on wood panel. Public Domain.
Chapter 03
Figure 3.1 Jan Luyken,
Kuiper (Cooper)
, 1694. Engraving, 9 × 8 cm.
Figure 3.2 Jean‐François Millet,
Cooper Tightening Staves on a Barrel
, c.1848–1850. Sanguine Crayon on buff paper, 41 × 28.1 cm (16 1/4 × 11 1/4 inches). Private collection.
Chapter 04
Figure 4.1 Sir Edward Coley Burne‐Jones (1833–1898),
King Cophetua and the Beggar Maid
, 1884. Oil on canvas, 293.4 × 135.9 cm.
Figure 4.2 Emery Walker,
Photograph of King Cophetua and the Beggar Maid by Edward Burne‐Jones
(NPG CAP00483). Negative, 1898.
Figure 4.3 Giovanni Bellini,
Frari Altarpiece (Madonna between Saints Mark, Benedict, Nicholas and Peter)
, Basilica of Santa Maria Gloriosa dei Frari, Venice.
Figure 4.4 Sandro Botticelli,
Venus and Mars
, c.1485. Tempera and oil on poplar, 69.2 × 173.4 cm. London: National Gallery, NG915. Bought, 1874.
Chapter 06
Figure 6.1 “Dowdeswell & Dowdeswells, Limited, 160, New Bond Street,”
The Years Art
(1891), p. 9.
Figure 6.2 “Intended Façade of the Grosvenor Gallery, New Bond Street—Mr. William Thomas Sams, Architect, Doorway by Palladio,”
The Builder
35 (May 5, 1877), p. 453.
Figure 6.3 “The Grosvenor Gallery New Bond Street, London, Built for Sir Coutts Lindsay, Bart.—Mr. William Thomas Sams, Architect,”
The Builder
35 (May 5, 1877), n.p.
Figure 6.4 Thomas Rowlandson,
Italian Picture Dealers Humbugging My Lord Anglaise
, May 30, 1812, hand‐colored etching, The Elisha Whittelsey Collection, The Elisha Whittelesey Fund, 1959. Public domain. The Metropolitan Museum of Art.
Chapter 07
Figure 7.1 Carl Friedrich Lessing.
Gorge with Ruins
, 1830. Oil on canvas, 138.2 × 120 cm.
Figure 7.2 Johann Friedrich Vogel.
Seni before the Corpse of Wallenstein
(Gemälde von Karl Piloty).
Figure 7.3 Olaf Gulbransson.
Bound by Medals!
Caricature in
Simplicissimus
8/49 (1904), Beiblatt. Public domain.
Figure 7.4 Anton von Werner.
Proclamation of the German Emperor in Versailles
, 1882 (second version). Wax‐paint on canvas, 500 × 600 cm. Public domain.
Chapter 08
Figure 8.1 John Frederick Lewis.
A Lady Receiving Visitors (The Reception)
, 1873. Oil on canvas. 25 × 30 inches. Public Domain. Yale Center for British Art, Paul Mellon Collection.
Figure 8.2 John Frederick Lewis.
A Frank Encampment in the Desert of Mount Sinai. 1842—The Convent of St. Catherine in the Distance
, 1856. Watercolor, gouache and graphite on slightly textured, beige wove paper mounted on board. 26 1/4 × 53 1/2 inches. Public domain. Yale Center for British Art, Paul Mellon Collection.
Figure 8.3 Eugène Delacroix.
Women of Algiers in Their Apartment
, 1834. 180 × 229 cm. Musée du Louvre/A. Dequier‐M. Bard. @RMN/Thierry Le Mage/Art Resource, New York.
Figure 8.4 Henriette Browne.
The Visit in the Harem/The Arrival in the Harem at Constantinople
, 1861. Oil on canvas. 89 × 115.5 cm. Private collection Photo: © Christie’s Images/Bridgeman Images.
Chapter 09
Figure 9.1 “Art Gallery.” From “The Metropolitan Museum of Art,”
Harper’s New Monthly Magazine
, May 1880, 864. Public domain.
Figure 9.2 Alexander H. Wyant,
A New England Landscape
. Engraved by Frederick Juengling for
Harper’s Weekly
, October 23, 1880, page 676. Public domain.
Figure 9.3 “The Art Gallery of the Union League Club as Illuminated by the United States Electric Lighting Company,”
New York Daily Graphic
, May 5, 1881, 489. Public domain.
Figure 9.4 G.A. Davis, “Work of the University Settlement Society of New York City—An Art Exhibition in the Tenement District,”
Frank Leslie’s Illustrated Weekly
, LXXV:1923, July 21, 1892, page 68. Public domain.
Chapter 11
Figure 11.1 Franz Pforr,
Raphael, Fra Angelico and Michelangelo on a Cloud above Rome
, 1810, Pencil, 31.1 × 20.8 cm. Frankfurt am Main, Graphische Sammlung Photo: © Städel Museum—Artothek.
Figure 11.2 Samuel Amsler, after Johann Friedrich Overbeck,
Triumph of Religion in the Arts
, 1841, etching, 46.2 × 45.5 cm. Private collection Michael Thimann.
Figure 11.3 Carl Hoff, after Franz Pforr,
Dürer and Raphael before the Throne of Art
, 1832, etching, 13.7 × 21.2 cm. In:
Compositionen und Handzeichnungen aus dem Nachlasse von Franz Pforr.
Edited by the Kunstverein zu Frankfurt. 2 vols. Frankfurt am Main: Kunstverein zu Frankfurt am Main, 1832–1834, here vol. 1, sheet 5. Los Angeles, Collection Fiona Chalom.
Figure 11.4 Sketch after Johann Friedrich Overbeck,
Raphael and Dürer Kneeling Before the Enthroned Church
, 1817. Photo: Kshitija.
Chapter 12
Figure 12.1 Vasily Grigorevich Perov,
Easter Procession in a Village
, 1861, oil on canvas, 71.5 × 89 cm. © The State Tretyakov Gallery, Moscow.
Figure 12.2 Ilya Yefimovich Repin,
They Did Not Expect Him
, 1884–1888, oil on canvas, 160.5 × 167.5 cm. © The State Tretyakov Gallery, Moscow.
Figure 12.3 Vasily Ivanovich Surikov,
Boyarinia Morozova
, 1883–1887, oil on canvas, 304 × 587.5 cm. © The State Tretyakov Gallery, Moscow.
Chapter 13
Figure 13.1 Thomas Cole,
Landscape, the Seat of Mr. Featherstonhaugh in the Distance
, 1826. Oil on canvas, 33 × 48 in. Public domain. Philadelphia Museum of Art, 125th Anniversary Acquisition. Gift of the McNeil Americana Collection, 2004.
Figure 13.2 Thomas Cole, American, 1801–1848, View of Monte Video, the Seat of Daniel Wadsworth, Esq., 1828. Oil on panel, 19 3/4 × 26 1/16 in. (50.2 × 66.2 cm). Wadsworth Atheneum Museum of Art, Hartford, Connecticut. Bequest of Daniel Wadsworth, 1848.14. Photo: Allen Phillips/Wadsworth Atheneum.
Figure 13.3
Gardens of the Van Rensselaer Manor House
Thomas Cole (1801–1848), 1840, oil on canvas, 24 × 36 in. Albany Institute of History & Art, Bequest of Miss Katherine E. Turnbull, 1930.7.1.
Figure 13.4
The Van Rensselaer Manor House
Thomas Cole (1801–1848), 1841, oil on canvas, 24 × 35 3/4 in. Albany Institute of History & Art, Bequest of Miss Katherine E. Turnbull, 1930.7.2.
Chapter 14
Figure 14.1 Aimé‐Jules Dalou,
Tomb of Victor Noir
, 1889–1891, bronze. Père Lachaise Cemetery, Paris, France.
Figure 14.2 John Quincy Adams Ward,
George Washington
, 1883, bronze. 26 Wall Street, New York City, United States.
Figure 14.3 Henry Kirke Brown,
Equestrian Monument to George Washington
, 1853–1856, bronze. Union Square, New York City, United States.
Figure 14.4 Vincenzo Vela,
Monument to Giuseppe Garibaldi and the Como Days of March 1848
, 1889, bronze. Piazza Vittoria, Como, Italy.
Chapter 15
Figure 15.1 Pierre Aristide André Brouillet,
A Clinical Lesson at the Salpêtrière
, 1887, oil on canvas, 290 × 430 cm, Sorbonne Descartes École de Médecine, Paris; public domain.
Figure 15.2 Paul Richer,
Phase des contorsions (Art de cercle)
, 1881, lithograph,
Études Cliniques sur la Grande Hystérie ou Hystéro‐Épilepsie
, Paris: A. Delahaye et E. Lecrosnier, éditeurs, 1881, Fig. 2. Collection BIU Santé Médecine, image 02633; public domain.
Figure 15.3 Albert Londe, “Attaque d’hystérie chez l’homme, Guinin, Salle No. 3,” January 1, 1885, twelve‐frame black and white chronophotography; Albert Londe, 1885,
Hysterieanfall beim Menschen
, chronofotografische Bilderfolge, Labor des Hôpital de la Salpêtrière, Paris. Public domain.
Figure 15.4 Gustave Courtois,
Le supplice de Saint Sébastien,
1895, oil on canvas, Église Saint‐Georges, Vesoul, France; permission of Église Saint‐Georges de Vesoul, France. Public domain.
Chapter 16
Figure 16.1 Mary Cassatt,
Woman with a Pearl Necklace in a Loge
, 1879. Oil on canvas. Philadelphia Museum of Art. Bequest of Charlotte Dorrance Wright, 1978‐1‐5. Public domain.
Figure 16.2 Edgar Degas,
Madame Jeantaud in the Mirror
, c.1875. Oil on canvas. 70 × 84 cm. RF1970‐38. Musée d’Orsay, Paris, France.
Figure 16.3 Édouard Manet,
A Bar at the Folies‐Bergère
, 1882. Oil on canvas.
Figure 16.4 Edgar Degas,
At the Café‐Concert: The Song of the Dog
, c.1876–1877. Gouache and pastel over monotype, on three pieces of joined paper, 57.5 × 45.4 cm.
Chapter 17
Figure 17.1 Louis Haghe, “Abbaye de Saint Guilhem, Languedoc,” 1834, in Charles Nodier, Justin Taylor et Alphonse de Cailleux,
Voyages pittoresques et romantiques dans l’ancienne France. Languedoc
, Paris, Engelmann, 1833–1837. Duke University Libraries. Public domain.
Figure 17.2 Emmanuel Lansyer,
Château of Pierrefonds
, c.1868, oil on canvas, 51 ½ × 77 in. (131 × 196 cm) Musée départemental de l’Oise, Beauvais, on deposit from the Musée d’Orsay, Paris. Photo: Hervé Lewandowski. © RMN‐Grand Palais/Art Resources. Reproduced with permission.
Figure 17.3 Camille Pissarro.
The Banks of the Oise, near Pontoise
, 1876, oil on canvas, 14 15/16 × 21 7/8 in. (38 × 55.5 cm) Ackland Art Museum, the University of North Carolina at Chapel Hill. Ackland Fund, 65.28.1. Reproduced with permission.
Figure 17.4 Hansi, from
Mon Village. Ceux qui n’oublient pas. Images et commentaires par l’oncle Hansi
, Paris, H. Floury, 1913. Duke University Libraries. Public domain.
Chapter 18
Figure 18.1 John William Lewin,
Fish catch and Dawes Point, Sydney Harbour
, c.1813, Sydney. Oil on canvas, 86.5 × 113.0 cm. Gift of the Art Gallery of South Australia Foundation and South Australian Brewing Holdings Limited 1989. Given to mark the occasion of the Company’s 1988 Centenary. Art Gallery of South Australia, Adelaide. 899P30.
Figure 18.2 John Glover,
A corroboree of natives in Mills Plains
, 1832, Deddington, Tasmania. Oil on canvas, 56.5 × 71.4 cm. Morgan Thomas Bequest Fund 1951. Art Gallery of South Australia, Adelaide.0.1466.
Figure 18.3 Tom Roberts,
A break away!
, 1891, Corowa, New South Wales and Melbourne, Victoria. Oil on canvas, 137.3 × 167.8 cm. Elder Bequest Fund 1899. Art Gallery of South Australia, Adelaide. 0.139.
Figure 18.4 William Barak,
Ceremony
, 1899, Coranderrk Aboriginal Reserve, Healesville, Victoria. Natural pigments, charcoal, pencil on cardboard, 46.5 × 62.0 cm. Santos Fund for Aboriginal Art 1999. Art Gallery of South Australia, Adelaide. 993D11.
Chapter 19
Figure 19.1 Lluís Domènech i Montaner,
Palace of Catalan Music
(
Palau de la música catalana
, Barcelona), 1906–1908 © Palau de la Música Catalana. Photo: Matteo Vecchi.
Figure 19.2 Santiago Rusiñol,
Courtyard on l’Île de la Cité, Paris (Pawn shop)
, 1889. Oil on canvas, 98 × 131.2 cm. Museu del Cau Ferrat, Sitges. Collection Santiago Rusiñol, inv. nr. 30.772 © Arxiu fotogràfic del Museu del Cau Ferrat (Consorci del Patrimoni de Sitges).
Figure 19.3 Joaquim Mir,
The Cathedral of the Poor
, 1898. Oil on canvas, 209.3 × 253 cm. Carmen Thyssen‐Bornemisza Collection, permanent free loan to the Museu Nacional d’Art de Catalunya, Barcelona 2004 © Collection Carmen Thyssen‐Bornemisza.
Figure 19.4 Isidre Nonell,
Young Gypsy Woman
, 1903. Oil on canvas, 81 × 65.5 cm. MNAC, Barcelona. © Museu Nacional d’Art de Catalunya, Barcelona 2016. Photo: Jordi Calveras.
Chapter 20
Figure 20.1 Johan Thomas Lundbye,
A Croft at Lodskov near Vognserup Manor
, 1847. Oil on canvas. 71 × 93 cm. The National Gallery of Denmark. Inv.nr. KMS1644. Public domain.
Figure 20.2 Ejnar Nielsen,
Landscape from Gjern
, 1896–1897. Oil on canvas. 110 × 220 cm. The Vejen Art Museum. VKV 83. Photograph: Lars Bay.
Figure 20.3 Dankvart Dreyer,
Barrow on the Island of Brandsø
, c.1842. Oil on cardboard. 29.1 × 41 cm. The Hirschsprung Collection, Copenhagen. Inv.nr. 100.
Figure 20.4 René Magritte,
The Human Condition
, 1933. Oil on Canvas. 100 × 81 cm. The National Gallery of Art, Washington, DC. Gift of the Collectors Committee 1987.55.1.
Chapter 21
Figure 21.1 Janis Rozentāls,
After the Service (From the Church)
, 1894, oil on canvas, 175 × 103 cm. Public domain.
Figure 21.2 Nikolai Triik,
Battle
, 1910, tempera, Estonian History Museum (Eesti Ajaloomuuseum), Tallinn, Estonia. Reproduced with permission.
Figure 21.3 Bernhard Borchert,
Flight
, 1911, oil on canvas, 99 × 132 cm, Private collection. Reproduced in Eduards Kļaviņš et al.,
Art History of Latvia. The Period of Neoromanticist Modernism, 1890–1915
. Riga: Neputns 2014, p. 238.
Chapter 22
Figure 22.1 Béla Iványi Grünwald,
The Warlord’s Sword
(
A Hadúr kardja
), 1890. Oil on canvas, 161 × 150 cm (63.38 × 59 in.). Hungarian National Gallery (Inv. no.: 1761).
Figure 22.2 J. Allen St. John,
The Hun—His mark—Blot it out with Liberty Bonds
, 1917–1918. Lithograph, 50.8 × 76.2 cm (20 × 30 in.).
Figure 22.3 Mór Than,
Feast of Attila
, 1870. Oil on canvas, 176 × 255 cm (69.3 × 100.4 in.). Hungarian National Gallery (Inv. no.: FK8209).
Figure 22.4 Bertalan Székely,
Blood Contract (Blood Treaty)
, 1896. Tempera on paper, 43 × 75 cm (16.9 × 29.5 in.). Hungarian National Gallery (Inv. no.: 4927).
Chapter 23
Figure 23.1 Piotr Michałowski,
Battle of Somosierra
, c.1837, oil on canvas, 81 × 65.5 cm National Museum in Kraków.
Figure 23.2 Teofil Kwiatkowski,
Chopin’s Polonaise—a Ball in Hôtel Lambert in Paris
, watercolor on paper, 61.5 × 125.7 cm, National Museum in Poznań.
Figure 23.3 Maksymilian Gierymski,
Insurrectionary Patrol
, 1872–1873, oil on canvas, 60 × 108 cm, National Museum in Warsaw. Public domain.
Figure 23.4 Józef Brandt,
Czarniecki at Kolding
, 1870, oil on canvas, 95 × 205.5 cm, National Museum in Warsaw. Public domain.
Figure 23.5 Jan Matejko,
Rejtan
, or
the Fall of Poland
, 1866, oil on canvas, 282 × 487 cm, Royal Castle, Warsaw.
Chapter 24
Figure 24.1 Jean‐Antoine Houdon,
Voltaire
, 1778, marble, h. 48 cm (including base), New York, The Metropolitan Museum of Art.
Figure 24.2 Jean‐Antoine Houdon,
Sabine Houdon Aged Ten Months
, 1788, marble, h. 44.5 cm (including base), New York, The Metropolitan Museum of Art. Image: © The Metropolitan Museum of Art. Public domain.
Figure 24.3 Carl Christian Vogel von Vogelstein,
Ludwig Tieck, von David d’Angers porträtiert (David d’Angers Modeling the Bust of Ludwig Tieck)
, 1834, oil on canvas, 88 × 94 cm, Leipzig, Museum der bildenden Künste.
Figure 24.4 Louis‐Léopold Boilly,
L’atelier de Houdon (Houdon’s studio)
, c. 1803, oil on canvas, 88 × 115 cm, Paris, Musée des Arts décoratifs.
Chapter 25
Figure 25.1 Unknown studio photographer,
Jacob Berman
, c.1890, gelatin silver print (rephotographed from an albumen print), collection of the author.
Figure 25.2 Studio of Bobette and Marie Høeg,
Self Portrait
, c.1895, The Preus Museum collection, Horten. Norway. NMFF.000418‐5.
Figure 25.3 Sojourner Truth, “
I Sell the Shadow to support the substance,
” c.1864, albumen print on a photographic mount, 10 × 6 cm. Library of Congress. Public domain.
Figure 25.4 Studio of Bobette Berg and Marie Høeg,
Untitled
, c.1895, The Preus museum collection, Horten. Norway. Marie Høeg, Preus Museum, NMFF.000418‐27.
Chapter 27
Figure 27.1 Mary Cassatt,
Reading Le Figaro
, c.1878. Oil on canvas, 104 × 83.7 cm. (39 ¾ × 32 in.). Private collection, Washington, DC.
Figure 27.2 Honoré Daumier,
I beg your pardon sir, if I am getting in your way
…,
Le Charivari
, March 8, 1844. Lithograph, Paris, Aubert et Cie. Sheet: 32.5 × 25.1 cm (12 13/16 × 9 7/8 in.). Image: 22 × 19.5 cm. (8 11/16 × 7 11/16 in.). The National Gallery of Art, Washington DC Rosenwald Collection 1946.11.45. Public domain.
Figure 27.3 Renoir,
Madame Eugene Fould, née Délphine Marchand
, 1880. Oil on canvas, private collection.
Chapter 28
Figure 28.1 Théodore Géricault,
Boxers
, 1818, lithograph, Image: 13 15/16 × 16 1/2 in. New York, Metropolitan Museum of Art, Rogers Fund 1922. Public domain.
Figure 28.2 Achille Devéria,
The Hearth
, 1829, lithograph, Santa Barbara Museum of Art, Gift of Albert and Dana Broccoli.
Figure 28.3 Achille Devéria,
Carnevale
, 1830, lithograph, Blanton Museum of Art, the University of Texas at Austin, Gift of Mr. And Mrs. Isidore Simkowitz in memory of Amy Cecelia Smikowitz‐Rogers, 199.
Figure 28.4 Achille Devéria,
Portrait of Camille Roqueplan
, 1829, lithograph, Iris & Gerald Cantor Center for Visual Arts at Stanford University; Alice Meyer Buck Fund.
Chapter 29
Figure 29.1 Edgar Degas.
Young Spartans Exercising
, 1860–1862.
Figure 29.2 Edgar Degas,
Interior
, also called
The Rape
, 1868–1869, oil on canvas, 81 × 116 cm. Philadelphia Museum of Art. Philadelphia Museum of Art, The Henry P. McIlhenny Collection in memory of Frances P. McIlhenny, 1986‐26‐10.
Figure 29.3 Edgar Degas,
The Orchestra of the Opera
, c.1870, oil on canvas, 56.5 × 46.2 cm. Paris, Musée d’Orsay.
Figure 29.4 Edgar Degas,
Dance Class
, 1871, oil on panel, 19.7 × 27 cm. New York, the Metropolitan Museum of Art. H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929.
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WILEY BLACKWELL COMPANIONS TO ART HISTORY
These invigorating reference volumes chart the influence of key ideas, discourses, and theories on art, and the way that it is taught, thought of, and talked about throughout the English‐speaking world. Each volume brings together a team of respected international scholars to debate the state of research within traditional subfields of art history as well as in more innovative, thematic configurations. Representing the best of the scholarship governing the field and pointing toward future trends and across disciplines, the Blackwell Companions to Art History series provides a magisterial, state‐of‐the‐art synthesis of art history.
A Companion to Contemporary Art since 1945
,edited by Amelia Jones
A Companion to Medieval Art
,edited by Conrad Rudolph
A Companion to Asian Art and Architecture
,edited by Rebecca M. Brown and Deborah S. Hutton
A Companion to Renaissance and Baroque Art
,edited by Babette Bohn and James M. Saslow
A Companion to British Art: 1600 to the Present
,edited by Dana Arnold and David Peters Corbett
A Companion to Modern African Art
,edited by Gitti Salami and Monica Blackmun Visonà
A Companion to Chinese Art
,edited by Martin J. Powers and Katherine R. Tsiang
A Companion to American Art
,edited by John Davis, Jennifer A. Greenhill, and Jason D. LaFountain
A Companion to Digital Art
,edited by Christiane Paul
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,edited by David Hopkins
A Companion to Public Art
,edited by Cher Krause Knight and Harriet F. Senie
A Companion to Islamic Art and Architecture, Volume 1 and 2
,edited by Finbarr Flood and Gulru Necipoglu
A Companion to Modern Art
,edited by Pamela Meecham
A Companion to Nineteenth‐Century Art
,edited by Michelle Facos
Forthcoming
A Companion to Contemporary Design since 1945
,edited by Anne Massey
A Companion to Illustration
,edited by Alan Male
A Companion to Modern and Contemporary Latin American and Latino Art
,edited by Alejandro Anreus, Robin Greeley, and Megan Sullivan
A Companion to Australian Art
,edited by Christopher Allen
A Companion to Nineteenth‐Century Art
Edited by
Michelle Facos
This edition first published 2019© 2019 John Wiley & Sons, Inc.
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Library of Congress Cataloging‐in‐Publication Data
Names: Facos, Michelle, editor.Title: A companion to nineteenth‐century art / edited by Michelle Facos.Description: Hoboken : Wiley‐Blackwell, 2019. | Series: Wiley Blackwell companions to art history | Includes bibliographical references and index. | Identifiers: LCCN 2018023702 (print) | LCCN 2018026685 (ebook) | ISBN 9781118856338 (Adobe PDF) | ISBN 9781118856352 (ePub) | ISBN 9781118856369 (hardcover)Subjects: LCSH: Art, Modern–19th century. | Art and society–History–19th century.Classification: LCC N6450 (ebook) | LCC N6450 .C64 2018 (print) | DDC 709.03/4–dc23LC record available at https://lccn.loc.gov/2018023702
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List of Figures
1.1 Moses Jacob Ezekiel,
Religious Liberty
, 1876.
1.2 Moses Jacob Ezekiel,
Religious Liberty
, 1876.
1.3 Moses J. Ezekiel,
Eve Hearing the Voice,
1876.
1.4 Priestly blessing gesture depicted on the gravestone of Rabbi Meschullam Kohn (1739–1819).
2.1 Domenico Cunego, engraving after Gavin Hamilton,
Achilles Dragging the Body of Hector around the Walls of Troy
, 1766.
2.2 Pietro Testa,
Achilles Dragging the Body of Hector around the Walls of Troy
, c.1648.
2.3 Domenico Cunego (engraving after Gavin Hamilton),
Achilles Mourning the Death of Patroclus
, 1767.
2.4 Sandro Botticelli,
Lamentation over the Dead Christ
, 1490–92.
3.1 Jan Luyken,
Kuiper
(Cooper), 1694.
3.2 Jean‐François Millet,
Cooper Tightening Staves on a Barrel
, c.1848–1850.
4.1 Sir Edward Coley Burne‐Jones,
King Cophetua and the Beggar Maid
, 1884.
4.2 Emery Walker,
Photograph of King Cophetua and the Beggar Maid by Edward Burne‐Jones
.
4.3 Giovanni Bellini,
Frari Altarpiece (Madonna between Saints Mark, Benedict, Nicholas and Peter).
4.4 Sandro Botticelli,
Venus and Mars
, c.1485.
6.1 “Dowdeswell & Dowdeswells, Limited, 160, New Bond Street.”
6.2 “Intended Façade of the Grosvenor Gallery, New Bond Street—Mr. William Thomas Sams, Architect, Doorway by Palladio.”
6.3 “The Grosvenor Gallery New Bond Street, London, Built for Sir Coutts Lindsay, Bart.—Mr. William Thomas Sams, Architect.”
6.4 Thomas Rowlandson,
Italian Picture Dealers Humbugging My Lord Anglaise
, 30 May 1812.
7.1 Carl Friedrich Lessing.
Gorge with Ruins
, 1830.
7.2 Johann Friedrich Vogel.
Seni before the Corpse of Wallenstein
(painting by Karl Piloty).
7.3 Olaf Gulbransson.
Bound by Medals!
7.4 Anton von Werner.
Proclamation of the German Emperor in Versailles
, 1882 (second version).
8.1 John Frederick Lewis.
A Lady Receiving Visitors (The Reception)
, 1873.
8.2 John Frederick Lewis.
A Frank Encampment in the Desert of Mount Sinai. 1842—The Convent of St. Catherine in the Distance,
1856.
8.3 Eugène Delacroix.
Women of Algiers in Their Apartment
, 1834.
8.4 Henriette Browne.
The Visit in the Harem/The Arrival in the Harem at Constantinople
, 1861.
9.1 “Art Gallery.”
9.2 Alexander H. Wyant,
A New England Landscape
.
9.3 “The Art Gallery of the Union League Club as Illuminated by the United States Electric Lighting Company.”
9.4 G.A. Davis, “Work of the University Settlement Society of New York City—An Art Exhibition in the Tenement District.”
11.1 Franz Pforr,
Raphael, Fra Angelico and Michelangelo on a Cloud above Rome
, 1810.
11.2 Samuel Amsler, after Johann Friedrich Overbeck,
Triumph of Religion in the Arts
, 1841.
11.3 Carl Hoff, after Franz Pforr,
Dürer and Raphael before the Throne of Art
, 1832.
11.4 Sketch after Johann Friedrich Overbeck,
Raphael and Dürer Kneeling Before the Enthroned Church
, 1817.
12.1 Vasily Grigorevich Perov,
Easter Procession in a Village,
1861.
12.2 Ilya Yefimovich Repin,
They Did Not Expect Him,
1884–1888.
12.3 Vasily Ivanovich Surikov,
Boyarinia Morozova,
1883–1887.
13.1 Thomas Cole,
Landscape, the Seat of Mr. Featherstonhaugh in the Distance
, 1826.
13.2 Thomas Cole,
View of Monte Video, the Seat of Daniel Wadsworth, Esq.
, 1828.
13.3 Thomas Cole,
Gardens of the Van Rensselaer Manor House
, 1840.
13.4 Thomas Cole,
The Van Rensselaer Manor House
, 1841.
14.1 Aimé‐Jules Dalou,
Tomb of Victor Noir
, 1889–1891.
14.2 John Quincy Adams Ward,
George Washington
, 1883.
14.3 Henry Kirke Brown,
Equestrian Monument to George Washington
, 1853–1856.
14.4 Vincenzo Vela,
Monument to Giuseppe Garibaldi and the Como Days of March 1848
, 1889.
15.1 Pierre Aristide André Brouillet,
A Clinical Lesson at the Salpêtrière
, 1887.
15.2 Paul Richer,
Phase des contorsions (Art de cercle),
1881.
15.3 Albert Londe,
Attaque d’hystérie chez l’homme, Guinin, Salle No. 3
, 1 January 1885, twelve‐frame black and white chronophotography; Labor des Hôpital de la Salpêtrière, Paris. Public Domain.
15.4 Gustave Courtois,
Le supplice de Saint Sébastien,
1895, oil on canvas, Église Saint‐Georges, Vesoul, France; permission of Église Saint‐Georges de Vesoul, France.
16.1 Mary Cassatt,
Woman with a Pearl Necklace in a Loge
, 1879. Oil on canvas. Philadelphia Museum of Art. Bequest of Charlotte Dorrance Wright, 1978‐1‐5.
16.2 Edgar Degas,
Madame Jeantaud in the Mirror
, c.1875.
16.3 Édouard Manet
, A Bar at the Folies‐Bergère
, 1882.
16.4 Edgar Degas,
At the Cafe‐Concert: The Song of the Dog
, c.1876–1877.
17.1 Louis Haghe,
Abbaye de Saint Guilhem, Languedoc
, 1834.
17.2 Emmanuel Lansyer,
Château of Pierrefonds
, c.1868.
17.3 Camille Pissarro,
The Banks of the Oise, Near Pontoise
, 1876.
17.4 Hansi, from
Mon Village. Ceux qui n’oublient pas. Images et commentaires par l’oncle Hansi,
Paris, H. Floury, 1913.
18.1 John William Lewin,
Fish Catch and Dawes Point, Sydney Harbour,
c.1813.
18.2 John Glover,
A corroboree of natives in Mills Plains,
1832, Deddington, Tasmania.
18.3 Tom Roberts,
A break away!,
1891.
18.4 William Barak,
Ceremony,
1899.
19.1 Lluís Domènech i Montaner,
Palace of Catalan Music
(
Palau de la música catalana
, Barcelona), 1906–1908.
19.2 Santiago Rusiñol,
Courtyard on l’Île de la Cité, Paris (Pawn shop)
, 1889.
19.3 Joaquim Mir,
The Cathedral of the Poor
, 1898.
19.4 Isidre Nonell,
Young Gypsy Woman
, 1903.
20.1 Johan Thomas Lundbye,
A Croft at Lodskov near Vognserup Manor
, 1847.
20.2 Ejnar Nielsen,
Landscape from Gjern
, 1896–1897.
20.3 Dankvart Dreyer,
Barrow on the Island of Brandsø
, c.1842.
20.4 René Magritte,
The Human Condition
, 1933.
21.1 Janis Rozentāls,
After the Service (From the Church)
, 1894.
21.2 Nikolai Triik,
Battle
, 1910.
21.3 Bernhard Borchert,
Flight
, 1911.
22.1 Béla Iványi Grünwald,
The Warlord’s Sword
(
A Hadúr kardja
), 1890.
22.2 J. Allen St. John,
The Hun—His mark—Blot it out with Liberty Bonds
, 1917–1918.
22.3 Mór Than,
Feast of Attila
, 1870.
22.4 Bertalan Székely,
Blood Contract (Blood Treaty)
, 1896.
23.1 Piotr Michałowski,
Battle of Somosierra
, c.1837.
23.2 Teofil Kwiatkowski,
Chopin’s Polonaise—a Ball in Hôtel Lambert in Paris.
23.3 Maksymilian Gierymski,
Insurrectionary Patrol
, 1872–1873.
23.4 Józef Brandt,
Czarniecki at Kolding
, 1870.
23.5 Jan Matejko,
Rejtan
, or
the Fall of Poland
, 1866.
24.1 Jean‐Antoine Houdon,
Voltaire
, 1778.
24.2 Jean‐Antoine Houdon,
Sabine Houdon Aged Ten Months
, 1788.
24.3 Carl Christian Vogel von Vogelstein,
Ludwig Tieck, von David d’Angers porträtiert (David d’Angers Modeling the Bust
of Ludwig Tieck),
1834.
24.4 Louis‐Léopold Boilly,
L’atelier de Houdon (Houdon's studio)
, c.1803.
25.1 Unknown studio photographer,
Jacob Berman
, c.1890.
25.2 Stud Marie Høeg,
Self Portrait
, c.1895.
25.3 Sojourner Truth, “
I Sell the Shadow to Support the Substance
,” c.1864.
25.4 Studio of Bobette Berg and Marie Høeg,
Untitled
, c.1895.
27.1 Mary Cassatt,
Reading Le Figaro
, c.1878.
27.2 Honoré Daumier,
I beg your pardon sir, if I am getting in your way
…,
Le Charivari
, March 8, 1844.
27.3 Pierre‐Auguste Renoir,
Madame Eugene Fould, née Délphine Marchand
, 1880.
28.1 Théodore Géricault,
Boxers
, 1818.
28.2 Achille Devéria,
The Hearth
, 1829.
28.3 Achille Devéria,
Carnevale
, 1830.
28.4 Achille Devéria,
Portrait of Camille Roqueplan
, 1829.
29.1 Edgar Degas.
Young Spartans Exercising,
1860–1862.
29.2 Edgar Degas,
Interior
, also called
The Rape
, 1868–1869.
29.3 Edgar Degas,
The Orchestra of the Opera
, c.1870.
29.4 Edgar Degas,
Dance Class
, 1871.
About the Editor
Michelle Facos is Professor of Art History at Indiana University, Bloomington. A specialist in European art and culture in the long nineteenth century, especially the relationship of individuals to nature and to habitus, her books include: Nationalism and the Nordic Imagination: Swedish Art in the 1890s (1998), Symbolist Art in Context (2009), An Introduction to Nineteenth‐Century Art (2011), and the edited volumes Culture and National Identity in Fin‐de‐Siècle Europe (2003) with Sharon Hirsh and Symbolist Roots of Modern Art (2015) with Thor J. Mednick.
Notes on Contributors
Nina Athanassoglou‐Kallmyer is Editor‐in‐Chief of The Art Bulletin and Professor Emerita at the Art History department of the University of Delaware. She specializes in late eighteenth‐ and nineteenth‐century European art, with special focus on the arts and culture of France. Her publications include, among others, French Images from the Greek War of Independence. Art and Politics under the Restoration (1989); Eugène Delacroix: Prints Politics and Satire (1991); Cézanne and Provence: The Painter in his Culture (2003); and Théodore Géricault (2010).
Samantha Baskind, Professor of Art History at Cleveland State University, is the author of five books, most recently The Afterlife of the Warsaw Ghetto in American Art and Culture, and co‐editor of the foundational volume The Jewish Graphic Novel: Critical Approaches. She served as editor for US art for the 22‐volume revised edition of the Encyclopaedia Judaica, and is currently series editor of Dimyonot: Jews and the Cultural Imagination, published by the Pennsylvania State University Press.
Patricia G. Berman is Theodora L. and Stanley H. Feldberg Professor of Art at Wellesley College. She has curated numerous exhibitions relating to Edvard Munch, including “Edvard Munch and the Life of the Soul” (Museum of Modern Art, New York) and is a member of the research project “Edvard Munch, Modernism, and Modernity” at the University of Oslo, where she held a faculty position from 2010–2015. Her books include: James Ensor: Christ’s Entry into Brussels in 1889 (2002) and In Another Light: Danish Painting in the Nineteenth Century (2007).
Fae (Fay) Brauer is Professor of Art and Visual Culture at the University of East London Centre for Cultural Studies Research and Honorary Professor in Art History and Cultural Theory at the University of New South Wales National Institute for Experimental Art. Her books include Picturing Evolution and Extinction: Degeneration and Regeneration in Modern Visual Cultures (2015); Rivals and Conspirators: The Paris Salons and the Modern Art Centre (2013); The Art of Evolution: Darwin, Darwinisms and Visual Culture (2009), and Art, Sex and Eugenics, Corpus Delecti (2010).
Brendan Cassidy taught chemistry in West Africa before taking his MA in Art History at Edinburgh and PhD at Cambridge. He has been Research Associate at the Warburg Institute (1985–1988) and Director of the Index of Christian Art at Princeton (1988–1995). His research interests cover Italian art c.1250–1600, British art and the Grand Tour; recent publications include Politics, Civic Ideals and Sculpture in Italy c.1240–1400 (2007) and The Life and Letters of Gavin Hamilton (2011).
Julie Codell is Art History Professor and affiliate faculty in English, Gender Studies, Film, and Asian Studies, Arizona State University. Her publications include: The Victorian Artist (2003, 2012), edited Transculturation in British Art (2012); Power and Resistance (2012); The Political Economy of Art (2008); Imperial Co‐Histories (2003); and co‐edited Replication in the Long 19th Century (2018); Orientalism, Eroticism and Modern Visuality in Global Cultures (2016); Encounters in the Victorian Press (2004); and Orientalism Transposed (1998).
William L. Coleman is Associate Curator of American Art at the Newark Museum, at work on a book titled Painting Houses: The Domestic Landscape of the Hudson River School. His articles have appeared in Huntington Library Quarterly, Bulletin of the Detroit Institute of Arts, and Nineteenth‐Century Art Worldwide.
Melody Barnett Deusner is Assistant Professor of Art History at Indiana University Bloomington. In researching the visual and material culture of the late nineteenth century, she focuses primarily on patronage relationships, institutional formations, and the afterlives of objects. Her first book, A Network of Associations: Aesthetic Painting and its Patrons in Britain and America, will explore intersections between art making, social networking, and systems management in the transatlantic sphere.
Johanna Ruth Epstein is an art historian, journalist, and critic. She holds a PhD from the Institute of Fine Arts, New York University, and has taught in Rhode Island, Virginia, and Beijing. Her articles, essays, and chapters appear in a range of publications including, most recently, Visualizing the Nineteenth‐Century Home: Modern Art and the Decorative Impulse (2016), an anthology to which she contributed a chapter. Her reviews appear in ARTnews.
M. Lluïsa Faxedas Brujats is Lecturer on Modern Art and Catalan Art History at the University of Girona (Spain). She is a member of the Chair on Contemporary Art and Culture, and participates in many research projects. She has curated several exhibitions and has published articles on various aspects of Catalan art and on modern and contemporary art and culture, in addition to organizing symposia, conferences, and other research activities on these subjects.
Pamela Fletcher is Professor of Art History at Bowdoin College. She is the author of Narrating Modernity: The British Problem Picture 1895–1914 (2003); the co‐editor (with Anne Helmreich) of The Rise of the Modern Art Market in London 1850–1939 (2011); she is currently writing a history of Victorian modern‐life painting. Together with David Israel, she created The London Gallery Project (2007, 2012), an interactive digital map of London’s nineteenth‐century art market.
Cordula Grewe is an Associate Professor at Indiana University, Bloomington whose research interests center on aesthetics, piety, performance, and portraiture. Her publications include The Nazarenes: Romantic Avant‐garde and the Art of the Concept(2015) and Painting the Sacred in the Age of Romanticism (2009). She also edited a special issue of Intellectual History Review on German Art and Visual Culture 1848–1919 (17/2, 2007). She has held fellowships at Princeton’s Institute for Advanced Study and Freie Universität Berlin.
Anne Helmreich is Dean of the College of Fine Arts at Texas Christian University. Previously, she was Senior Program Officer at the Getty Foundation, and prior to that position she was Associate Professor of Art History and Director of the Baker‐Nord Center for the Humanities at Case Western Reserve University. She co‐edited The Rise of the Modern Art Market in London, 1850–1939 (2013) with Pamela Fletcher, and co‐authored with Pamela Fletcher the award‐winning essay “Local/Global: Mapping Nineteenth‐Century London’s Art Market,” Nineteenth‐Century Art Worldwide.
Ruth E. Iskin is on the faculty at Ben Gurion University of the Negev. Her book The Poster: Art, Advertising, Design, and Collecting, 1860s–1900s appeared in 2014, and Modern Women and Parisian Consumer Culture in Impressionist Painting in 2007. She is the editor of Re‐envisioning the Contemporary Art Canon: Perspectives in a Global World (2017). Her articles have appeared in numerous journals, including the Art Bulletin, Discourse, Visual Resources, Nineteenth‐Century Art World Wide, and in anthologies and museum catalogues, most recently for an exhibition at the Guggenheim Bilbao.
Josephine Karg works at the Kunsthalle in Hamburg and is a PhD candidate at Justus‐Liebig‐University Giessen, where she is writing a dissertation about Russian and Polish Symbolist painting (1880–1910) in Tsarist Russia and Galicia, an intercultural study with reflection on religious art and craft by Mikhail Vrubel’ and Stanisław Wyspiański. She has worked at the Gerhard Richter Archive and is especially interested in Symbolist painting and late nineteenth‐century Eastern European art.
Martha Lucy is Deputy Director for Education and Public Programs and Curator at the Barnes Foundation. She is the co‐author of Renoir in the Barnes Foundation (2012) and has published many essays on topics ranging from evolutionary theory in the work of Degas to the aesthetic theories of Leo Stein. Her current research focuses on images of the toilette in nineteenth‐century visual culture, and on the sense of touch in Renoir’s late paintings.
Patricia Mainardi, Professor of Eighteenth‐ and Nineteenth‐Century Art at City University of New York, was “Professeure invitée” at the Institut National d’histoire de l’art in Paris from 2000–2010. She has published widely on European visual culture, including Art and Politics of the Second Empire: The Universal Expositions of 1855 and 1867 (1989); The End of the Salon: Art and the State in the Early Third Republic (1993); Husbands, Wives, and Lovers: Marriage and Its Discontents in Nineteenth‐Century France (2003); and, most recently, Another World: Nineteenth‐Century Illustrated Print Culture (2017).
Neil McWilliam is Walter H. Annenberg Professor of Art History at Duke University. Specializing in the relationship among art criticism, aesthetics, and political theory in the long nineteenth century, his recent publications include Emile Bernard: Les Lettres d’un artiste, 1884–1941 (2012) and L’Art social en France de la Révolution à la Grande Guerre (2014). He is currently completing a monograph on nationalism and the visual arts in early twentieth‐century France.
Thor J. Mednick is Associate Professor of Art History at the University of Toledo (Ohio), and a fellowship recipient from the American Scandinavian Foundation and the John L. Loeb, Jr. Foundation. A widely published specialist on Danish art, he has worked at the Statens Museum in Copenhagen and is currently collaborating on an exhibition Danish landscape painting. Together with Michelle Facos, he co‐edited The Symbolist Roots of Modern Art (2015).
Ronit Milano is Senior Lecturer in the Department of Arts at Ben‐Gurion University of the Negev. She has written on both eighteenth‐century and contemporary art in journals including Museum and Curatorial Studies Review (on Jeff Koons), Sculpture Journal, and Studies in Visual Art and Communication, and is the author of The Portrait Bust and French Cultural Politics in the Eighteenth Century (2015), and, together with William Barcham, co‐edited Happiness or Its Absence in Art (2013).
Andrei Molotiu is Senior Lecturer in the Department of Art History at Indiana Unversity, Bloomington. A specialist in both eighteenth‐ and nineteenth‐century art and the history of comics, he has published on a diverse range of subjects, from Steve Ditko’s Amazing Spider‐Man and Hergé’s Tintin to Henri Focillon’s theory of art. His books include Abstract Comics: The Anthology (2009) and Fragonard’s Allegories of Love (2007).
Caterina Y. Pierre is Professor of Art History at CUNY Kingsborough Community College. She received her doctorate in Art History from the CUNY Graduate Center (2005). She has published on sculptors of the Second Empire and the Third Republic, specifically Gustave Courbet, Jules Dalou, and Marcello. Her book Genius Has No Sex: The Sculpture of Marcello (1836–1879), was published in 2010 by Éditions de Penthes/Infolio. She is currently writing on nineteenth‐century cemetery sculpture.
Bart Pushaw is a PhD candidate in the Department of Art History and Archaeology at the University of Maryland. His research focuses on the intersections of race, colonialism, gender, and identity in the visual culture of the Baltic and Nordic countries. Recent publications include Conductors of Colour: Music and Modernity in Estonian Art (2016), numerous articles, and a forthcoming volume Visual Culture Exchange in the Baltic Sea Region, 1772–1918, co‐edited with Michelle Facos.
Agnieszka Rosales Rodriguez is Associate Professor at the Institute for Art History at the University of Warsaw and Curator of Polish Art at the Nationalmuseum in Warsaw. She curated the exhibition “Biedermeier” at the National Museum in Warsaw (2017–2018), and has written on numerous topics, most recently: In the Footsteps of the Old Masters. The Myth of Golden Age Holland in 19th‐ Century Art and Art Criticism (2016) and “French Century” and Images of Rococo in the Light of Modern Criticism and Art. Visions, Revisions, Interpretations (2016).
Andrew Carrington Shelton is Professor in the Department of History of Art at The Ohio State University. He is the author of Ingres and his Critics (2005) and Ingres (2008). He is currently at work on a series of essays exploring the intersection of art and masculinity in 19th‐century France as well as a book‐length study on the lithographer Achille Devéria.
Catherine Speck is Professor of Art History at the University of Adelaide. Publications include Painting Ghosts: Australian Women Artists in Wartime (2004); Heysen to Heysen: Selected Letters of Hans Heysen and Nora Heysen (2011); Beyond the Battlefield: Women Artists of the Two World Wars (2014), which is cross‐national in focus; and Australian Art Exhibitions: A New Story (2017).
Terri Switzer is Professor of Art History and Director of the Art History Program at St. Ambrose University. A former Fulbright‐Hays scholar, Switzer received her PhD in Art History and MA in Arts Administration from Indiana University. Her research explores nationalism during the nineteenth and twentieth centuries, particularly in Eastern Europe and Russia. Her articles have been included in Art, Culture and National Identity in Fin‐de‐Siècle Europe (2003) and Water, Leisure and Culture: European Historical Perspectives (2002).
Sabine Wieber is a Lecturer in History of Art, Architecture, and Design at the University of Glasgow. Her research areas are late nineteenth‐century Austria and Germany. She has published on the domestic interior, national identity, art institutions, gender formation, craft revivals, and medical health/psychiatry. She is currently working on a book that explores the rich cultural context of German Jugendstil with a focus on women.
Andrea Wolk Rager is the Jesse Hauk Shera Assistant Professor in the Department of Art History and Art at Case Western Reserve University. She received her PhD from Yale in 2009 and held a Postdoctoral Research Associateship at the Yale Center for British Art. There in 2013 she co‐curated the exhibition “Edwardian Opulence: British Art at the Dawn of the Twentieth Century” and co‐edited the accompanying catalogue. She is currently writing a monograph on Edward Burne‐Jones.
Michael F. Zimmermann is Professor of Art History at Catholic University in Eichstätt‐Ingolstadt and member of the Academia Europaea, London. He has served as Associate Director of the Zentralinstitut für Kunstgeschichte (Munich) and as Professor at the University of Lausanne. His publications include Seurat and the Art Theory of his Time (1991); Die Industrialisierung der Phantasie (2006); and he edited the volume Vision in Motion. Streams of Sensation and the Variations of Time (2016).
Series Editor’s Preface
Blackwell Companions to Art History is a series of edited collections designed to cover the discipline of art history in all its complexities. Each volume is edited by specialists who lead a team of essayists, representing the best of leading scholarship, in mapping the state of research within the sub‐field under review, as well as pointing toward future trends in research.
This Companion to Nineteenth‐century Art aims to rebalance the Paris‐focused view of the art world in this period. Attention is paid to developments and art movements across Europe and beyond, including materials available for this first time in English. In addition, key themes and artists, and the condition and practices of the art world itself are scrutinized together with the impact of science and photography on the visual expression of gender and race. The importance of the past during this crucial period that witnessed the emergence of ‘modern’ art is not forgotten.
Together, these essays combine to provide an exciting and challenging revision of our conception and understanding of nineteenth‐century art in that will be essential reading for students, researchers and teachers across a broad spectrum of interests.
A Companion to Nineteenth‐century Art is a very welcome addition to the series.
Acknowledgments
My love of nineteenth‐century art was first kindled in an undergraduate course I took with Kirk Varnedoe at Columbia University in 1976, and nurtured by him and his inspiring colleagues at New York University’s Insititute of Fine Arts: Gert Schiff and Robert Rosenblum. They inspired my desire to rebalance our understanding of nineteenth‐century art by exploring regions cast to the margins by most twentieth‐century art historians, a mission addressed by this volume.
I am indebted to the American Council of Learned Societies and to Indiana University for allowing me indispensable teaching‐free time for the completion of this project, and to Wiley editors Jane Fargnoli, who commissioned this wonderful project, and Elisha Benjamin, whose expertise guided me through the always challenging editorial process. Madeleine Levy prepared the index with her customary meticulousness.
Introduction
Michelle Facos
In order to know the nineteenth century, one must both skim its surface and plumb its depths. What challenges did artists face during this era? How did they learn and how did they meet clients? What circumstances affected the choices they made and the opportunities they encountered? How and where did “the public” and critics experience art, and what conditions affected their perceptions and judgment?
For far too long, the “story” of nineteenth‐century art has been shackled to developments in France, specifically Paris, to the virtual exclusion (or at least subordination) of those occurring elsewhere. In classrooms as in scholarship, disproportionate attention has been allocated to the art world of Europe’s most unstable nineteenth‐century nation, which experienced ten regime changes in the course of a century. While Paris provided a dynamic setting, culturally, politically, and socially, myopic focus on it (as Michael F. Zimmermann explains) results in a distorted understanding of art, cultural production, and the relationships between artist and society during this period. Isn’t every nation’s, every people’s, cultural heritage significant?
Recent efforts to complicate the assumption of Paris as the center of the art world in the nineteenth century have created a more robust and complete picture of art in Europe at this time, emphasizing that the relationship between center and periphery was based on lively exchange and bringing to our attention underappreciated artists. Still, to validate a periphery is to reify a center. Why must our comprehension, contextualization, and analysis of an epoch first be stabilized by a map that establishes a hegemonic cultural/geographical relationship? Artists lived and worked in their widely varied contexts; they negotiated, represented, and responded to those contexts, Parisian or otherwise. A living history should be animated by those who lived it and be informed by their experiences. Similarly, a responsible practice of history should entail understanding, not judging, particularly when that judging reinforces long‐discarded teleological notions of artistic “progress” and the eschatological march toward abstraction.
This volume seeks to redress the prevailing skewed perception of nineteenth‐century art by including major developments beyond French borders. Several chapters offer broad overviews of both national and transnational developments, as well as new and innovative microhistorical investigations of individual art works, artists, and issues, enabling readers to begin formulating a more holistic and nuanced understanding of the art world during this first, truly modern century. Insightful national overviews are provided for Australia (Catherine Speck), Catalonia (M. Lluïsa Faxedas Brujats), Hungary (Terri Switzer), and Poland (Agnieszka Rosales Rodriguez), whose singular histories have been inaccessible (except for Australia), partly, at least, because few scholars writing the history of nineteenth‐century art read the relevant languages. These chapters are complemented by focused considerations of particularly significant national art movements that often had no direct parallel in France, further broadening our understanding of the century’s diverse and seminal developments. Cordula Grewe discusses the profound religiosity of German Nazarene painters during a century of alleged secularization, Josephine Karg explores the efforts of the Russian “Wanderers” to bring art to “the people,” Thor J. Mednick reveals the singular significance of landscape in Denmark, and Bart Pushaw shows how Estonian and Latvian art anticipated multiculturalism. Neil McWilliam’s chapter on nationalism and landscape places these developments into a broader, theoretical perspective.
