Nineteenth Century Art: A Critical History / Edition 2

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Overview

In art as in music, literature, philosophy, and political economy, the nineteenth century was a period of questioning, experimentation, discovery, and modernization. From Goya to Blake, from David to Delacroix, from Courbet to C zanne, artists explored the links between perception and history, and in so doing challenged the prevailing definitions of art and the existing order of society. First published in 1994, this innovative and ground-breaking survey details the development of a critical perspective in nineteenth-century painting and sculpture. For the revised edition, a new introduction by Stephen F. Eisenman provides a cogent overview of the century, its issues, and its art. Three completely new chapters have been added, which discuss photography and its crucial role in nineteenth-century art; American and German landscape painting and its effect on the growth of romantic nationalism in each country; and Toulouse-Lautrec, whose popular appeal consists both in his work's novel technique and medium and in its exotic sexual perspectives. Nineteenth Century Art embraces many aspects of the "new" art history-attention to issues of class and gender, racism, and Eurocentrism-but it also emphasizes the remarkable vitality and subversiveness of the era's best art. Indeed, nineteenth-century artists addressed many of the aesthetic, political, and moral issues that preoccupy audiences and historians today, such as the relationship between popular and elite culture, and the representation of women and non-European peoples in Western art. This rich and diverse volume demonstrates that nineteenth-century art remains compelling today because its critical insights have rarely been surpassed. It will prove of interest not only to the specialist but also to anyone fascinated by the art, history, and culture of the era. Stephen F. Eisenman is Professor of Art History at Northwestern University.

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Editorial Reviews

From The Critics
An impressive encyclopedic volume...such vigor, clarity, and scholarship that it must be regarded as required reading.
Atlantic Monthly
Handsomely illustrated....The interpretations of [the artists'] work are thoughtful.
American Arts Quarterly
An impressive encyclopedic volume...such vigor,clarity,and scholarship that it must be regarded as required reading.
Library Journal
The political, industrial, and cultural revolutions that punctuated the 19th century were reflected in the fine arts, though not always consciously. Art was no longer the sole domain of the upper classes, and the complexity of the new social order became evident in the works of artists like Blake and Goya early in the century and Cassatt and Eakins later on. In this first comprehensive reconsideration of 19th-century art from the viewpoint of the ``new'' art history, Eisenman and four other art historians examine issues of class, gender, racism, and Eurocentrism as they pertain to North American and European art. This handsomely produced volume, rich in ideas and illustrations, complements the works of Albert Boime (e.g., The Art of Exclusion: Representing Blacks in the Nineteenth Century, Smithsonian, 1990). Of interest to scholars and art enthusiasts alike.-Daniel J. Lombardo, Jones Lib., Amherst, Mass.
Atlantic Monthly
“Handsomely illustrated....The interpretations of [the artists'] work are thoughtful.”
American Arts Quarterly
“An impressive encyclopedic volume...such vigor, clarity, and scholarship that it must be regarded as required reading.”
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Product Details

  • ISBN-13: 9780500283356
  • Publisher: Norton, W. W. & Company, Inc.
  • Publication date: 2/1/2002
  • Edition description: Older Edition
  • Edition number: 2
  • Pages: 428
  • Product dimensions: 8.52 (w) x 10.68 (h) x 1.14 (d)

Meet the Author

Stephen F. Eisenman is Professor of Art History at Northwestern University

Linda Nochlin is a highly celebrated feminist art historian. She is the Lila Acheson Wallace Professor of Modern Art Emerita at the Institute of Fine Arts, New York University. Her major books include Courbet, Representing Women, and Women, Art, and Power.

Frances K. Pohl is the Dr. Mary Ann Vanderzyl Reynolds Professor of Humanities and Professor of Art History at Pomona College in Claremont, California. She received her Ph.D. from the University of California, Los Angeles. Since moving to Pomona in 1985, she has taught a wide variety of courses in nineteenth- and twentieth-century North American art. Her work has focused on the art of the United States, in particular the work of Ben Shahn, about whom she has written two books, and the relationship between the visual arts and working-class culture. Professor Pohl has taught in the United States for many years, but her Canadian origins give her a unique continental perspective on American art.

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Table of Contents

Introduction: Critical Art and History 7
Classicism and Romanticism
1 Patriotism and Virtue: David to the Young Ingres 14
2 Classicism in Crisis: Gros to Delacroix 51
3 The Tensions of Enlightment: Goya 78
4 Visionary History Painting: Blake and His Contemporaries 98
5 Nature Historicized: Constable, Turner, and Romantic Landscape Painting 115
New World Frontiers
6 Old World, New World: The Encounter of Cultures on the American Frontier 144
7 Black and White in America 163
Realism and Naturalism
8 The Generation of 1830 and the Crisis in the Public Sphere 188
9 The Rhetoric of Realism: Courbet and the Origins of the Avant-Garde 206
10 The Decline of History Painting: Germany, Italy, and France 225
Modern Art and Life
11 Manet and the Impressionists 238
12 Issues of Gender in Cassatt and Eakins 255
13 Mass Culture and Utopia: Seurat and Neoimpressionism 274
14 Abstraction and Populism: Van Gogh 288
15 Symbolism and the Dialectics of Retreat 304
16 The Failure and Success of Cezanne 337
Chronology 351
Selected Bibliography 365
List of Illustrations 368
Index 373
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