Nineteenth Century European Art

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. ...

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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. Nineteenth-Century European Art was written to address a need in the market for a readable undergraduate textbook dealing with the period from 1760-1900. The new edition has been revised based in response to reviewer comments and criticisms, making it an even better and more readable book.

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...

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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 France: Gustave Courbet and the Nineteenth-Century Media Culture, and Twenty-First-Century Perspectives on Nineteenth-Century Art (with Laurinda S. Dixon). The recipient of several awards, such as a John Simon Guggenheim Memorial Fellowship, two National Endowment of the Humanities grants, and a Jane and Morgan Whitney Art History Fellowship, Chu is the past president of the Association of Historians of Nineteenth-Century Art and the Co-Founder and Managing Editor of Nineteenth-Century Art Worldwide.

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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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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