Optics and Realism in Renaissance
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Taylor Acosta
Taylor Acosta book review of World History of Realism in Visual Arts, 1830–1990: Naturalism, Socialist Realism, Social Realism, Magic Realism, New Realism, and Documentary Photography by Boris Röhrl Nineteenth-Century Art Worldwide 15, no. 3 (Autumn 2016) Citation: Taylor Acosta, book review of “World History of Realism in Visual Arts, 1830–1990: Naturalism, Socialist Realism, Social Realism, Magic Realism, New Realism, and Documentary Photography by Boris Röhrl,” Nineteenth-Century Art Worldwide 15, no. 3 (Autumn 2016), https://doi.org/10.29411/ncaw.2016.15.3.9. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. License: This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License Creative Commons License. Acosta: World History of Realism in Visual Arts, 1830–1990 Nineteenth-Century Art Worldwide 15, no. 3 (Autumn 2016) Boris Röhrl, World History of Realism in Visual Arts, 1830–1990: Naturalism, Socialist Realism, Social Realism, Magic Realism, New Realism, and Documentary Photography. Hildesheim, Germany: Georg Olms Verlag, 2013. 680 pp.; 97 b&w ills.; notes; bibliography; index; dictionary. $78.00 (cloth) ISBN: 978-3-487-14387-3 The literature on Realism is extensive and includes theoretical texts, historical analyses, and artist monographs, and at the center of many of these intellectual projects is a persistent debate surrounding the term itself. In 1856, the art critic Edmond Duranty declared, “To give a definition of realism regarding aesthetics would be time lost—an opening of sluice gates releasing a flood of discussion solely about words” (1). -
November 2012 Newsletter
historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 29, No. 2 November 2012 Jan and/or Hubert van Eyck, The Three Marys at the Tomb, c. 1425-1435. Oil on panel. Museum Boijmans Van Beuningen, Rotterdam. In the exhibition “De weg naar Van Eyck,” Museum Boijmans Van Beuningen, October 13, 2012 – February 10, 2013. HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park, NJ 08904 Telephone: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Offi cers President - Stephanie Dickey (2009–2013) Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Vice-President - Amy Golahny (2009–2013) Lycoming College Williamsport, PA 17701 Treasurer - Rebecca Brienen University of Miami Art & Art History Department PO Box 248106 Coral Gables FL 33124-2618 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Contents Board Members President's Message .............................................................. 1 Paul Crenshaw (2012-2016) HNA News ............................................................................1 Wayne Franits (2009-2013) Personalia ............................................................................... 2 Martha Hollander (2012-2016) Exhibitions ............................................................................ 3 Henry Luttikhuizen (2009 and 2010-2014) -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
5. Ïhe Clrthusisds of 'Genadeda!' Near Bruges Unlike All Rctigious
'Genadeda!' Cïartcrhouses in the low Countries had also rcccived substantial ducal supporr-r 5. Ïhe ClrthusisDs of near Bruges Notable mcmbers of Ée oÍdcr, Dionysius of Louvain (l4f/z-71), and Jacob R.uebs, pncr of the Grthusians at Ghent, wcre both cormcillors of Philip the Unlike all rctigious instiUrtions in Bruges discussed thus far, the Good. Carthusian Monastery'Genadcdal'was sinntcd ouSidc the city walls, in tbe Many chartcrhouses devclopcd as important ccntcrs of manuscript production. rcrrirory siuratcd bctwecn thc parish church of the community of Sint-Ihtis and The Carthusian nrlc rcquired tlrat the monks live thcir days of thc Brugcs-Damme canal (Pl. 94).tt It was foundcd in l3lt undcr the auspiccs manual labor in soliary conrcmplation.r Copyrng manuscrips offered ample opporurnity and witl thc financiat suppoÍt of Jan van Kockclac, a pricst arached to thc parish to follow this rule faithfirlly. of oru. Lady. Thc firS sronc of thc monastcry buildings was laid by Count Genadedal, likc many othcr Carthusian monastcries, had a rcmarkable Robcrt III of Betbrrne (ruIcd 1305-22), one of the grcat bcnefactors of the collcction of manuscripts, most of which wcrc unforurnatcly losrt Onc of the promincnt foundation.* The Bnrgcs city rnagisranrc also belpcd the new foundation, for most bibliophilcs was Dom Ouo Amclisz van Mocrdrccht, prior of the which thc gcneral chaper of the order c:rprcsscdits gntiude. monastcry between 1433 and 1438. Bcfore he was appoinrcd ge rhis position, he The prcmiscs of the Carthusian monastcry consisted of frfucn seParatc headedthe monastcry Nieuwlicht at UnechL In l423,the ycar of his novitiae, he cells cach wittr its own linle gardcn, ccntc,rcdround ao inner courtyand, a modcst had some books copied and illuminaed for the library at Urechrlt Som" monks church with one aislc only, and stables and storage facilities. -
The Green Herrings of Realism
The green herrings of realism Devin Fore, Realism after Modernism: The Rehumanization of Art and Literature, MIT Press, Cambridge MA, 2012 hb and 2015 pb. 416 pp., £26.95 hb., £17.95 pb., 978 0 262 01771 8 hb., 978 0 262 52762 0 pb. According to Roman Jakobson, writing in 1922, seeking freedom from modern alienation and ‘mute realism ‘is an artistic trend which aims at conveying reality’, but an immanence akin to Adorno’s ‘mimesis reality as closely as possible and strives for maximum of the hardened and alienated’. Through examples verisimilitude. We call realistic those works which crossing a series of representational renewals – of we feel accurately depict life by displaying verisimili- figuration in painting and photography; perspective tude.’ Acknowledging the diversity of artistic move- in photography; gesture and filmic documentation ments which have made claim to exactly this sense in theatre; representation, myth and autobiography of realism in their works – futurism, expressionism, in fiction – Fore presents a case for the deepening of various modernisms, as well as the nineteenth-cen- both ‘realism’ and ‘modernism’ as innovative forms of tury movement known as ‘realism’ – Jakobson notes epistemic enquiry. This, he argues, is especially the the ‘extreme relativity of the concept of “realism”’. case for figuration, since the return to representa- Hereafter, further ambiguities unfold. The most tion of the human form depended upon an object/ poised is perhaps that summarized by Jakobson subject that had entirely changed: a new kind of under the heading B (as if issued from the position human being. In sum, realism was not the same after of an author’s intention to be realistic): modernism. -
The Early Netherlandish Underdrawing Craze and the End of a Connoisseurship Era
Genius disrobed: The Early Netherlandish underdrawing craze and the end of a connoisseurship era Noa Turel In the 1970s, connoisseurship experienced a surprising revival in the study of Early Netherlandish painting. Overshadowed for decades by iconographic studies, traditional inquiries into attribution and quality received a boost from an unexpected source: the Ph.D. research of the Dutch physicist J. R. J. van Asperen de Boer.1 His contribution, summarized in the 1969 article 'Reflectography of Paintings Using an Infrared Vidicon Television System', was the development of a new method for capturing infrared images, which more effectively penetrated paint layers to expose the underdrawing.2 The system he designed, followed by a succession of improved analogue and later digital ones, led to what is nowadays almost unfettered access to the underdrawings of many paintings. Part of a constellation of established and emerging practices of the so-called 'technical investigation' of art, infrared reflectography (IRR) stood out in its rapid dissemination and impact; art historians, especially those charged with the custodianship of important collections of Early Netherlandish easel paintings, were quick to adopt it.3 The access to the underdrawings that IRR afforded was particularly welcome because it seems to somewhat offset the remarkable paucity of extant Netherlandish drawings from the first half of the fifteenth century. The IRR technique propelled rapidly and enhanced a flurry of connoisseurship-oriented scholarship on these Early Netherlandish panels, which, as the earliest extant realistic oil pictures of the Renaissance, are at the basis of Western canon of modern painting. This resulted in an impressive body of new literature in which the evidence of IRR played a significant role.4 In this article I explore the surprising 1 Johan R. -
Realism Impressionism Post Impressionism Week Five Background/Context the École Des Beaux-Arts
Realism Impressionism Post Impressionism week five Background/context The École des Beaux-Arts • The École des Beaux-Arts (est. 1648) was a government controlled art school originally meant to guarantee a pool of artists available to decorate the palaces of Louis XIV Artistic training at The École des Beaux-Arts • Students at the École des Beaux Arts were required to pass exams which proved they could imitate classical art. • An École education had three essential parts: learning to copy engravings of Classical art, drawing from casts of Classical statues and finally drawing from the nude model The Academy, Académie des Beaux-Arts • The École des Beaux-Arts was an adjunct to the French Académie des beaux-arts • The Academy held a virtual monopoly on artistic styles and tastes until the late 1800s • The Academy favored classical subjects painted in a highly polished classical style • Academic art was at its most influential phase during the periods of Neoclassicism and Romanticism • The Academy ranked subject matter in order of importance -History and classical subjects were the most important types of painting -Landscape was near the bottom -Still life and genre painting were unworthy subjects for art The Salons • The Salons were annual art shows sponsored by the Academy • If an artist was to have any success or recognition, it was essential achieve success in the Salons Realism What is Realism? Courbet rebelled against the strictures of the Academy, exhibiting in his own shows. Other groups of painters followed his example and began to rebel against the Academy as well. • Subjects attempt to make the ordinary into something beautiful • Subjects often include peasants and workers • Subjects attempt to show the undisguised truth of life • Realism deliberately violates the standards of the Academy. -
William Holman Hunt's Portrait of Henry Wentworth Monk
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2017 William Holman Hunt’s Portrait of Henry Wentworth Monk Jennie Mae Runnels Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd © The Author Downloaded from https://scholarscompass.vcu.edu/etd/4920 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. William Holman Hunt’s Portrait of Henry Wentworth Monk A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History at Virginia Commonwealth University. Jennie Runnels Virginia Commonwealth University Department of Art History MA Thesis Spring 2017 Director: Catherine Roach Assistant Professor Department of Art History Virginia Commonwealth University Richmond, Virginia April 2017 Contents Acknowledgments Introduction Chapter 1 Holman Hunt and Henry Monk: A Chance Meeting Chapter 2 Jan van Eyck: Rediscovery and Celebrity Chapter 3 Signs, Symbols and Text Conclusion List of Images Selected Bibliography Acknowledgements In writing this thesis I have benefitted from numerous individuals who have been generous with their time and encouragement. I owe a particular debt to Dr. Catherine Roach who was the thesis director for this project and truly a guiding force. In addition, I am grateful to Dr. Eric Garberson and Dr. Kathleen Chapman who served on the panel as readers and provided valuable criticism, and Dr. Carolyn Phinizy for her insight and patience. -
The Subject, Sitters, and Significance of the Arnolfini Marriage Portrait
Venezia Arti [online] ISSN 2385-2720 Vol. 26 – Dicembre 2017 [print] ISSN 0394-4298 Why Was Jan van Eyck here? The Subject, Sitters, and Significance of The Arnolfini Marriage Portrait Benjamin Binstock (Cooper Union for the Advancement of Science and Art, New York City, USA) Abstract Jan van Eyck’s Arnolfini Marriage Portrait of 1434 still poses fundamental questions. An overlooked account explained the groom’s left hand holding his bride’s right hand as a secular, legal morganatic marriage with a bride of lower social rank and wealth. That would explain Van Eyck’s presence as witness in the mirror and through his inscription, and corresponds to the recent identification of the bride and groom as Giovanni di Arrigo Arnolfini and his previously unknown first wife Helene of unknown last name. Van Eyck’s scene can be called the first modern painting, as the earliest autonomous, illusionistic representation of secular reality, provided with the earliest artist’s signature of the modern type, framing his scene as perceived and represented by a particular individual. That is why Jan van Eyck was here. Summary 1 What is being disguised: religious symbolism or secular art? – 2 A morganatic, left-handed marriage. – 3 The sitters: Giovanni di Arrigo Arnolfini and his first wife Helene? – 4 Van Eyck’s Arnolfini Portrait as the first modern painting. – 5 Van Eyck’s Arnolfini Portrait within his oeuvre and tradition. – 6 Van Eyck’s Arnolfini Portrait and art historical method. Keywords Jan van Eyck. Signature. Arnolfini. Morganatic Marriage. Modern painting. For Marek Wieczorek What is the hardest of all? What you think is the easiest. -
The Image of Early Netherlandish Art in the Long Nineteenth Century
ALISON HOKANSON & EDWARD H. WOUK The past is always present: The image of early Netherlandish art in the long nineteenth century In 1881, the American collector Stephen Whitney Phoenix bequeathed to the Metropolitan Museum of Art in New York a painting by the artist Wilhelm (Guillaume) Koller (1829- 1884/1885) entitled Hugo van der Goes painting the portrait of Mary of Burgundy (fijig. 1). Koller, who trained in Vienna and Düsseldorf, moved in 1856 to Belgium, where he exhibited this painting at the Brussels Salon of 1872.1 The picture imagines an encounter between Van der Goes (ca. 1440-1482) and Mary of Burgundy (1457-1482), shown as a child seated on the lap of her young stepmother Margaret of York (1446-1503). Behind them is likely 1 Charles the Bold (1433-1477), who married Margaret after the death of Mary’s mother, Wilhelm (Guillaume) Koller, Hugo 2 van der Goes painting the portrait Isabella of Bourbon (1434-1465). Koller’s painting offfered nineteenth-century audiences of Mary of Burgundy, ca. 1872, an appealing, if fijictional, image of an esteemed northern European artist depicting a oil on panel, 59.4 x 86.4 cm, New York, The Metropolitan moment in the domestic life of a noble dynasty closely identifijied with the history and Museum of Art, inv. 81.1.662. heritage of Belgium.3 146 Oud Holland 2020 - 3/4 volume 133 Downloaded from Brill.com09/27/2021 04:53:44PM via free access Koller specialized in genre scenes celebrating fijifteenth- and ixteenth-centurys European culture, and particularly that of present-day Belgium, Austria, and Germany. -
Nature in American Realism and Romanticism and the Problem with Genre
Nature in American Realism and Romanticism and the Problem with Genre BY MARTIN GROFF Early literature in the United States, written during a time when the vast North American landscape remained largely unexplored by European settlers, reflects a profound connection to nature and the centrality of the wilderness to the young nation’s culture and consciousness. But as the romantic and transcendentalist movements began to fade in the United States by the mid-nineteenth century, the portrayal of nature began to change as well, shifting away from the sublime and overtly spiritual and towards a so-called realist style. Ecocritics have long given attention to romantic representations of nature given the prominence of this aesthetic in both eighteenth and nineteenth century US and British literature. Though earlier scholarship tended to view nature predominantly as a spiritual metaphor for romantics, recent ecocritics “tend to place a new emphasis on the romantics’ engagement with the materiality of nature and their acute sense of the deterioration of wild and rural landscapes during processes of enclosure and industrialization.”1 Despite such shifts in critical emphasis, contemporary ecocriticism nonetheless frequently continues to rely on canonical assumptions. For instance, Ashton Nichols’s recent Beyond Romantic Ecocriticism: Toward Urbanatural Roosting (2011), even in its rethinking of certain traditional canonical models, reinforces the category of romanticism as a basis for analyses of historical ecologies. Confining ecocritical studies to the 1U. K. Heise, “Environment and Poetry,” in The Princeton Encyclopedia of Poetry and Poetics, ed. Roland Greene, et al. (Princeton: Princeton University Press, 2012), 437. Valley Humanities Review Spring 2015 1 borders of genres and movements such as “romanticism” and “realism,” however, presents certain risks. -
Lesson 09: Michelangelo- from High Renaissance to Mannerism
East Tennessee State University Digital Commons @ East Tennessee State University Art Appreciation Open Educational Resource 2020 Lesson 09: Michelangelo- From High Renaissance to Mannerism Marie Porterfield Barry East Tennessee State University, [email protected] Follow this and additional works at: https://dc.etsu.edu/art-appreciation-oer Part of the Art and Design Commons, and the History of Art, Architecture, and Archaeology Commons Editable versions are available for this document and other Art Appreciation lessons at https://dc.etsu.edu/art-appreciation-oer. Recommended Citation Barry, Marie Porterfield, "Lesson 09: Michelangelo- rF om High Renaissance to Mannerism" (2020). Art Appreciation Open Educational Resource. East Tennessee State University: Johnson City. https://dc.etsu.edu/art-appreciation-oer/10 This Book Contribution is brought to you for free and open access by Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Art Appreciation Open Educational Resource by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. “Michelangelo from High Renaissance to Mannerism” is part of the ART APPRECIATION Open Educational Resource by Marie Porterfield Barry East Tennessee State University, 2020 Introduction This course explores the world’s visual arts, focusing on the development of visual awareness, assessment, and appreciation by examining a variety of styles from various periods and cultures while emphasizing the development of a common visual language. The materials are meant to foster a broader understanding of the role of visual art in human culture and experience from the prehistoric through the contemporary. This is an Open Educational Resource (OER), an openly licensed educational material designed to replace a traditional textbook.