Lesson 16: What Shocks in 1863
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Mitchell Final4print.Pdf
VICTORIAN CRITICAL INTERVENTIONS Donald E. Hall, Series Editor VICTORIAN LESSONS IN EMPATHY AND DIFFERENCE Rebecca N. Mitchell THE OHIO STATE UNIVERSITY PRESS Columbus Copyright © 2011 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Mitchell, Rebecca N. (Rebecca Nicole), 1976– Victorian lessons in empathy and difference / Rebecca N. Mitchell. p. cm. — (Victorian critical interventions) Includes bibliographical references and index. ISBN-13: 978-0-8142-1162-5 (cloth : alk. paper) ISBN-10: 0-8142-1162-3 (cloth : alk. paper) ISBN-13: 978-0-8142-9261-7 (cd) 1. English literature—19th century—History and criticism. 2. Art, English—19th century. 3. Other (Philosophy) in literature. 4. Other (Philosophy) in art. 5. Dickens, Charles, 1812–1870— Criticism and interpretation. 6. Eliot, George, 1819–1880—Criticism and interpretation. 7. Hardy, Thomas, 1840–1928—Criticism and interpretation. 8. Whistler, James McNeill, 1834– 1903—Criticism and interpretation. I. Title. II. Series: Victorian critical interventions. PR468.O76M58 2011 820.9’008—dc22 2011010005 This book is available in the following editions: Cloth (ISBN 978-0-8142-1162-5) CD-ROM (ISBN 978-0-8142-9261-7) Cover design by Janna Thompson Chordas Type set in Adobe Palatino Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materi- als. ANSI Z39.48-1992. 9 8 7 6 5 4 3 2 1 CONTENTS List of Illustrations • vii Preface • ix Acknowledgments • xiii Introduction Alterity and the Limits of Realism • 1 Chapter 1 Mysteries of Dickensian Literacies • 27 Chapter 2 Sawing Hard Stones: Reading Others in George Eliot’s Fiction • 49 Chapter 3 Thomas Hardy’s Narrative Control • 70 Chapter 4 Learning to See: Whister's Visual Averstions • 88 Conclusion Hidden Lives and Unvisited Tombs • 113 Notes • 117 Bibliography • 137 Index • 145 ILLUSTRATIONS Figure 1 James McNeill Whistler, The Miser (1861). -
16 Exhibition on Screen
Exhibition on Screen - The Impressionists – And the Man Who Made Them 2015, Run Time 97 minutes An eagerly anticipated exhibition travelling from the Musee d'Orsay Paris to the National Gallery London and on to the Philadelphia Museum of Art is the focus of the most comprehensive film ever made about the Impressionists. The exhibition brings together Impressionist art accumulated by Paul Durand-Ruel, the 19th century Parisian art collector. Degas, Manet, Monet, Pissarro, Renoir, and Sisley, are among the artists that he helped to establish through his galleries in London, New York and Paris. The exhibition, bringing together Durand-Ruel's treasures, is the focus of the film, which also interweaves the story of Impressionism and a look at highlights from Impressionist collections in several prominent American galleries. Paintings: Rosa Bonheur: Ploughing in Nevers, 1849 Constant Troyon: Oxen Ploughing, Morning Effect, 1855 Théodore Rousseau: An Avenue in the Forest of L’Isle-Adam, 1849 (Barbizon School) Jean-François Millet: The Gleaners, 1857 (Barbizon School) Jean-François Millet: The Angelus, c. 1857-1859 (Barbizon School) Charles-François Daubigny: The Grape Harvest in Burgundy, 1863 (Barbizon School) Jean-François Millet: Spring, 1868-1873 (Barbizon School) Jean-Baptiste Camille Corot: Ruins of the Château of Pierrefonds, c. 1830-1835 Théodore Rousseau: View of Mont Blanc, Seen from La Faucille, c. 1863-1867 Eugène Delecroix: Interior of a Dominican Convent in Madrid, 1831 Édouard Manet: Olympia, 1863 Pierre Auguste Renoir: The Swing, 1876 16 Alfred Sisley: Gateway to Argenteuil, 1872 Édouard Manet: Luncheon on the Grass, 1863 Edgar Degas: Ballet Rehearsal on Stage, 1874 Pierre Auguste Renoir: Ball at the Moulin de la Galette, 1876 Pierre Auguste Renoir: Portrait of Mademoiselle Legrand, 1875 Alexandre Cabanel: The Birth of Venus, 1863 Édouard Manet: The Fife Player, 1866 Édouard Manet: The Tragic Actor (Rouvière as Hamlet), 1866 Henri Fantin-Latour: A Studio in the Batingnolles, 1870 Claude Monet: The Thames below Westminster, c. -
Liberalizing Art. Evidence on the Impressionists at the End of the Paris Salon
European Journal of Political Economy 62 (2020) 101857 Contents lists available at ScienceDirect European Journal of Political Economy journal homepage: www.elsevier.com/locate/ejpe Liberalizing art. Evidence on the Impressionists at the end of the Paris Salon Federico Etro *, Silvia Marchesi, Elena Stepanova University of Florence, University of Milan Bicocca and St. Anna School of Advanced Studies-Pisa, Italy ARTICLE INFO ABSTRACT JEL classification: We analyze the art market in Paris between the government-controlled Salon and the post-1880 C23 system, when the Republican government liberalized art exhibitions. The jury of the old Salon Z11 decided on submissions with a bias in favor of conservative art of the academic insiders, erecting Keywords: entry barriers against outsiders as the Impressionists. With a difference-in difference estimation, Art market we provide evidence that the end of the government-controlled Salon contributed to start the price Liberalization increase of the Impressionists relative to the insiders. Market structure Insider-outsider Hedonic regressions Impressionism 1. Introduction For more than two centuries the Paris Salon organized the art exhibition where French artists selected by an official jury could display their works. Such a system controlled by the on-going regime ended with the liberalization of 1880, which started the creation of a variety of privately organized salons. The artistic innovations of Impressionist painters, such as Claude Monet, Pierre Auguste Renoir, Camille Pissarro, Alfred Sisley, Edgar Degas, Paul Cezanne as well as Edouard Manet, had been marginalized in the government- controlled Salon and in the Paris art market, which were dominated by more traditional Academic artists. -
Berthe Morisot and Mary Cassatt. Jessica Cresseveur University of Louisville
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2016 The queer child and haut bourgeois domesticity : Berthe Morisot and Mary Cassatt. Jessica Cresseveur University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the American Art and Architecture Commons, Modern Art and Architecture Commons, and the Theory and Criticism Commons Recommended Citation Cresseveur, Jessica, "The queer child and haut bourgeois domesticity : Berthe Morisot and Mary Cassatt." (2016). Electronic Theses and Dissertations. Paper 2409. https://doi.org/10.18297/etd/2409 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The nivU ersity of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The nivU ersity of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE QUEER CHILD AND HAUT BOURGEOIS DOMESTICITY: BERTHE MORISOT AND MARY CASSATT By Jessica Cresseveur B.A., University of Louisville, 2000 M.A., University College London, 2003 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of Comparative Humanities University -
H-France Review Vol. 12 (November 2012), No. 158 Therese Dolan, Ed., Perspectives On
H-France Review Volume 12 (2012) Page 1 H-France Review Vol. 12 (November 2012), No. 158 Therese Dolan, ed., Perspectives on Manet. Surrey, U.K. and Burlington, Vt.: Ashgate Publishing Company, 2012. xiii +230 pp. Illustrations, bibliography and index. $119.95 U.S. (cl). ISBN 978-1- 4094-2074-3. Review by Hollis Clayson, Northwestern University. A collection of essays on the work of the French and thoroughly Parisian artist, Édouard Manet (1832- 1883), has a built-in significance for art history that is somewhat concealed, even belied, by the unassuming “perspectives on” title of, and the neutral cast of the introduction to, Therese Dolan’s splendid anthology of nine new texts.[1] The interpretive stakes are high ipso facto because the history of modern art is rooted in Manet studies. As the influential scholar, Michael Fried, put it: “Manet is by common agreement the pivotal figure in the modern history of painting.”[2] Thus museum exhibitions of his art attract crowds as well as passionate scrutiny and debate, and pacesetting monographic studies are thick on the ground, appearing with increasing frequency since the centenary of the artist’s death.[3] Once upon a time not long ago (the 1980s), the axis of methodological range in Manet studies extended from radical formalism, at one end, to Marxist- and feminist-inflected social art history at the opposite pole. The history of that antipathy is too complex to delve into in an abbreviated review. Suffice it to note that that spectrum and its antitheses are not the principal hermeneutic frameworks of the scholarship gathered in the new anthology. -
14-SMX48 Copeland
)ORZDQG$UUHVW +XH\&RSHODQG Small Axe, Volume 19, Number 3, November 2015 (No. 48), pp. 205-224 (Article) 3XEOLVKHGE\'XNH8QLYHUVLW\3UHVV For additional information about this article http://muse.jhu.edu/journals/smx/summary/v019/19.3.copeland.html Access provided by Northwestern University Library (25 Mar 2016 15:17 GMT) Flow and Arrest Huey Copeland We start with a story. In 2002, while researching the dissertation from which my first book, Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America, would emerge, I had the opportunity to pose for the artist Lorna Simpson. Her practice had already become a locus of my thinking about aesthetics, slavery, and the aporias of representation, so I eagerly agreed to serve as her model. With characteristic economy, Simpson made good use of the photographs resulting from our session, eventually deploying them in a range of artworks that together comprise her 2002–03 exhibition Cameos and Appearances. Yet how- ever reproduced, framed, or occluded, those initial Polaroid images are also documents of an encounter in which the “art historian” became the “subject” of “his artist’s” “objective” gaze, leaving each of the quoted words estranged from itself and underlining an entanglement in the artistic procedures that I set out to describe.1 Estranged and entangled: these terms begin to articulate not only the queer experience of belatedly gazing at myself through Simpson’s lens but also that of reading the critical engage- ments with Bound to Appear commissioned by Small Axe and penned by two black literary scholars, Stephen Best and Hortense Spillers, whose work has long mattered to my own. -
Cézanne Portraits
© Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. Introduction: The Reading of the Model JOHN ELDERFIELD La lecture du modèle, et sa réalization, est quelquefois très lent à venir pour l’artiste. Cézanne to Charles Camoin, 9 December 19041 Paul Cézanne was born in Aix-en-Provence on 19 January 1839, and died there aged sixty-seven on 23 October 1906. He made almost 1,000 paintings, of which around 160 are portraits.2 This publication accompanies the only exhibition exclusively devoted to these works since 1910, when Ambroise Vollard, who had been the artist’s dealer, showed twenty-four ‘Figures de Cézanne’. The present, much larger selection was chosen with the aims of providing a guide to the range and development of Cézanne’s portraits, the methods of their making, and the choice of their sitters. Also, more broadly, it is intended to raise the question of what the practice of portraiture meant for Cézanne when he was painting – or, as he said, reading and ‘realising’ – the model. Old Rules When Cézanne began painting portraits in the early 1860s, portraiture in France had long been acknowledged as a genre second in importance only to paintings of historical and mythological subjects. It was growing in popularity, and it would continue to do so during the period of Cézanne’s career: in the late 1880s, a National Portrait Gallery would be proposed for Paris, as well as a special gallery for portraits in the Louvre.3 It was during the 1860s and 1870s, however, that many ambitious painters found themselves enquiring what a portrait should aim to do. -
SALON DES REFUSÉS 2016 the Alternative Archibald and Wynne Prize Selection 16 July – 18 September
SALON DES REFUSÉS 2016 The alternative Archibald and Wynne Prize Selection 16 July – 18 September The Salon des Refusés was initiated by the S.H. Ervin Gallery in 1992 in response to the large number of works entered into the Archibald Prize which were not selected for display in the official exhibition. The Archibald Prize is one of Australia’s most high profile and respected awards which attracts hundreds of entries each year and the S.H. Ervin Gallery’s ‘alternative’ selection has become a much anticipated feature of the Sydney art scene. Each year our panel is invited to go behind the scenes of the judging process for the annual Archibald Prize for portraiture and Wynne Prize for landscape painting and figure sculpture at the Art Gallery of New South Wales, to select an exhibition from the many hundreds of works entered in both prizes but not chosen for the official award exhibition. The criteria for works selected in the Salon are quality, diversity, humour and innovation. Our panel viewed 830 Archibald Prize and 710 Wynne Prize entries at the Art Gallery of New South Wales to select the 64 works for this alternative exhibition. The 2016 selection panel: Catherine Benz curator, Delmar Gallery Kon Gouriotis editor, Artist Profile & curator Jane Watters director, S.H. Ervin Gallery The Salon des Refusés exhibition at the S.H. Ervin Gallery has established an excellent reputation that rivals the selections of the ‘official’ exhibition with works selected for quality, diversity, humour and experimentation which examine contemporary art practices, different approaches to portraiture and responses to the landscape. -
PIERRE-AUGUSTE COT - Peintre - (Bédarieux 1837 - Paris 1883)
Revue 1978 n° 2 http://www.etudesheraultaises.fr/ Article : PIERRE-AUGUSTE COT - Peintre - (Bédarieux 1837 - Paris 1883) Auteur (s) : ................................................................................. André SIGNOLES Nombre de pages : ............................ 18 Année de parution : 1978 PIERRE-AUGUSTE cor - Peintre (Bédarieux 1837 - Paris 1883) par André SIGNOlES J. - DONATION DE LA COLLECTION DE P.-A. COT A LA VILLE DE BI:DARIEUX C'est le 7 Mai 1946 que hit rédigée la donation de la collection de Pierre -Auguste Cot à la ville de Bédarieux ; la donation précisait en substance: « La ville de Bédarieux aura la propriété des biens donnés à compter de ce jour, mais elle n'en prendra possession qu'au décès de M. et Mme William Cot, donateurs qui s'en réservent l'usufruit leur vie durant, jusqu'au décès du dernier vivant•.. à la condition que la ville les conserve en bon état et prenne toutes les dispositions nécessaires pour que ces œuvres soient exposées dans un local adéquat où le public pourra les visiter »... (1 ). L'estimation de la donation s'élevait alors à 1.170.000 F. pour un ensemble d 'œuvres de P.-A. Cot , F. Duret, A. Mercié , Bouguereau, Carr ier, W. Cot et-Allouard (2). En 1951 une promesse de vente fut faite de la part de M. W. Cot en faveur de la ville de Bédarieux dans laquelle il s'engageait à vendre moyennant le versement d'une rente viagère de 20.000 F. par mois , à la commune de Bédarieux, une partie de sa pro priété comportant en particulier l'atelier de son père Auguste Cot à l'effet d'y "i nstaller un musée municipal (3) (fig. -
Sacred Visions
1 Contact: Rena Zurofsky Contact: Paula Webster [email protected] [email protected] [email protected] [email protected] Sacred Visions: Nineteenth-Century Biblical Art from the Dahesh Museum Collection Opens at the Museum of Biblical Art (MOBIA) in New York October 18, 2013 - February 16, 2014 New York, NY --- The Museum of Biblical Art (MOBIA) will present Sacred Visions: Nineteenth-Century Biblical Art from the Dahesh Museum Collection, an exhibition that considers the rich diversity and transformation of biblical subject matter produced during the nineteenth century by masters of the academic tradition. Sacred Visions features approximately 30 religious paintings, drawings, and sculptures by well-known artists like Léon Bonnat, Alexandre Cabanel, Gustave Doré, Paul Delaroche, and Jean-Léon Gérôme, as well as their lesser known, but equally gifted contemporaries. In addition, on display are volumes drawn from the American Bible Society’s Rare Bible Collection, of popular nineteenth-century Bibles richly illustrated by Doré and James Tissot, and that issued by publisher Thomas Macklin. Sacred Visions will be on view at the Museum of Biblical Art, 1865 Broadway at 61 Street, New York City from October 18, 2013 to February 16, 2014. “Sacred Visions is an ideal intersection of our respective missions,” says Rena Zurofsky, MOBIA’s Interim Director, “MOBIA explores great artwork inspired by the Bible, and Dahesh’s nineteenth-century academicians excelled at representing biblical themes. We are also pleased to be able to show in their artistic context three exquisite Bibles from the Rare Bible Collection @ MOBIA.” David Farmer, Dahesh Museum of Art Director of Exhibitions, agrees. -
Pierre Auguste Renoir
Pierre Auguste Renoir Pierre Auguste Renoir (“Ren-WAH”) 1841-1919 ! French Impressionist Painter The French painter Pierre Auguste Renoir was Vocabulary one of the leading members of the Impressionist movement. He began his career in a Parisian Complementary colors—Colors that are porcelain factory gaining experience with light, opposite each other on the color wheel (red and fresh colors that were to distinguish his green, blue and orange, yellow and violet). When Impressionist work. When he was 21, he entered placed next to each other, both complementary the Paris studio of artist Charles Gleyre, and colors seem brighter and stronger, providing became friends with fellow students Claude emphasis for each and creating a visual vibration Monet, Alfred Sisley, and Frederic Bazille. In the or glow. 1860s Renoir and his friends joined with other avant-garde artists to form a loose knit group Impressionism—A style of art, originating in known as the Impressionists. Paris in the 1860s, in which the main idea was to show changes in the light, color or actions of Renoir was particularly interested in people and scenes with quick brush strokes of color. often painted his friends. His paintings of beautiful Impressionists had two fundamental concerns: women, lovely children, lush landscapes and depicting modern life and painting in the open air. lighthearted picnics and dances reflected his Although their artistic styles and aims were not celebration of natural beauty and the French uniform, as a group they rejected the standard of leisure life in the countryside and cafés of Paris. the day as dictated by the Salon, the officially Renoir masterfully rendered the shimmering approved group of artists. -
Le Salon De 1827: Classique Ou Romantique? by Eva Bouillo
John P. Lambertson book review of Le Salon de 1827: Classique ou romantique? by Eva Bouillo Nineteenth-Century Art Worldwide 10, no. 2 (Autumn 2011) Citation: John P. Lambertson, book review of “Le Salon de 1827: Classique ou romantique? by Eva Bouillo,” Nineteenth-Century Art Worldwide 10, no. 2 (Autumn 2011), http://www.19thc- artworldwide.org/autumn11/review-of-le-salon-de-1827-classique-ou-romantique-by-eva- bouillo. 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. Lambertson: Le Salon de 1827: Classique ou romantique? by Eva Bouillo Nineteenth-Century Art Worldwide 10, no. 2 (Autumn 2011) Eva Bouillo, Le Salon de 1827: Classique ou romantique? Rennes: Presses Universitaires de Rennes, 2009. 324 pp.; 62 color illus; 114 b/w illus; bibliography; index. 23€ (paper) ISBN 978-2-7535-0782-1 The first illustration in Eva Bouillo's Le Salon de 1827: Classique ou romantique? is a print subtitled Grand Combat entre le Romantique et le Classique à la Porte du Musée, which depicts a confrontation between the Classicist, an ideal male nude male gripping a javelin, and the Romantic, bearded and dressed in Renaissance garb brandishing a rapier, in front of a door at the Louvre and under the watch of a museum guard. The print visually summarizes the main interests of Bouillo's study—the relationship between art, art institutions, art criticism, and the art market. Truth be told, these are the same interests that have animated the reevaluation of art created and consumed during the Bourbon Restoration underway for the last twenty years.