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Delaroche's Napoleon in His Study
Politics, Prints, and a Posthumous Portrait: Delaroche’s Napoleon in his Study Alissa R. Adams For fifteen years after he was banished to St. Helena, Na- By the time Delaroche was commissioned to paint Na- poleon Bonaparte's image was suppressed and censored by poleon in his Study he had become known for his uncanny the Bourbon Restoration government of France.1 In 1830, attention to detail and his gift for recreating historical visual however, the July Monarchy under King Louis-Philippe culture with scholarly devotion. Throughout the early phase lifted the censorship of Napoleonic imagery in the inter- of his career he achieved fame for his carefully rendered est of appealing to the wide swath of French citizens who genre historique paintings.2 These paintings carefully repli- still revered the late Emperor—and who might constitute cated historical details and, because of this, gave Delaroche a threat if they were displeased with the government. The a reputation for creating meticulous depictions of historical result was an outpouring of Napoleonic imagery including figures and events.3 This reputation seems to have informed paintings, prints, and statues that celebrated the Emperor the reception of his entire oeuvre. Indeed, upon viewing an and his deeds. The prints, especially, hailed Napoleon as a oval bust version of the 1845 Napoleon at Fontainebleau hero and transformed him from an autocrat into a Populist the Duc de Coigny, a veteran of Napoleon’s imperial army, hero. In 1838, in the midst of popular discontent with Louis- is said to have exclaimed that he had “never seen such a Philippe's foreign and domestic policies, the Countess of likeness, that is the Emperor himself!”4 Although the Duc Sandwich commissioned Paul Delaroche to paint a portrait de Coigny’s assertion is suspect given the low likelihood of of Napoleon entitled Napoleon in his Study (Figure 1) to Delaroche ever having seen Napoleon’s face, it eloquently commemorate her family’s connection to the Emperor. -
Rachel Esner on Visiting Delaroche and Diaz with L'illustration
UvA-DARE (Digital Academic Repository) Visiting Delaroche and Diaz with L'Illustration Esner, R. Publication date 2012 Document Version Final published version Published in Nineteenth-Century Art Worldwide Link to publication Citation for published version (APA): Esner, R. (2012). Visiting Delaroche and Diaz with L'Illustration. Nineteenth-Century Art Worldwide, 11(2). http://www.19thc-artworldwide.org/index.php/summer12/rachel-esner- visiting-delaroche-and-diaz-with-lillustration General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:27 Sep 2021 Rachel Esner on Visiting Delaroche and Diaz with L’Illustration | Print | E-mail CALL FOR PROPOSALS: NCAW digital research and Visiting Delaroche and Diaz with L'Illustration publication initiative by Rachel Esner In 1896, the critic Henri Nocq wrote: current issue about the journal "In order to garner a more or less complete picture of an artist, his works, past issues and his artistic direction, one must visit his studio. -
Page, Canvas, Wall: Visualising the History Of
Title Page, Canvas, Wall: Visualising the History of Art Type Article URL https://ualresearchonline.arts.ac.uk/id/eprint/15882/ Dat e 2 0 2 0 Citation Giebelhausen, Michaela (2020) Page, Canvas, Wall: Visualising the History of Art. FNG Research (4/2020). pp. 1-14. ISSN 2343-0850 Cr e a to rs Giebelhausen, Michaela Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Issue No. 4/2020 Page, Canvas, Wall: Visualising the History of Art Michaela Giebelhausen, PhD, Course Leader, BA Culture, Criticism and Curation, Central St Martins, University of the Arts, London Also published in Susanna Pettersson (ed.), Inspiration – Iconic Works. Ateneum Publications Vol. 132. Helsinki: Finnish National Gallery / Ateneum Art Museum, 2020, 31–45 In 1909, the Italian poet and founder of the Futurist movement, Filippo Tommaso Marinetti famously declared, ‘[w]e will destroy the museums, libraries, academies of every kind’.1 He compared museums to cemeteries, ‘[i]dentical, surely, in the sinister promiscuity of so many bodies unknown to one another… where one lies forever beside hated or unknown beings’. This comparison of the museum with the cemetery has often been cited as an indication of the Futurists’ radical rejection of traditional institutions. It certainly made these institutions look dead. With habitual hyperbole Marinetti claimed: ‘We stand on the last promontory of the centuries!… Why should we look back […]? Time and Space died yesterday.’ The brutal breathlessness of Futurist thinking rejected all notions of a history of art. -
The Last Man"
W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 5-2016 Renegotiating the Apocalypse: Mary Shelley’s "The Last Man" Kathryn Joan Darling College of William and Mary Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the Literature in English, British Isles Commons Recommended Citation Darling, Kathryn Joan, "Renegotiating the Apocalypse: Mary Shelley’s "The Last Man"" (2016). Undergraduate Honors Theses. Paper 908. https://scholarworks.wm.edu/honorstheses/908 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. 1 The apocalypse has been written about as many times as it hasn’t taken place, and imagined ever since creation mythologies logically mandated destructive counterparts. Interest in the apocalypse never seems to fade, but what does change is what form that apocalypse is thought to take, and the ever-keen question of what comes after. The most classic Western version of the apocalypse, the millennial Judgement Day based on Revelation – an absolute event encompassing all of humankind – has given way in recent decades to speculation about political dystopias following catastrophic war or ecological disaster, and how the remnants of mankind claw tooth-and-nail for survival in the aftermath. Desolate landscapes populated by cannibals or supernatural creatures produce the awe that sublime imagery, like in the paintings of John Martin, once inspired. The Byronic hero reincarnates in an extreme version as the apocalyptic wanderer trapped in and traversing a ruined world, searching for some solace in the dust. -
Nielsen Collection Holdings Western Illinois University Libraries
Nielsen Collection Holdings Western Illinois University Libraries Call Number Author Title Item Enum Copy # Publisher Date of Publication BS2625 .F6 1920 Acts of the Apostles / edited by F.J. Foakes v.1 1 Macmillan and Co., 1920-1933. Jackson and Kirsopp Lake. BS2625 .F6 1920 Acts of the Apostles / edited by F.J. Foakes v.2 1 Macmillan and Co., 1920-1933. Jackson and Kirsopp Lake. BS2625 .F6 1920 Acts of the Apostles / edited by F.J. Foakes v.3 1 Macmillan and Co., 1920-1933. Jackson and Kirsopp Lake. BS2625 .F6 1920 Acts of the Apostles / edited by F.J. Foakes v.4 1 Macmillan and Co., 1920-1933. Jackson and Kirsopp Lake. BS2625 .F6 1920 Acts of the Apostles / edited by F.J. Foakes v.5 1 Macmillan and Co., 1920-1933. Jackson and Kirsopp Lake. PG3356 .A55 1987 Alexander Pushkin / edited and with an 1 Chelsea House 1987. introduction by Harold Bloom. Publishers, LA227.4 .A44 1998 American academic culture in transformation : 1 Princeton University 1998, c1997. fifty years, four disciplines / edited with an Press, introduction by Thomas Bender and Carl E. Schorske ; foreword by Stephen R. Graubard. PC2689 .A45 1984 American Express international traveler's 1 Simon and Schuster, c1984. pocket French dictionary and phrase book. REF. PE1628 .A623 American Heritage dictionary of the English 1 Houghton Mifflin, c2000. 2000 language. REF. PE1628 .A623 American Heritage dictionary of the English 2 Houghton Mifflin, c2000. 2000 language. DS155 .A599 1995 Anatolia : cauldron of cultures / by the editors 1 Time-Life Books, c1995. of Time-Life Books. BS440 .A54 1992 Anchor Bible dictionary / David Noel v.1 1 Doubleday, c1992. -
GERMAN LITERARY FAIRY TALES, 1795-1848 by CLAUDIA MAREIKE
ROMANTICISM, ORIENTALISM, AND NATIONAL IDENTITY: GERMAN LITERARY FAIRY TALES, 1795-1848 By CLAUDIA MAREIKE KATRIN SCHWABE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2012 1 © 2012 Claudia Mareike Katrin Schwabe 2 To my beloved parents Dr. Roman and Cornelia Schwabe 3 ACKNOWLEDGMENTS First and foremost, I would like to thank my supervisory committee chair, Dr. Barbara Mennel, who supported this project with great encouragement, enthusiasm, guidance, solidarity, and outstanding academic scholarship. I am particularly grateful for her dedication and tireless efforts in editing my chapters during the various phases of this dissertation. I could not have asked for a better, more genuine mentor. I also want to express my gratitude to the other committee members, Dr. Will Hasty, Dr. Franz Futterknecht, and Dr. John Cech, for their thoughtful comments and suggestions, invaluable feedback, and for offering me new perspectives. Furthermore, I would like to acknowledge the abundant support and inspiration of my friends and colleagues Anna Rutz, Tim Fangmeyer, and Dr. Keith Bullivant. My heartfelt gratitude goes to my family, particularly my parents, Dr. Roman and Cornelia Schwabe, as well as to my brother Marius and his wife Marina Schwabe. Many thanks also to my dear friends for all their love and their emotional support throughout the years: Silke Noll, Alice Mantey, Lea Hüllen, and Tina Dolge. In addition, Paul and Deborah Watford deserve special mentioning who so graciously and welcomingly invited me into their home and family. Final thanks go to Stephen Geist and his parents who believed in me from the very start. -
The Sublime and the Millennialist in John Martin's Mezzotints for Paradise Lost Catherine Morris Wesrcou
The Sublime and the Millennialist in John Martin's Mezzotints for Paradise Lost Catherine Morris Wesrcou John Mrutin's mezzotints illustraLi ng John Mihon's epic 10 the larger.' To gain 1he widest audience, Prowell offered the poem Paradise Lest were published beginning in 1825.1 The work as four 12-monlh serial editions, along with loose proofs progres.~ion of this conunission is well documcmed. The pub and prints.' The illustrations were printed on Wha1man paper lisher Septimus Prowell paid John Martin 3500 guineas for en by two firms 1ha1 specialized in s1eel-pla1e printing.' 11ie last graving two sets of plates. the first with images around 8 x 11 of the serial issues, including the tiLle-pages 10 the whole, ap inches, and a smaller set measuring about 6 x 8 inches.' The peared in 1827; and the work was dedicated by the publisher 10 images in the smaller se1ar e infe rior, but correspond in design King George rv.• n,is JHIJ~r is ,lcdiet11ed 10 Dr. PatritiCl Rose. who helped me tJum,g/J ages about 8 x 11 ." He was paid I 500 guineas for the set measuring 7 uoubltd times wul to Dr. Fm,rrois H1,cJ1er, wh<>se visi()n I share. in x 10 1/2" with images abou1 6 :it 8." The coslS of lhe larger and smaller prints respec1ivelywcre 10s.6d.. and 6s. (fi!-aver83). Tbc1wcnty• Mcu,.01in1, otherwise known as 1,, rnani~rc ,ioif'f! or la 11u111itre a11glnise four prims are unevenly distributed over P"radise /.ost'.f 1wclve books: was inilially developed in 1hc mid-17lh century. -
Ingres and His Critics Andrew Carrington Shelton Frontmatter More Information
Cambridge University Press 978-0-521-84243-3 — Ingres and his Critics Andrew Carrington Shelton Frontmatter More Information Ingres and His Critics This book examines the critical writing and journalistic reportage on Jean-Auguste-Dominique Ingres, from the time of his renunciation of the Salon in 1834 until his large retrospective at the 1855 Universal Exposition. This massive body of writing demonstrates how the artist negotiated the contradictory forces dominating the rapidly evolving art world of mid-nineteenth- century Paris. While continuing to enjoy the benefits of his affiliation with the Academy, Ingres employed certain modes of presentation – most notably the single-artist exhibition and illus- trated monograph – that effectively distanced his work and pub- lic persona from the increasingly embattled world of artistic offi- cialdom, implicating them instead in the burgeoning modernist ideal of self-generating creative genius. The resulting fluctua- tion in Ingres’s critical profile – between imperious chef d’´ecole and persecuted artiste maudit – provides a new context in which to consider the formal qualities of his work, which likewise vac- illate between academic banality and modernist bizarrerie. Andrew Carrington Shelton is associate professor of art history at The Ohio State University. A scholar of French art, he con- tributed to the catalogue for the exhibition Portraits by Ingres and has published articles and reviews in The Art Bulletin, Art History, The Burlington Magazine, and the Bulletin du Mus´ee Ingres. © in this -
Essays on the Poets, and Other English Writers
ESSAYS ON THE POETS, AND OTHER ENGLISH WRITERS THOMAS DE QUINCEY ESSAYS ON THE POETS, AND OTHER ENGLISH WRITERS Table of Contents ESSAYS ON THE POETS, AND OTHER ENGLISH WRITERS......................................................................1 THOMAS DE QUINCEY.............................................................................................................................1 ON WORDSWORTH'S POETRY................................................................................................................1 PERCY BYSSHE SHELLEY......................................................................................................................13 JOHN KEATS.............................................................................................................................................24 OLIVER GOLDSMITH..............................................................................................................................31 ALEXANDER POPE..................................................................................................................................44 WILLIAM GODWIN..................................................................................................................................63 JOHN FOSTER............................................................................................................................................67 WILLIAM HAZLITT..................................................................................................................................69 -
Capitalist Apocalypse in the Painting of John Martin and Gordon Cheung 179
Capitalist Apocalypse in the Painting of John Martin and Gordon Cheung 179 Martin LANG C A P J M G C Abstract: Taking as its starting point Tate Britains Keywords: A pocalypse, Art, Painting, John Martin, recent John Martin retrospective, entitled John Martin: Gordon Cheung, Capitalism. Apocalypse, this paper considers the possibility that de- pictions of biblical apocalyptic scenes in Martins paint- ings are actually metaphors for revolution (French and th American). The rst half of the paper investigates possible John Martin was a 19 century English links between Martins apocalyptic imagery, British impe- Romantic artist, famous for his apocalyp- rial ambitions and the rise of capitalism. It also considers tic paintings. His nal major work, a trip- how Martins plans for urban redevelopment are linked to tych, depicted the actual moment of the his preoccupation with cataclysmic doom. Through icono- apocalypse and its aĞermath. It com- graphical readings of Martins paintings the paper hypoth- prised of the following three paintings: esizes that themes such as the fall of great civilizations and the wrath of god are not coincidental but concerns The Last Judgement; The Great Day of his contemporary to Martin caused by capitalist expansion. Wrath; and The Plains of Heaven. There is The second part of the paper goes on to investigate the established research linking John Martins possibility that our contemporary interest in the apocalypse paintings to the revolutionary times he is in fact, just as it was in Martins time, a metaphor for lived in (Feaver The Art of John Martin; militant unrest, which is manifested in theory and culture because of our inability to imagine the end of capitalism Myrone John Martin: Apocalypse; Morden): in this context the paper turns to contemporary painter the American Revolution that occurred just Gordon Cheung to reconsider the idea, attributed to before he was born1; the French Revolution Jameson and iek, that it is easier to imagine the end of that occurred in the rst year of his life; the world than the end of capitalism. -
THE POLITICS of CATASTROPHE in the ART of JOHN MARTIN, FRANCIS DANBY, and DAVID ROBERTS by Christopher J
APOCALYPTIC PROGRESS: THE POLITICS OF CATASTROPHE IN THE ART OF JOHN MARTIN, FRANCIS DANBY, AND DAVID ROBERTS By Christopher James Coltrin A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History of Art) in the University of Michigan 2011 Doctoral Committee: Professor Susan L. Siegfried, Chair Professor Alexander D. Potts Associate Professor Howard G. Lay Associate Professor Lucy Hartley ©Christopher James Coltrin 2011 For Elizabeth ii Acknowledgements This dissertation represents the culmination of hundreds of people and thousands of hours spent on my behalf throughout the course of my life. From the individuals who provided the initial seeds of inspiration that fostered my general love of learning, to the scholars who helped with the very specific job of crafting of my argument, I have been the fortunate recipient of many gifts of goodness. In retrospect, it would be both inaccurate and arrogant for me to claim anything more than a minor role in producing this dissertation. Despite the cliché, the individuals that I am most deeply indebted to are my two devoted parents. Both my mother and father spent the majority of their lives setting aside their personal interests to satisfy those of their children. The love, stability, and support that I received from them as a child, and that I continue to receive today, have always been unconditional. When I chose to pursue academic interests that seemingly lead into professional oblivion, I probably should have questioned what my parents would think about my choice, but I never did. Not because their opinions didn‟t matter to me, but because I knew that they would support me regardless. -
Horace Vernet
ILLU STRATED B IO G RA PHIES O F THE G REAT A RTISTS. ' ' fle ollomn v lumes cocli illustrated 1017 I to 20 En ramn s f g o , k 4 g g , a D E D r . R B . P U RICIITER L ONA O A VINCI . y D J A L M C EL EL . B C HA L S C EM N T I H ANG O y R E L E . ’ R P EL From . PASSA AN B D N V S. D V . A HA . J T y N A ER T B R R M fo . T . RIC HA FO A H A . I IAN y D D HE T , . , Ox rd T NT E’I‘ T B W RO CO m R I R O . S S Fro h . O y E O LER. esearc es at Venice BE Fro m D WO MAN N B OS H N A L . r . P U L HO IN . A LT y J E C D L. H TTLE M TERS O F G ERMA NYZ ' B w B T E L S . can I A y . S . HA S V SMAER B W RE BR DT From C O . MO M AN . RLE y J . LLETT. W K M . A . xf BE B C . RU NS. y ETT, , O ord DYCK and LS. B P CY R. A L n ln O C L fo . VAN HA y ER HE D , i co I , Ox rd URE P TERS f LLA D . B LO R RONA OW o F S.