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Author: Musée des beaux-arts du Canada (Ottawa)
Publisher: Yale University Press
Published: 2003-01-01
Total Pages: 432
ISBN-13: 0300099460
DOWNLOAD EBOOK →Leading scholars shed light on the development of genre painting in this heavily illustrated volume.
Author: Edmond de Goncourt
Publisher:
Published: 1948
Total Pages: 418
ISBN-13: 9780801492181
DOWNLOAD EBOOK →Donated: Margaret A. Bailey Art Collection.
Author: Melissa Percival
Publisher: Routledge
Published: 2017-07-05
Total Pages: 301
ISBN-13: 1351566792
DOWNLOAD EBOOK →A fresh interpretation of the group of Fragonard?s paintings known as the ?figures de fantaisie?, Fragonard and the Fantasy Figure: Painting the Imagination reconnects the fantasy figures with neglected visual traditions in European art and firmly situates them within the cultural and aesthetic contexts of eighteenth-century France. Prior scholarship has focused on the paintings? connections with portraiture, whereas this study relocates them within a tradition of fantasy figures, where resemblance was ignored or downplayed. The book defines Fragonard as a painter of the imagination and foregrounds the imaginary at a time when Enlightenment rationalism and Classical aesthetics contrived to delimit the imagination. The book unravels scholarly writing on these Fragonard paintings and examines the history of the fantasy figure from early modern Europe to eighteenth-century France. Emerging from this background is a view of Fragonard turning away from the academically sanctioned ?invention?, towards more playful variants of the imaginary: fantasy and caprice. Melissa Percival demonstrates how fantasy figures engage both artists and viewers, allowing artists to unleash their imagination through displays of virtuosity and viewers to use their imagination to explore the paintings? unusual juxtapositions and humour.
Author: Katharine Baetjer
Publisher: Metropolitan Museum of Art
Published: 2019-04-15
Total Pages: 413
ISBN-13: 1588396614
DOWNLOAD EBOOK →This publication catalogues The Met’s remarkable collection of eighteenth-century French paintings in the context of the powerful institutions that governed the visual arts of the time—the Académie Royale de Peinture et de Sculpture, the Académie de France à Rome, and the Paris Salon. At the height of their authority during the eighteenth century, these institutions nurtured the talents of artists in all genres. The Met’s collection encompasses stunning examples of work by leading artists of the period, including Antoine Watteau (Mezzetin), Jean Siméon Chardin (The Silver Tureen), François Boucher (The Toilette of Venus), Joseph Siffred Duplessis (Benjamin Franklin), Jean-Baptiste Greuze (Broken Eggs), Hubert Robert (the Bagatelle decorations), Jacques Louis David (The Death of Socrates), the Van Blarenberghes (The Outer Port of Brest), and François Gérard (Charles Maurice de Talleyrand-Périgord). In the book’s introduction, author Katharine Baetjer provides a history of the Académie, its establishment, principles, and regulations, along with a discussion of the beginnings of public art discourse in France, taking us through the reforms unleashed by the Revolution. The consequent democratizing of the Salon, brought about by radicals under the leadership of Jacques Louis David, encouraged the formation of new publics with new tastes in subject matter and genres. The catalogue features 126 paintings by 50 artists. Each section includes a short biography of the artist and in-depth discussions of individual paintings incorporating the most up-to-date scholarship.
Author: Linda Walsh
Publisher: John Wiley & Sons
Published: 2016-08-29
Total Pages: 294
ISBN-13: 1118475577
DOWNLOAD EBOOK →A Guide to Eighteenth-Century Art offers an introductory overview of the art, artists, and artistic movements of this exuberant period in European art, and the social, economic, philosophical, and political debates that helped shape them. Covers both artistic developments and critical approaches to the period by leading contemporary scholars Uses an innovative framework to emphasize the roles of tradition, modernity, and hierarchy in the production of artistic works of the period Reveals the practical issues connected with the production, sale, public and private display of art of the period Assesses eighteenth-century art’s contribution to what we now refer to as ‘modernity’ Includes numerous illustrations, and is accompanied by online resources examining art produced outside Europe and its relationship with the West, along with other useful resources
Author: Paula Radisich
Publisher: Rutgers University Press
Published: 2013-12-12
Total Pages: 210
ISBN-13: 1644530562
DOWNLOAD EBOOK →Pastiche, Fashion and Galanterie in Chardin’s Genre Subjects seeks to understand how Chardin’s genre subjects were composed and constructed to communicate certain things to the elites of Paris in the 1730s and 1740s. The book argues against the conventional view of Chardin as the transparent imitator of bourgeois life and values so ingrained in art history since the nineteenth century. Instead, it makes the case that these pictures were crafted to demonstrate the artist’s wit (esprit) and taste, traits linked to conventions of seventeenth-century galanterie. Early eighteenth-century Moderns like Jean-Siméon Chardin (1699–1779) embraced an aesthetic grounded upon a notion of beauty that could not be put into words—the je ne sais quoi. Despite its vagueness, this model of beauty was drawn from the present, departed from standards of formal beauty, and could only be known through the critical exercise of taste. Though selecting subjects from the present appears to be a simple matter, it was complicated by the fact that the modernizers expressed themselves through the vehicles of older, established forms. In Chardin’s case, he usually adapted the forms of seventeenth-century Dutch and Flemish genre painting in his genre subjects. This gambit required an audience familiar enough with the conventions of Lowlands art to grasp the play involved in a knowing imitation, or pastiche. Chardin’s first group of enthusiasts accordingly were collectors who bought works of living French artists as well as Dutch and Flemish masters from the previous century, notably aristocratic connoisseurs like the chevalier Antoine de la Roque and Count Carl-Gustaf Tessin. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Author: Jessica Priebe
Publisher: Routledge
Published: 2021-11-30
Total Pages: 270
ISBN-13: 1000470385
DOWNLOAD EBOOK →While earlier studies have focused predominantly on artist François Boucher’s artistic style and identity, this book presents the first full-length interdisciplinary study of Boucher’s prolific collection of around 13,500 objects including paintings, sculpture, prints, drawings, porcelain, shells, minerals, and other imported curios. It discusses the types of objects he collected, the networks through which he acquired them, and their spectacular display in his custom-designed studio at the Louvre, where he lived and worked for nearly two decades. This book explores the role his collection played in the development of his art, his studio, his friendships, and the burgeoning market for luxury goods in mid-eighteenth-century France. In doing so, it sheds new light on the relationship between Boucher’s artistic and collecting practices, which attracted both praise and criticism from period observers. The book will appeal to scholars working in art history, museum studies, and French history.
Author: Amy Holzapfel
Publisher: Routledge
Published: 2014-01-03
Total Pages: 275
ISBN-13: 1136768432
DOWNLOAD EBOOK →Realism in theatre is traditionally defined as a mere seed of modernism, a crude attempt to reproduce an exact copy of reality on stage. Art, Vision & Nineteenth-Century Realist Drama redefines realism as a complex and under-examined form of visual modernism, one that positioned theatre at the crux of the encounter between consciousness and the visible world. Tracing a historical continuum of "acts of seeing" on the realist stage, Holzapfel demonstrates how theatre participated in modernity’s aggressive interrogation of vision’s residence in the human body. New findings by scientists and philosophers—such as Diderot, Goethe, Müller, Helmholtz, and Galton—exposed how the visible world is experienced and framed by the unstable relativism of the physiological body rather than the fixed idealism of the mind. Realist artists across media paradoxically embraced this paradigm shift by focusing on the embodied observer. Drawing from extensive archival research, Holzapfel conducts close readings of iconic dramas and their productions—including Scribe’s The Glass of Water, Zola’s Thérèse Raquin, Ibsen’s A Doll House, Strindberg’s The Father, and Hauptmann’s Before Sunrise—alongside analyses of artwork by major painters and photographers—such as Chardin, Nadar, Millais, Rejlander, and Liebermann. In a radical challenge to existing criticism, Holzapfel argues that realism in theatre was never the attempt to reproduce an exact copy of the seen world but rather the struggle to make visible the act of seeing.
Author: Harriet Stone
Publisher: University of Toronto Press
Published: 2019-01-01
Total Pages: 311
ISBN-13: 148750442X
DOWNLOAD EBOOK →Crowning Glories integrates Louis XIV's propaganda campaigns, the transmission of Northern art into France, and the rise of empiricism in the eighteenth century - three historical touchstones - to examine what it would have meant for France's elite to experience the arts in France simultaneously with Netherlandish realist painting. In an expansive study of cultural life under the Sun King, Harriet Stone considers the monarchy's elaborate palace decors, the court's official records, and the classical theatre alongside Northern images of daily life in private homes, urban markets, and country fields. Stone argues that Netherlandish art assumes an unobtrusive yet, for the history of ideas, surprisingly dramatic role within the flourishing of the arts, both visual and textual, in France during Louis XIV's reign. Netherlandish realist art represented thinking about knowledge that challenged the monarchy's hold on the French imagination, and its efforts to impose the king's portrait as an ideal and proof of his authority. As objects appreciated for their aesthetic and market value, Northern realist paintings assumed an uncontroversial place in French royal and elite collections. Flemish and Dutch still lifes, genre paintings, and cityscapes, however, were not merely accoutrements of power, acquisitions made by those with influence and money. Crowning Glories reveals how the empirical orientation of Netherlandish realism exposed French court society to a radically different mode of thought, one that would gain full expression in the Encyclop?die of Diderot and d'Alembert.
Author: Ewa Lajer-Burcharth
Publisher: Princeton University Press
Published: 2018-01-08
Total Pages: 312
ISBN-13: 0691170126
DOWNLOAD EBOOK →A new interpretation of the development of artistic modernity in eighteenth-century France What can be gained from considering a painting not only as an image but also a material object? How does the painter’s own experience of the process of making matter for our understanding of both the painting and its maker? The Painter’s Touch addresses these questions to offer a radical reinterpretation of three paradigmatic French painters of the eighteenth century. In this beautifully illustrated book, Ewa Lajer-Burcharth provides close readings of the works of François Boucher, Jean-Siméon Chardin, and Jean-Honoré Fragonard, entirely recasting our understanding of these painters’ practice. Using the notion of touch, she examines the implications of their strategic investment in materiality and sheds light on the distinct contribution of painting to the culture of the Enlightenment. Lajer-Burcharth traces how the distinct logic of these painters’ work—the operation of surface in Boucher, the deep materiality of Chardin, and the dynamic morphological structure in Fragonard—contributed to the formation of artistic identity. Through the notion of touch, she repositions these painters in the artistic culture of their time, shifting attention from institutions such as the academy and the Salon to the realms of the market, the medium, and the body. Lajer-Burcharth analyzes Boucher’s commercial tact, Chardin’s interiorized craft, and Fragonard’s materialization of eros. Foregrounding the question of experience—that of the painters and of the people they represent—she shows how painting as a medium contributed to the Enlightenment’s discourse on the self in both its individual and social functions. By examining what paintings actually “say” in brushstrokes, texture, and paint, The Painter’s Touch transforms our understanding of the role of painting in the emergence of modernity and provides new readings of some of the most important and beloved works of art of the era.
