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Between the two world wars, Paris served as the setting for unparalleled freedom for expatriate as well as native-born French women, who enjoyed unprecedented access to education and opportunities to participate in public, artistic and intellectual life. Many of these women--including Colette, Tamara de Lempicka, Sonia Delaunay, Djuna Barnes, Augusta Savage, and Lee Miller--made lasting contributions to art and literature.
A critical rethinking of the way canons are defined, constructed, dismantled, and revised. A century ago, all art was evaluated through the lens of European classicism and its tradition. This volume explores and questions the foundations of the European canon, offers a critical rethinking of ancient and classical art, and interrogates the canons of cultures and regions that have often been left at the margins of art history. It underscores the historical and geographical diversity of canons and the local values underlying them. Twelve international scholars consider how canons are constructed and contested, focusing on the relationship between canonical objects and the value systems that shape their hierarchies. Deploying an array of methodologies—including archaeological investigations, visual analysis, and literary critique—the authors examine canon formation throughout the world, including Africa, India, East Asia, Mesoamerica, South America, ancient Egypt, classical Greece, and Europe. Global studies of art, which are dismantling the traditionally Eurocentric canon, promise to make art history more inclusive. But enduring canons cannot be dismissed. This volume raises new questions about the importance of canons—including those from outside Europe—for the wider discipline of art history.
How did the Victorians engage with the ancient world? Victorian Culture and Classical Antiquity is a brilliant exploration of how the ancient worlds of Greece and Rome influenced Victorian culture. Through Victorian art, opera, and novels, Simon Goldhill examines how sexuality and desire, the politics of culture, and the role of religion in society were considered and debated through the Victorian obsession with antiquity. Looking at Victorian art, Goldhill demonstrates how desire and sexuality, particularly anxieties about male desire, were represented and communicated through classical imagery. Probing into operas of the period, Goldhill addresses ideas of citizenship, nationalism, and cultural politics. And through fiction--specifically nineteenth-century novels about the Roman Empire--he discusses religion and the fierce battles over the church as Christianity began to lose dominance over the progressive stance of Victorian science and investigation. Rediscovering some great forgotten works and reframing some more familiar ones, the book offers extraordinary insights into how the Victorian sense of antiquity and our sense of the Victorians came into being. With a wide range of examples and stories, Victorian Culture and Classical Antiquity demonstrates how interest in the classical past shaped nineteenth-century self-expression, giving antiquity a unique place in Victorian culture.
In a world filled with great museums and great paintings, Leonardo da Vinci’s Mona Lisa is the reigning queen. Her portrait rules over a carefully designed salon, one that was made especially for her in a museum that may seem intended for no other purpose than to showcase her virtues. What has made this portrait so renowned, commanding such adoration? And what of other works of art that continue to enthrall spectators: What makes the Great Sphinx so great? Why do iterations of The Scream and American Gothic permeate nearly all aspects of popular culture? Is it because of the mastery of the artists who created them? Or can something else account for their popularity? In Famous Works of Art—And How They Got That Way, John B. Nici looks at twenty well-known paintings, sculptures, and photographs that have left lasting impressions on the general public. As Nici notes, there are many reasons why works of art become famous; few have anything to do with quality. The author explains why the reputations of some creations have grown over the years, some disproportionate to their artistic value. Written in a style that is both entertaining and informative, this book explains how fame is achieved, and ultimately how a work either retains that fame, or passes from the public consciousness. From ancient artifacts to a can of soup, this book raises the question: Did the talent to promote and publicize a work exceed the skills employed to create that object of worship? Or are some masterpieces truly worth the admiration they receive? The creations covered in this book include the Tomb of Tutankhamun, Botticelli’s Birth of Venus, Raphael’s Sistine Madonna, El Greco’s The Burial of Count Orgaz, Rodin’s The Thinker, Van Gogh’s Starry Night, and Picasso’s Guernica. Featuring more than sixty images, including color reproductions, Famous Works of Art—And How They Got That Way will appeal to anyone who has ever wondered if a great painting, sculpture, or photograph, really deserves to be called “great.”