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The French Revolution had a marked impact on the ways in which citizens saw the newly liberated spaces in which they now lived. Painting, gardening, cinematic displays of landscape, travel guides, public festivals, and tales of space flight and devilabduction each shaped citizens’ understanding of space. Through an exploration of landscape painting over some 40 years, Steven Adams examines the work of artists, critics and contemporary observers who have largely escaped art historical attention to show the importance of landscape as a means of crystallising national identity in a period of unprecedented political and social change.
The radical break with the past heralded by the French Revolution in 1789 has become one of the mythic narratives of our time. Yet in the drawn-out afterlife of the Revolution, and through subsequent periods of Empire, Restoration, and Republic, the question of what such a temporal transformation might involve found complex, often unresolved expression in visual and material culture. This diverse collection of essays draws attention to the eclectic objects and forms of visuality that emerged in France from the beginning of the French Revolution through to the end of the July Monarchy in 1848. It offers a new account of the story of French art's modernity by exploring the work of genre painters and miniaturists, sign-painters and animal artists, landscapists, architects, and printmakers, as they worked out what it meant to be “post-revolutionary.”
"Drawing on scientific studies of pigments and materials, artists' treatises, colourmen's archives, and contemporary and modern accounts, Anthea Callen demonstrates how raw materials and paintings are profoundly interdependent. She analyses the material constituents of oil painting and the complex processes of 'making' entailed in all aspects of artistic production, discussing in particular oil painting methods for landscapists and the impact of plein air light on figure painting, studio practice and display. Insisting that the meanings of paintings are constituted by and within the cultural matrices that produced them, Callen argues that the real 'modernity' of the Impressionist enterprise lies in the painters' material practices."--BOOK JACKET.
Issued in connection with an exhibition held Sept. 23-Dec. 31, 2011, Morgan Library & Museum, New York.
An exploration of shifting landscapes--both real and represented--in nineteenth-century France and the role of images in both picturing and producing those shifts What is the relationship between land and landscape? This engaging study examines the role landscape depictions played in the formation of modern France and reveals how art and visual culture contributed to the physical and symbolic shaping of the nation. Spanning more than a century, from the post-revolutionary period through to the early twentieth century, Land into Landscape explores political and environmental shifts alongside changes in landscape representation across a variety of media, including paintings, photographs, prints, porcelain, and maps. Through this broad and diverse set of images--by artists such as Paul Cézanne, Gustave Courbet, Théodore Rousseau, and Eugène Viollet-le-Duc, as well as lesser-known figures--Kelly Presutti contends that representational problems were also political problems, which often required drastic solutions on the part of the state. In the nineteenth century, France's forests were replanted, its wetlands were drained, its coasts were secured, and its mountains restored. Landscapes and their inhabitants, however, could resist being co-opted as emblems of a greater ideal. The book therefore addresses the tension between a place and its representation--a matter of heightened urgency in a moment when we are once again struggling to both see and manage our environment.
In The Work of Art, Anthea Callen analyzes the self-portraits, portraits of fellow artists, photographs, prints, and studio images of prominent nineteenth-century French Impressionist painters, exploring the emergence of modern artistic identity and its relation to the idea of creative work. Landscape painting in general, she argues, and the “plein air” oil sketch in particular were the key drivers of change in artistic practice in the nineteenth century—leading to the Impressionist revolution. Putting the work of artists from Courbet and Cézanne to Pissaro under a microscope, Callen examines modes of self-representation and painting methods, paying particular attention to the painters’ touch and mark-making. Using innovative methods of analysis, she provides new and intriguing ways of understanding material practice within its historical moment and the cultural meanings it generates. Richly illustrated with 180 color and black-and-white images, The Work of Art offers fresh insights into the development of avant-garde French painting and the concept of the modern artist.
Portraiture and Politics in Revolutionary France challenges widely held assumptions about both the genre of portraiture and the political and cultural role of images in France at the beginning of the nineteenth century. After 1789, portraiture came to dominate French visual culture because it addressed the central challenge of the Revolution: how to turn subjects into citizens. Revolutionary portraits allowed sitters and artists to appropriate the means of representation, both aesthetic and political, and articulate new forms of selfhood and citizenship, often in astonishingly creative ways. The triumph of revolutionary portraiture also marks a turning point in the history of art, when seriousness of purpose and aesthetic ambition passed from the formulation of historical narratives to the depiction of contemporary individuals. This shift had major consequences for the course of modern art production and its engagement with the political and the contingent.
Masculinities in nineteenth-century art through the lens of gender and queer history Male bonds were omnipresent in nineteenth-century European artistic scenes, impacting the creation, presentation, and reception of art in decisive ways. Men’s lives and careers bore the marks of their relations with other men. Yet, such male bonds are seldom acknowledged for what they are: gendered and historically determined social constructs. This volume shines a critical light on male homosociality in the arts of the long nineteenth century by combining art history with the insights of gender and queer history. From this interdisciplinary perspective, the contributing authors present case studies of men’s relationships in a variety of contexts, which range from the Hungarian Reform Age to the Belgian fin de siècle. As a whole, the book offers a historicizing survey of the male bonds that underpinned nineteenth-century art and a thought-provoking reflection on its theoretical and methodological implications.
This book examines Russian genre painting in the first three quarters of the nineteenth century. It focuses on five major artists who made significant contributions to Russian intellectual life: Venetsianov, Bryullov, Ivanov, Fedotov, and Perov.
This book explores the significance of flight to Romantic literature. Although the Romantic movement and the age of ballooning coincided, there has been a curious and long-time tendency to forget that flight was not impossible during this period. This study details the importance of this new technology to Romantic authors, primarily English Romantic poets. It combines accounts of the exploits and experiences of early balloonists with references to Romantic texts, using ballooning lore to illuminate a range of Romantic writings. The balloonists are seen as not just supplying these writers with a new code of metaphors, but as colleagues engaged in similarly imaginative enterprises. The book uncovers an ‘aerial imagination’ shared by a large number of writers in the Romantic period that has its origins in the balloon adventures of the 1780s and following two decades. It will appeal to scholars and students of Romantic cultural history, as well as those interested in Romantic poetry and the history of early aeronautics.