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From the Classicism of Jacques-Louis David to the Realism of Courbet and the Early Impressionism of Renoir, this book outlines the course taken by painting and sculpture in Europe during the 19th century. Faced with the untidy sprawl of individualism which followed the French Revolution and threw up isolated geniuses like Goya, the author nevertheless charts the currents in what was predominantly a century of Naturalism and also - whilst artists were increasingly preoccupied with the inner man - of great landscape-painting when Friedrich, Corot and the Impressionists proper added light and atmosphere to the former achievements of the great Dutch masters.
This new edition of 'a book that offers the best available grounding in its huge subject,' as the Sunday Times called it, includes color plates and a revised and expanded bibliography. Professor Hamilton traces the origins and growth of modern art, assessing the intrinsic qualities of individual works and describing the social forces in play. The result is an authoritative guide through the forest of artistic labels-Impressionism and Expressionism, Symbolism, Cubism, Constructivism, Surrealism, etc.-and to the achievements of Degas and Cezanne, Ensor and Munch, Matisse and Kandinsky, Picasso, Braque, and Epstein, Mondrian, Dali, Modigliani, Utrillo and Chagall, Klee, Henry Moore, and many other artists in a revolutionary age.
This newly updated guide for matrimonial lawyers and accountants is the companion publication for Feder's Valuation Strategies in Divorce. In individual chapters, detailed information is provided on how to evaluate specific types of marital assets; the particular accounting and financial conventions that affect the owner's income from the asset and the value of the asset; and the rules, regulations and issues peculiar to the particular asset. The reader is also provided with checklists of documents needed to appraise the asset, sources of industry information, lists of trade associations and journals, a bibliography, and a case study and report. Part I on closely-held corporations contains chapters devoted to automobile dealerships, media companies, high-tech companies, property and casualty insurance companies, construction companies, and small businesses such as bars, restaurants and gas stations. Part II covers the evaluation of various professional practices, and Part III discusses the valuation of different types of real estate assets. Federal civil service pensions, military pensions and the pensions provided by Fortune 500 corporations are examined in Part IV. The methodologies for evaluating personal property, such as gems, jewelry, and oriental rugs are found in Part V. Besides aiding attorneys and accountants, this publication will be of great assistance to appraisers, actuaries, and pension experts.
These thirteen papers, from a colloquium held at the Netherlands Institute at Athens in 2000, examine European scholarship's fascination with classical Greece during the 19th and 20th centuries. Arranged geographically and then thematically, the papers discuss Greek attitudes towards classical archaeology and literature, Germany and Neoclassicism, classical Greece in Dutch literature and the influence of Greece on Dutch politics, the influence of Alexander the Great and the Persian Wars, the classical element in Victorian verse and interpretations of Homeric epic.
As the theoretical alignments within academia shift, this book introduces a surprising variety of realism to abolish the old positivist-theory dichotomy that has haunted Art History. Demanding frankly the referential detachment of the objects under study, the book proposes a stratified, multi-causal account of art history that addresses postmodern concerns while saving it from its errors of self-refutation. Building from the very basic distinction between intransitive being and transitive knowing, objects can be affirmed as real while our knowledge of them is held to be fallible. Several focused chapters address basic problems while introducing philosophical reflection into art history. These include basic ontological distinctions between society and culture, general and “special” history, the discontinuity of cultural objects, the importance of definition for special history, scales, facets and fiat objects as forms of historical structure, the nature of evidence and proof, historical truth and controversies. Stressing Critical Realism as the stratified, multi-causal approach needed for productive research today in the academy, this book creates the subject of the ontology of art history and sets aside a theoretical space for metaphysical reflection, thus clarifying the usually muddy distinction between theory, methodology, and historiography in art history.