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The study traces the development of art criticism in the context of the dynamic political changes of the period. Particular attention is given to the Salon exhibitions which provided a focus for both official and dissenting estimations of the state of French art.
Over the past years, studies have begun not only to identify the factors that impeded the full participation of women artists in French cultural life, such as women’s limited access to professional art education, but also to bring to light the considerable artistic accomplishments of women occluded by historians for over a century. A similar effort at historical revision has been under way for French women writers. Works of fiction that enjoyed many editions in the nineteenth-century receded from our field of vision for almost a century before being rediscovered and reissued during the last decades of the twentieth century. Such efforts have resulted in scholarship that has helped revise the history of both artistic and literary expression in nineteenth-century France. Similarly, many women in nineteenth-century France had their art criticism published both in journal reviews and in book form, often for decades, in a number of the most influential venues of their day. However, it is perplexing that they remain almost totally invisible in histories of French culture. Women Art Critics in Nineteenth-Century France: Vanishing Acts is the first sustained effort to bring these prolific and influential critics out from the shadows. Although each of the chapters in this volume results from an interdisciplinary approach, the fact that they are written by scholars in art history and in literature means that there will be inevitable differences in approach and methodology. Thus, we study the women’s reception of specific artworks and aesthetic movements, discuss intersections of aesthetics and politics in their essays and the literary styles and rhetorical strategies of individual critics, explore the social conditions that allowed or impeded their successes, and suggest reasons for their all but disappearance in the twentieth century. In bringing to light for twenty-first-century readers the “vanished” writings of heretofore unrecognized or underrecognized women art critics, the authors hope to contribute to the ongoing revision of women’s role in cultural history. The multifaceted approaches to word/image studies modeled in this book, and the many avenues for further research it identifies, will inspire scholars in a number of disciplines to continue the work of reinscribing women in the history of cultural life.
The Academy and the Limits of Painting in Seventeenth-Century France is the first study in over a century devoted to the creation of one of the most important European institutions of art, the French Académie Royale. Founded in the mid-1660s, the Academy institutionalised the discourse around painting and thus had an immediate impact on the making of art in France, becoming a decisive influence on painting until the close of the nineteenth century. In the process of forging an identity for itself, the Academy redefined almost every aspect of art - the nature of art training, the sources of patronage, the social standing of the artist, and the place of the arts in national life.
In his introduction to Charles Baudelaire’s Salon of 1846, the renowned art historian Michael Fried presents a new take on the French poet and critic’s ideas on art, criticism, romanticism, and the paintings of Delacroix. Charles Baudelaire, considered a father of modern poetry, wrote some of the most daring and influential prose of the nineteenth century. Prior to publishing international bestseller Les Fleurs du mal (1857), he was already notable as a forthright and witty critic of art and literature. Captivated by the Salons in Paris, Baudelaire took to writing to express his theories on modern art and art philosophy. The Salon of 1846 expands upon the tenets of Romanticism as Baudelaire methodically takes his reader through paintings by Delecroix and Ingres, illuminating his belief that the pursuit of the ideal must be paramount in artistic expression. Here we also see Baudelaire caught in a fundamental struggle with the urban commodity of capitalism developing in Paris at that time. Baudelaire’s text proves to be a useful lens for understanding art criticism in mid-nineteenth-century France, as well as the changing opinions regarding the essential nature of Romanticism and the artist as creative genius. Acclaimed art historian and art critic Michael Fried’s introduction offers a new reading of Baudelaire’s seminal text and highlights the importance of his writing and its relevance to today’s audience.
This collection of essays and discussions examines the role of judgment in art writing within the context of a renewed interest in the efficacy and function of contemporary art criticism.
This volume traces the history of French painters' engagement with nature from the late Renaissance, when landscape painting first emerged from the background of narrative representation, up to the eve of Impressionism in the 19th century.
This book explores a range of social, institutional and discursive conditions in and through which criticism emerged and functioned in 19th-century France, and goes on to develop broader theoretical questions drawn from historical case studies.
From the Preface:"The essays in Feminist Art Criticism are theoretical, and we selected them for several reasons. First, they show a diversity of concerns. These include spirituality, sexuality, the representation of women in art, the necessary inter-relationship of theory and action, women as artmakers, ethnicity, language itself, so-called postfeminism and critiques of hte art world, the discipline of art history and the practice of art criticism. Second, the contributors' work has not been either widely disseminated or readily available. Third, the essays, especially arranged as they are (chronologically), demonstrate a continuous feminist discourse in art from the early 1970s through the present, a discourse that is neither monolithic nor intellectually trendy but that rather exhibits many elements, the polemical, Marxist, lyrical, and poststructuralist being only a few."
The image of Eugene Delacroix as an august artist with an august oeuvre was initially frozen into place by posthumous tributes and it has continued to the present. He was one of the finest yet least understood painters of the nineteenth century, the golden age of the French Romantic movement. He is remembered best for his masterpiece, La Liberte guidant le people, but few of his works have received the kind of constant, fascinated revisiting that has sealed the iconic status of Theodore Gericault's Le Radeau de la Meduse, for example. This book is one of the first to look carefully at individual paintings by Delacroix, especially at one of his most important works - a key but often overlooked painting from early Romanticism's heyday, Scene des massacres de Scio.
In Consuming Painting, Allison Deutsch challenges the pervasive view that Impressionism was above all about visual experience. Focusing on the language of food and consumption as they were used by such prominent critics as Baudelaire and Zola, she writes new histories for familiar works by Manet, Monet, Caillebotte, and Pissarro and creates fresh possibilities for experiencing and interpreting them. Examining the culinary metaphors that the most influential critics used to express their attraction or disgust toward painting, Deutsch rethinks French modern-life painting in relation to the visceral reactions that these works evoked in their earliest publics. Writers posed viewing as analogous to ingestion and used comparisons to food to describe the appearance of paint and the painter’s process. The food metaphors they chose were aligned with specific female types, such as red meat for sexualized female flesh, confections for fashionably made-up women, and hearty vegetables for agricultural laborers. These culinary figures of speech, Deutsch argues, provide important insights into both the fabrication of the feminine and the construction of masculinity in nineteenth-century France. Consuming Painting exposes the social politics at stake in the deeply gendered metaphors of sense and sensation. Original and convincing, Consuming Painting upends traditional narratives of the sensory reception of modern painting. This trailblazing book is essential reading for specialists in nineteenth-century art and criticism, gender studies, and modernism.