An Introduction to Nineteenth-Century Art

An Introduction to Nineteenth-Century Art

Michelle Facos

Language: English

Pages: 464

ISBN: 0415780721

Format: PDF / Kindle (mobi) / ePub


Using the tools of the "new" art history (feminism, Marxism, social context, etc.) An Introduction to Nineteenth-Century Art offers a richly textured, yet clear and logical, introduction to nineteenth-century art and culture. This textbook will provide readers with a basic historical framework of the period and the critical tools for interpreting and situating new and unfamiliar works of art.

Michelle Facos goes beyond existing histories of nineteenth-century art, which often focus solely on France, Britain, and the United States, to incorporate artists and artworks from Scandinavia, Germany, and Eastern Europe.

The book expertly balances its coverage of trends and individual artworks: where the salient trends are clear, trend-setting works are highlighted, and the complexity of the period is respected by situating all works in their proper social and historical context. In this way, the student reader achieves a more nuanced understanding of the way in which the story of nineteenth-century art is the story of the ways in which artists and society grappled with the problem of modernity.

Key pedagogical features include:

  • Data boxes provide statistics, timelines, charts, and historical information about the period to further situate artworks.
  • Text boxes highlight extracts from original sources, citing the ideas of artists and their contemporaries, including historians, philosophers, critics, and theorists, to place artists and works in the broader context of aesthetic, cultural, intellectual, social, and political conditions in which artists were working.
  • Beautifully illustrated with over 250 color images.
  • Margin notes and glossary definitions.
  • Online resources at www.routledge.com/textbooks/facos with access to a wealth of information, including original documents pertaining to artworks discussed in the textbook, contemporary criticism, timelines and maps to enrich your understanding of the period and allow for further comparison and exploration.

Chapters take a thematic approach combined within an overarching chronology and more detailed discussions of individual works are always put in the context of the broader social picture, thus providing students with a sense of art history as a controversial and alive arena of study.

Michelle Facos teaches art history at Indiana University, Bloomington. Her research explores the changing relationship between artists and society since the Enlightenment and issues of identity. Prior publications include Nationalism and the Nordic Imagination: Swedish Painting of the 1890s (1998), Art, Culture and National Identity in Fin-de-Siècle Europe, co-edited with Sharon Hirsh (2003), and Symbolist Art in Context (2009).

Anarchism and Art: Democracy in the Cracks and on the Margins (SUNY series in New Political Science)

Art, Peace, and Transcendence: Réograms That Elevate and Unite

Chinese Art: A Guide to Motifs and Visual Imagery

How to Study Art Worlds: On the Societal Functioning of Aesthetic Values

Decadence, Degeneration, and the End: Studies in the European Fin de Siècle

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whose nineteenthcentury art history course at Columbia University established the trajectory of my career. At New York University’s Institute of Fine Arts I was privileged also to have studied with H.W. Janson, Robert Rosenblum, and Gert Schiff, formidable scholars of nineteenth-century art who shaped my ideas in important ways, even if methodologically I found greater inspiration in the scholarship of Albert Boime, T.J. Clark, Robert Herbert, and Eric Hobsbawm. Over the years, my ideas about art

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member of the RA, which later expelled him due to his fanatical behavior. In King Lear, the King grieves over the limp corpse of his youngest daughter, murdered by an assassin hired by her jealous sister Regan. Lear holds with one arm his lifeless daughter, while grasping his head in a theatrical gesture of anguish with the other; mortally grief-stricken, Lear, too, will soon die. Barry set medievalizing costumes against a backdrop of megaliths evoking the mysterious, prehistoric Stonehenge, or a

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