Seeing to present art history to a variety of learners, Art History Unstuffed presents the Soundbytes in Modern Art podcast. These episodes are available as single units or can be found as a virtual book on iBooks, free of charge under the title Art History Unstuffed: The Podcasts.
This twenty-seven episode series of five minute videos span Western art history, from the Caves to Romanticism. Produced for and with the assistance of Otis College of Art and Design, these can be used by students and teachers as introductory, supplementary or review material. Each video is written,narrated and produced by Dr. Jeanne S. M. Willette, reinforced with written text and richly illustrated with many images.
“ Art is not what you see, but what you make others see”
The Construction of a Discourse, 1910-1914
The Writing of Cubism posits that when the art critical writings on Cubism are re-read within their original intellectual and political context, it becomes clear that the historical coincidence of the conception of Cubism on the eve of the Great War had an impact upon the verbal configuration of this new movement that was equal to, if not outweighing, the stylistic innovations and artistic experiments of the artists.
Creating a Culture of Cyber Criticism
This book examines the possibilities of theorizing the Web, takes up current debates on digital discourse, and presents the work of the leading scholars of the Internet working in the current field of content production in Cyberspace.
Volume One: Blindness (Volume 1)
After Postmodernism, it is now time to return to an abandoned territory in search of our own blindness. What did we not see during the age of theorizing, to what were we blind? In three substantial case studies this volume, the first of three books on Postmodernism, the author closely examines some of the remains of a lost era.
With an international audience, this website and its accompanying podcasts provide the 21st version of learning about art, history, philosophy, and theory.
Seeing to present art history to a variety of learners, Art History Unstuffed presents the Soundbytes in Modern Art podcast. These episodes are available as single units or can be found as a virtual book on iBooks, free of charge under the title: Art History Unstuffed: The Podcasts. Each episode discusses a single topic at greater length than the written posts, which are about 2500 words each. Each podcast ranges from 15 to 20 minutes and is part of a series that treats an artist or a topic over an hour of listening. The episodes are, therefore, discussions at a higher level and are geared more to graduate students and to colleagues than to the beginning student.
THE RISE AND FALL OF GUSTAVE COURBET
The early career of Gustave Courbet is discussed within the historical context of class struggles during the middle of the nineteenth century. The Realism in Courbet’s paintings of the 1850s manifested itself not only in politically controversial content but also in aesthetic decisions, which challenged Salon conventions. However, through canny self-promotion and his ability to take advantage of opportunity, Courbet rose to prominence in the Salon system. Never popular with the Academicians, Courbet acquired important critical support and had devoted patrons. But in the 1860s his politically active art changed and he seemed to be in the thrall of wealthy collectors, until the Commune of 1871. After the Franco-Prussian War, Courbet seemed to remember his political passions, but this renewed dedication to causes would bring him down.
THE RURAL REALISM OF GUSTAVE COURBET
As a self-proclaimed “Realist” in a highly charged political atmosphere, Gustave Courbet challenged the conventions of the French Salon system. For ten years, Courbet had waited his chance to break through in the Parisian Salons but his provincial outsider status made him an “outsider” artist. However, the Revolution of 1848 gave the artist an opportunity and his subject matter changed to life in the small towns of France. During the 1850s, Courbet confronted the indignant bourgeoisie audience of Paris with the realities of small town French life on large scale canvases. These huge paintings elevated peasant life to the status of history paintings and the lower classes to the level of heroes. This podcast follows the construction of the career of Gustave Courbet during the critical decade of the 1850s.
Read “Gustave Courbet”
SINCERITY AND ARTIFICE IN REALISM
England and France
By the middle of the nineteenth century, Realism was an international movement. In England, the Pre-Raphaelite Brotherhood were the rebellious Realists, challenging the classicism of the Academy. The English artists worked in natural light and celebrated the narrative in visual art. The PRB quickly found support though the art critic John Ruskin and began to focus on modern problems in the modern world. It is this penchant for the literary and this British interest in urban contemporary life that separates the Pre-Raphaelite Movement from the Realism across the Channel.
Realism in France was a fragmented movement. On one hand there were the so-called “official Realists,” or those who pleased the government, and on the other hand there were the avant-garde Realists. However within the group of artist who challenged the Academy standards, there was a philosophical split–is art a reflection of reality and therefore capable of being “sincere,” or is art in and of itself “artificial” and therefore is a cynical artifice? Within this aesthetic question is the differing political stances, with sincerity as being more politically active and artifice as being more of a social commentary. In France, “realism” divided along two poles, “sincerity,” as with Millet and Courbet, or “artifice,” as with Manet.
Also listen to “Realism in Europe, Part Two” and “Realism in Europe, Part One” and read “Avant-Garde Realism inFrance” and “Realism and the Role of the Realist Artist” and “Realism and Naturalism in Art” and “Salon Realism in France” and “Realism and Naturalism in Art” and “Avant-Garde Realism in England” and “The Pre-Raphaelite Brotherhood”
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“Painting is self-discovery. Every good artist paints what he is.”
— Jackson Pollock