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.
REALISM IN EUROPE
Because art history tends to focus towards all things French, French “Realism” is often considered the exemplar of European Realism. Given that the British did not experience a violent Revolution in 1848, it is certainly correct to say that in France the tensions between classes was most acute. Although Realism is usually associated with its principle figures, Gustave Courbet and Édouard Manet, there were many important Realist artists in France whose ideas about art and whose realist principles were quite varied. For decades, the broader movement of Realism produced works of art that were supportive of the dominant forces in society or that interrogated the prevailing norms. The podcast discusses Realism in the context of the political and social conditions in late nineteenth century France.
Also listen to “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 “Avant-Garde Realism in England” and “The Pre-Raphaelite Brotherhood” and “Charles Baudelaire and Art Criticism” and “Charles Baudelaire, Author of Modernism”
In the middle of the nineteenth century, the Revolution of 1848 broke out like a series of brushfires across the continent of Europe. Although the uprising of the lower classes and the peasants was the last significant attempt to achieve political equality, the Revolution brought the plight of the lower classes to the cultural forefront. Realism challenged and replaced the rubrics of Romanticism. Although Realism is usually associated with the artistic movement in France, Realism was an international movement that was both visual and literary and philosophical. Idealism in philosophy was replaced by Materialism and empirical thinking, giving rise to an artistic need to be “of one’s own times.” Realism in the nineteenth century was not just a political or social impulse, it was also a set of concepts that stressed the contemporary in the visual arts.
Also listen to “Realism in Europe, Part Two”, and read “Avant-Garde Realism inFrance” and “Realism and the Role of the Realist Artist” and “Realism and Naturalism in Art” and “Avant-Garde Realism in England” and “The Pre-Raphaelite Brotherhood”
THE HUDSON RIVER SCHOOL AND THE WESTWARD MOVEMENT IN LANDSCAPE PAINTING
American Romanticism was always based upon the concept of the search for the Garden of Eden. The “frontier” of America, the edges of this God-given Garden, was the Appalachian Mountains which were being probed by the early nineteenth century. Inspired by Romantic poetry, artists in the northeast were suffused with nostalgia for the vanishing frontier and celebrated the splendor that remained behind. The Hudson River painters recorded their landscapes at a precise moment in time, just before the Industrial Revolution closed in. When this “garden” in the Eastern half of the United States was destroyed by the “machine” of the railroad, the technology of the Industrial Revolution, and the horror of the Civil War, the lure of the “Frontier” inspired the painters. Part documentary and part nationalism, these Romantic landscape paintings of the untouched West celebrated the Manifest Destiny of America to stretch “from sea to shining sea.”
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“Painting is self-discovery. Every good artist paints what he is.”
— Jackson Pollock