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.
CASPAR DAVID FRIEDRICH AND GERMAN IDENTITY
Caspar David Friedrich personified German Romanticism, producing paintings that became icons of the movement. Working in a nation under alien occupation, Friedrich found the intersection between pantheism and the alienation of human beings in a new and modern world. The serene and severe German landscape around Dresden and at the edge of the North Sea create a paradox between tragedy and hope. Through his landscape paintings, Friedrich transformed German Protestant beliefs into a transcendentalism—a worship of nature as God—into a patriotic statement during a period of French occupation. But Friedrich’s art has transcended its original time and place and today his paintings are considered early examples of modern alienation in the face of nature’s sublime.
GERMAN ROMANTICISM AND THE SPIRITUAL PAINTINGS OF CASPAR DAVID FRIEDRICH
As with Spain, the key to German Romanticism is the presence of Napoléon’s “liberating army” on German soil. While much of Germany was loyal to the French emperor, especially the city of Dresden, the roots of German identity, which created the modern German nation, stem from this occupation by a foreign power. The expression of “German-ness” originate in the Romantic era with the rise of a unique German poetry, aesthetics, philosophy, and the visual arts. There are important similarities between American transcendentalism and German pantheism, a way of expressing the spiritual in an age of Enlightenment. The best know painter of the German feeling for the land was Caspar David Friedrich whose seemingly benign landscapes were also patriotic statements of a German artist.
ROMANTICISM IN SPAIN
GOYA AND WAR
Spain had been left out of the Enlightenment and there were those who were hopeful when a man of the people, Napoléon, became the leader of France. However, when Napoléon crowned himself Emperor all hopes of a new democratic age were dashed. Napoléon’s imperial ambitions began to ravage Europe and the trauma of a decade of war was an impetus for Romanticism. Indeed, Romanticism in Spain is the creation of Napoléon, who invaded the country of the court painter, Francisco Goya. Goya was a court painter and careful portraitist to the Royal Family until he was an unwilling witness to the invasion of Spain by French troops. Goya’s Romanticism is a mindset of outrage as he recorded the invasion and occupation of the French forces. The result is an art of the extremes: a Romanticism lived on the edge of fear and madness. More than any other modern artist, Goya captured the randomness of modern death and modern war and the lingering traumas that follow.
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“Painting is self-discovery. Every good artist paints what he is.”
— Jackson Pollock