“ Art is not what you see, but what you make others see”
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.
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.
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.
Dr. Jeanne S. M. Willette – 3/12/19
Dr. Jeanne Willette unfortunately passed away in early 2019. She supported thousands of students in their exploration of art history during her career and was a valued colleague. This site, Art History Unstuffed, was one of her major contributions to those studying this field. Without Dr. Willette this site is not being updated with new content. While her web master, with support from her two sons, continues to maintain the site for the time being, a new generation of Art Historians is needed to carry the site into the future. If you are interested in participating or have other suggestions for this site, please click here to leave a note.
CONSTABLE, THE PICTURESQUE, AND ENGLISH ROMANTICISM
Less famous and dramatic than his British rival, Joseph Turner, John Constable preferred the humble English countryside of his native Stour Valley. In his humble rural paintings, Constable captured his “careless boyhood” on the eve of the Industrial Revolution and froze these scenes in a nostalgic time, creating a much-loved “Constable Country.” Compared to Turner who faced change, Constable turned away and retreated into the past of his boyhood. Even though his carefully delineated and detailed depictions of the Stour Valley, Constable often painted from memory as much as from observation. “Constable Country” is a elegy to a golden past that may have never been.
TURNER, THE BEAUTIFUL, THE SUBLIME, AND ENLISH ROMANTICISM
Joseph William Mallord Turner was the most famous exponent of English Romanticism. A product of an era of war with Napoléon, the artist celebrated the rise of the British empire. Although many of his landscapes featured classical and ancient subject matter in the foreground, Turner was fascinated with the dramatic modern events. His manner of painting was innovative and unprecedented but his patriotic and often moralizing content won Turner the support of England’s most powerful art critic, John Ruskin. Turner was the painter of the beautiful but he is mostly remembered as being one of the most prominent artists of the new and unprecedented Industrial Sublime.
NAMING LANDSCAPES IN ENGLAND
“Nature” in England acquired a new identity after the Napoléonic Wars. In response to the completion of the Enclosure Movement and the spread of private ownership of vast expanses of land, an economic response to profit opportunities was interpreted through several new aesthetic theories that are uniquely English. Landscapes were divided into categories: the Sublime and the Beautiful and the Picturesque. Linked to English literature—novels and poetry—the “picturesque” is a very English form of landscape which inspired many important theoretical writings that defined the nostalgic elegiac English countryside.