“ 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.
THE WRITING OF ENGLISH ROMANTICISM
Like Neo-Classicism, Romanticism was an international movement, but, unlike the earlier movement, Romanticism differed from country to country. In England, Romanticism established an aesthetic that was reflective of national conditions. The British Romantic artists were closely aligned to the Romantic poets and a new group of philosophers and art writers emerged to explain this new national form of English Romanticism. The English landscape was shaped by economic forces far earlier than the environments of other nations. Due to the Industrial Revolution, England was on the road to modernity by the middle of the eighteenth century. But contemporaneous with the rise of factories was the Enclosure Movement, a “closing of the commons,” which displaced landless peasants into industrial jobs. English Romanticism is woven within the new English feeling for “nature” in the face of coming industrialization and modern agriculture.
DELACROIX THE CONSERVATIVE
The art of Eugène Delacroix was uniquely suited to his time. In an era of imperialism and colonialism through conquest, his exciting art captured the violence of a turbulent age. Like all artists of the Romantic era, Delacroix was fascinated by the mystery of the Middle East. Although much of the art of his later career was government sponsored, Delacroix also acted as a reporter and visited the French possession of Algeria and captured, first hand, the allure of the Other. After an early career being cast (0r mis-cast) as a Romantic rebel, Delacroix spent the rest of his life doing official commissions – such as murals for the French government.
Also listen to: “The French Romantics: Gros and Girodet, Part One” and “The French Romantics: Gros and Girodet, Part Two” and “French Romanticism, Ingres, Part One,” and “French Romanticism, Ingres, Part Two” and “French Romanticism, Delacroix, Part One”
DELACROIX THE ROMANTIC
A member of the famous Bohemian crowd of French avant-garde art, Delacroix was considered the rebellious leader of French Romanticism. Like all artists of his generation, he had missed out on Napoléonic glory but found excitement in the clash of civilizations between the Europeans and the Muslims with the war between the Turks and the rebellious Greeks. The paintings of Delacroix followed the struggle for democracy among the Greeks abroad and the lower classes at home. The painting of Liberty Leading the People was so stirring that it was decades before it was permitted by the French state to be displayed in a public museum. However, Delacroix was a conservative, who feared revolution and preferred peace and quiet in order to make art. His greatest battles were fought in the Salon with his supreme rival, Ingres.
Also listen to: “The French Romantics: Gros and Girodet, Part One” and “The French Romantics: Gros and Girodet, Part Two” and “French Romanticism, Ingres, Part One,” and “French Romanticism, Ingres, Part Two” and “French Romanticism, Delacroix, Part Two”