“ 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.
INGRES, THE NUDES, AND CONSPICUOUS CONSUMPTION5h>
By the middle of his artistic life, Ingres had reached the pinnacle of his career as the ruler of the Academy in France. Although the artist claimed to uphold the principles of classical art, his approach to the favorite subject of the day—the female nude—was idiosyncratic to say the least. After the Salon of 1824, Ingres made classical content less important to his oeuvre and his artistic content was divided between escapist fantasies and the fashions of the day. Ingres represented the French taste for the exotic in his dreams of the Orient, while at the same time reflecting the new imperialism in the Middle East. Closer to home, the fashion-obsessed painter scrupulously crafted the conspicuous consumption of High Capitalism in mid-century France. The master of Academic art and the ruler of the Academy, Ingres was also one of the great portrait artists of the nineteenth century. It is through is paintings of the rich and powerful that we can glimpse the beginning of the era of “conspicuous consumption.”
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, Delacroix, Part One” and “French Romanticism, Delacroix, Part Two”
Two of the founding members of French Romanticism, Gros and Girodet, were Napoléonic artists who specialized in military glory and romantic escapism, respectively. Although they were both followers of David, both artists moved away from Neo-Classicism to a form of early Romanticism. However, they were both overtaken by historical events and new Romantic artists, such as Ingres and Delacroix took their place as artistic leaders. This podcast examines their late works, which established the basic parameters of Romanticism in France.
Also listen to: “The French Romantics: Gros and Girodet, Part One” and “French Romanticism, Ingres, Part One,” and “French Romanticism, Ingres, Part Two” and “French Romanticism, Delacroix, Part One” and “French Romanticism, Delacroix, Part Two”
THE EARLY ROMANTICS: GROS AND GIRODET
Although the French Revolution caused an upheaval in French art, there was an attempt to use Neo-Classicism to return to the pure and historical origins of art. However, compelling contemporary events and a new regime interested in using art as propaganda worked against the dominance of Neo-Classicism in the Academy. Even before the term was applied, “Romantic” art began to appear, the earliest of the French Romantic artists were the Napoléonic painters, Gros and Girodet. Both students of David, the young artists uneasily made the transition from the Neo-Classicism of their master to the demands of the new century.
The early Romantic artists in France were mostly court painters to the new emperor Napoléon and it is one of the ironies that these supposedly “romantic” artists were, in fact, servants to imperialism and empire. Individuality was a matter of style, rather than true freedom of expression. In their early works, Gros and Girodet represented the poles of Romanticism: contemporary subjects and escapist subjects. In their choice of content, these artists who inherited the mantel of Neoclassicism rebelled against their “father,” Jacques-Louis David. In the next podcast, “Part Two” will examine the artists’ later works and discuss the roots of “Realism” found in Romantic art.
Also listen to: “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” and “French Romanticism, Delacroix, Part Two”