“ 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.
ROMANTICISM AND NATIONALISM
Romanticism was a form of modern consciousness that was expressed as art style, as an attitude of individualism, as a political stance, and as a new way of being an artist. In the nineteenth century, modern nations were beginning to take form and Romanticism became a way of fashioning a unique identity. Manifested in music, poetry and the visual arts, Romanticism varied depending upon the location. Defining Romanticism, therefore, is a complicated affair.
This podcasts seeks of outline the basic elements of Romanticism—a new emphasis on subjectivity and the individual and a resounding rejection of the rules of ancient art. Romantic art is both escapist and exotic and is concerned with events in the contemporary world. Romantic art was a court art for tyrants and a rallying cry for democratic uprisings. Finally, Romanticism served the aspirations for a new class of middle class artists, mostly men, who sought to express themselves through art.
Although Romanticism was supposedly subjective, or based in the individual sensibility of the artist, this movement was an international movement with characteristics unique to each nations. The Romantic Movement is discussed in comparative terms, assessing the differences among the movements in France, England, America and Germany.
AESTHETICS AND TRE RISE OF ROMANTICISM
Emerging in the mid-eighteenth century, Aesthetics is a branch of philosophy which seeks to define “art.” The formulation of aesthetics as a separate aspect of Enlightenment thinking was a project of British and German writers on the arts. One of the new concepts developed by these thinkers was the modern idea of “disinterest,” which meant that art was to be contemplated for itself on its own merits, not for its content or subject matter. With the lessening importance of the patrons, this new mode of looking put the artist and his or her at the center of the art making process.
Now on display in public salons, the artist had to have a recognizable style and a new identity for the modern artist began to take shape. By the end of the eighteenth century, Emmanuel Kant consolidated “aesthetics” into a coherent and influential book, the Critique of Judgment, which would impact the intellectual world of the Romantic artists. Due to this important discourse in aesthetics, the artist was remade into a “genius,” who was independent of the public and who made art for art’s sake.
THE AESTHETICS OF ROMANTICISM
With the decline of religious commissions and with the end of aristocratic patronage, the modern artist was left dependent upon the State and the new art public. In the past, it had been sufficient to define “art” as that which had been approved by a higher power, but in the nineteenth century, a new definition of art was required. Aesthetics, which provides the epistemology of art, or the ground of “art,” was a new aspect of philosophy that emerged coincidentally with the historical break in the old definition of art. This podcast will examine the social and cultural foundations of Aesthetics and the philosophical development of the definition of “modern art.”