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Orientalist lives : western artists in the Middle East, 1830-1920
In one of the most remarkable artistic pilgrimages in history, the nineteenth century saw scores of Western artists heading to the Middle East. Inspired by the allure of the exotic Orient, they went in search of subjects for their paintings. Orientalist Lives looks at what led this surprisingly diverse and idiosyncratic group of men-and some women-to often remote and potentially dangerous locations, from Morocco to Egypt, the Levant, and Turkey. There they lived, worked, and traveled for weeks or months on end, gathering material with which to create art for their clients back in the drawing-rooms of Boston, London, and Paris. Based on his research in museums, libraries, archives, galleries, and private collections across the world, James Parry traces these journeys of cultural and artistic discovery. From the early pioneer David Roberts through the heyday of leading stars such as Jean-Leon Gerome and Frederick Arthur Bridgman, to Orientalism's post-1900 decline, he describes how these traveling artists prepared for their expeditions, coped with working in unfamiliar and challenging surroundings, engaged with local people, and then took home to their studios the memories, sketches, and collections of artifacts necessary to create the works for which their audiences clamored. Excerpts from letters and diaries, including little-known accounts and previously unpublished material, as well as photographs, sketches, and other original illustrations, bring alive the impressions, experiences, and careers of the Orientalists and shed light on how they created what are now once again recognized as masterpieces of art.
Book
The Total Work of Art in European Modernism
In this groundbreaking book, David Roberts sets out to demonstrate the centrality of the total work of art to European modernism since the French Revolution. The total work of art is usually understood as the intention to reunite the arts into the one integrated whole, but it is also tied from the beginning to the desire to recover and renew the public function of art. The synthesis of the arts in the service of social and cultural regeneration was a particularly German dream, which made Wagner and Nietzsche the other center of aesthetic modernism alongside Baudelaire and Mallarmé.
The history and theory of the total work of art pose a whole series of questions not only to aesthetic modernism and its utopias but also to the whole epoch from the French Revolution to the totalitarian revolutions of the twentieth century. The total work of art indicates the need to revisit key assumptions of modernism, such as the foregrounding of the autonomy and separation of the arts at the expense of the countertendencies to the reunion of the arts, and cuts across the neat equation of avant-gardism with progress and deconstructs the familiar left-right divide between revolution and reaction, the modern and the antimodern. Situated at the interface between art, religion, and politics, the total work of art invites us to rethink the relationship between art and religion and art and politics in European modernism.
In a major departure from the existing literature David Roberts argues for twin lineages of the total work, a French revolutionary and a German aesthetic, which interrelate across the whole epoch of European modernism, culminating in the aesthetic and political radicalism of the avant-garde movements in response to the crisis of autonomous art and the accelerating political crisis of European societies from the 1890s forward.
eBook
The green bloc
This book examines the approaches of renowned Central European artists to the natural environment, uncovering an up till now largely unrecognized aspect of their work, which has regularly been analyzed through socio-political contexts, but rarely in terms of ecology. It focuses on the period after 1968, which not only brought changes to the political landscape of Eastern Europe, but shifted artistic practice towards conceptualism and was instrumental in spreading environmental consciousness. It comparatively investigates artists and artist groups from Slovenia, Croatia, Hungary, Slovakia and Czech Republic, at the moment when art exited the gallery and entered the natural environment, while socialist governments attempted to keep control over information about the real state of environmental pollution and block globally emerging ecological discourse. Apart from embedding artistic production in social, political and environmental histories of the region, this book also addresses the problem of art history as a discipline under socialism, presents a more complete picture of its neo-avant-garde art and constitutes an unprecedented application of the ecological paradigm to art history. It demonstrates the creativity, inventiveness and astuteness of Central European artists whose vision could not be controlled by any imposed borders at the dawn of global awareness of ecological crisis.
eBook
The Insect and the Image
The Insect and the Image explores the ways in which visual images defined the insect as a proper subject of study for Europeans of the early modern period. Revealing how sixteenth- and seventeenth-century artists and image makers shaped ideas of the natural world, Janice Neri enhances our knowledge of the convergence of art, science, and commerce today.
eBook
Ekphrastic Image-Making in Early Modern Europe, 1500-1700
This volume examines how and why many early modern pictures operate in an ekphrastic mode.
eBook
Indecent Bodies in Early Modern Visual Culture
The life-like depiction of the body became a central interest and defining characteristic of the European Early Modern period that coincided with the establishment of which images of the body were to be considered ‘decent’ and representable, and which disapproved, censored, or prohibited. Simultaneously, artists and the public became increasingly interested in the depiction of specific body parts or excretions. This book explores the concept of indecency and its relation to the human body across drawings, prints, paintings, sculptures, and texts. The ten essays investigate questions raised by such objects about practices and social norms regarding the body, and they look at the particular function of those artworks within this discourse. The heterogeneous media, genres, and historical contexts north and south of the Alps studied by the authors demonstrate how the alleged indecency clashed with artistic intentions and challenges traditional paradigms of the historiography of Early Modern visual culture.
eBook