In art, as in every field, the 19th century was a period of experimentation: in which artists divined and portrayed the crucial connections between seeing and knowing, vision and society, explored the links between perception and history. Today, this legacy has been obscured by revisionism's that have changed art history. This book embraces the "new" methods while recovering the vitality, salience and subversiveness of the era's best art. This volume suggests that 19th-century art remains compelling today because its critical insights have rarely been surpassed. It will be of interest not just to the specialist, but to anyone fascinated by this unique period.
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Stephen F. Eisenman is Professor of Art History at Northwestern UniversityFrom Library Journal:
The political, industrial, and cultural revolutions that punctuated the 19th century were reflected in the fine arts, though not always consciously. Art was no longer the sole domain of the upper classes, and the complexity of the new social order became evident in the works of artists like Blake and Goya early in the century and Cassatt and Eakins later on. In this first comprehensive reconsideration of 19th-century art from the viewpoint of the "new" art history, Eisenman and four other art historians examine issues of class, gender, racism, and Eurocentrism as they pertain to North American and European art. This handsomely produced volume, rich in ideas and illustrations, complements the works of Albert Boime (e.g., The Art of Exclusion: Representing Blacks in the Nineteenth Century, Smithsonian, 1990). Of interest to scholars and art enthusiasts alike.
Daniel J. Lombardo, Jones Lib., Amherst, Mass.
Copyright 1994 Reed Business Information, Inc.
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Book Description Thames & Hudson. Hardcover. Book Condition: New. 0500236755 New Condition. Bookseller Inventory # NEW7.1121869
Book Description Thames & Hudson, 1994. Hardcover. Book Condition: New. Never used!. Bookseller Inventory # P110500236755