Nineteenth-century Art

HIDDEN IN THE SHADOW OF THE MASTER: THE MODEL-WIVES OF CÉZANNE, MONET, AND RODIN BY RUTH BUTLER

by Tania Woloshyn

National Art Museum Practice as Political Cartography in 19th Century Britain

by Chris Whitehead

in Knell S; Aronsson P; Amundsen AB; Barnes A; Burch S; Carter J; Gosselin V; Hughes S; Kirwan AM (eds), National Museums: New Studies from Around the World, Routledge 2010

This chapter will explore one of the key characteristics of nineteenth-century national museums in Britain: that of... more This chapter will explore one of the key characteristics of nineteenth-century national museums in Britain: that of mapping the world, both geographically, epistemologically and socially. I will argue that the national museum provided an institutional technology for mapping, while in its morphology it was, literally, a multi-dimensional map which constructed knowledge spatially, connectively and divisively, to represent cultural and natural hierarchies and relations and differences between things and between people. The chapter begins with a brief exploration of the notion of the museum as map by examining the use of cartographic technology within the context of institutional collecting and display of material cultures. Then, looking at the network of national museums in mid-nineteenth-century London, the chapter will discuss the importance of geography, mobility, travel, cartography and appropriation of objects within the organising structures of curatorial practice and knowledge construction with predominant reference to the notion of art and the idea of the work of art. Within this, the paper will also look at the nature of national museum representations of the home nation. Where was Britain’s place on the map? And what were the cartographical politics of national othering and selfing? In relation to the latter the paper will also consider the national museum as a cartographic technology for social mapping through which, in a post-1832 context, the social and moral order of the new British electorate was plotted. The chapter will conclude with a account of the apparently weak expressions of nationhood in mid-century national museums, enabling a view of Britain as cultural cartographer rather than as obvious cultural territory, and opening up a way of discussing the museum as space for theorising, whether explicitly or not, the complex political relations between places, cultures and peoples past and present.

'Crânement beau tout de même': Still life and Le Ventre de Paris', French Studies, LVIII, no. 2 (2004), pp. 177-187

by Kate Tunstall

Santa Maria in Cosmedin a Roma: questioni di storiografia architettonica medioevale. [S. Maria in Cosmedin in Rome: on the historiography of Medieval architecture]

by Piero Cimbolli Spagnesi

In: G. Fusciello, Santa Maria in Cosmedin a Roma.Roma: QUASAR. 2011, pp. vii-xiii
ISBN 978-88-7140-460-8

Poster Children of the Sun: Aztecs As Mormon Propaganda In the Paintings of George Martin Ottinger

by Breanne Robertson

The Strike Imagined: The Atlantic and Interpretive Voyages of Robert Koehler’s Painting The Strike

by Christopher Phelps

Journal of American History, 98:3, 670-98.

Labor historians have long explored aspects of working-class culture ranging from religion to ethnicity, and cultural... more Labor historians have long explored aspects of working-class culture ranging from religion to ethnicity, and cultural and intellectual historians have begun to trace themes of labor and class in American literature and thought. Christopher Phelps asserts that a more intensive and fruitful rapprochement of intellectual and labor history is revealed by the story of Robert Koehler’s 1886 painting The Strike. The work of a Milwaukee-educated German American inspired by the Pittsburgh strike of 1877, The Strike was completed in Munich based on sketches made in England, unveiled in New York and honored in Paris, and crisscrossed the Atlantic in both its conceptualization and audiences. The reception of the painting reflected, Phelps argues, the nexus of modern liberal beliefs about labor in the epoch of rapidly industrializing capitalism and, after a long lapse into obscurity, the radicalism of the 1960s in the moment of its rediscovery.

Who was the Author of A Comedy against the Comedy, or A Lesson to Dandies? (RUS)

by Dmitri Ivanov

Кто был автором «Комедии против комедии, или Урока волокитам»? // Новое литературное обозрение. № 86. 2007.

Manet’s Mirror and Jeff Wall’s Picture for Women: Reflection or Refraction?’,

by Naomi Merritt

Published in Emaj (Electronic Melbourne Art Journal), (Issue 4, 2009), 2009

Jeff Wall describes his photograph Picture for Women (1979) as a 'remake' of Édouard Manet's painting A Bar at the... more Jeff Wall describes his photograph Picture for Women (1979) as a 'remake' of Édouard Manet's painting A Bar at the Folies-Bergère, (1882). The motif of the mirror reflection is fundamental to both artworks and foregrounds mutual concerns about spectatorship, the dynamics of the gaze and spatial relations. In each case, the mirror transforms pictorial space by reincorporating the off-frame zone, juxtaposing heterogeneous fields of vision and conflating multiple surfaces. Manet's mirror is most famous for its 'infidelity' to that which it reflects, but the nature of its aberrations continues to confound critics. The controversy surrounding the mirror in A Bar at the Folies-Bergère lingers in the striking construction of Wall's Picture for Women, which appears to be entirely composed of a mirror image. I argue that the idiosyncrasies of the mirror reflection in Manet's painting find a new articulation, inspired by the cinematic, in Wall's staged photograph. Using film theories of 'suture', I extend established interpretations of Picture for Women by suggesting that the ambiguous mirror in Wall's photograph performs a suturing function and evokes cinema's mobile frame. However, suture's function is not absolute, nor final, just as the presence of the mirror in Wall's photograph is assumed, but not certain.

Assisa a’ piè d’un salice. La Desdemona di Rossini secondo Giuditta, Maria ed altre attrici del Théâtre-Italien

by Céline Frigau

in Pietro Mioli (éd.), Malibran. Storia e leggenda, actes du colloque de l’Accademia Filarmonica, 30-31 mai 2008, Bologne, Pàtron editore, 2010

Écriture, édition, traductions à lire et à chanter : les activités multiples de Manfredo Maggioni, staff librettist à Londres

by Céline Frigau

in Françoise Decroisette (dir.), Le livret d’opéra, œuvre littéraire ?, Saint-Denis, Presses Universitaires de Vincennes, coll. « Théâtres du monde », 2011

Maria Malibran

by Céline Frigau

in Beatrice Alfonzetti (dir.), Vite. Verso l’Unità, Roma, Donzelli, 2011

Sans être italienne ni prendre part aux luttes du Risorgimento, la Malibran est devenue l’une des grandes figures de... more Sans être italienne ni prendre part aux luttes du Risorgimento, la Malibran est devenue l’une des grandes figures de l’Unité italienne. Méta-hagiographie plus que nouvelle hagiographie de l’actrice, cette réflexion croisée sur la réception française et italienne en souligne les enjeux esthétiques, culturels et socio-politiques.

Thesis Abstract- British Romanticism and Italian Renaissance Art

by Maureen McCue

Review: Jane K. Brown's The Persistence of Allegory: Drama and Neoclassicism from Shakespeare to Wagner

by Katie Terezakis

On the Russian Comedy Canon in the First Half of the 19th Century: Griboyedov or Shakhovskoi? (RUS)

by Dmitri Ivanov

Проблема канона русской комедии в первой половине XIX века: Грибоедов или Шаховской? // Пушкинские чтения в Тарту 5: Пушкинская эпоха и русский литературный канон: К 85-летию Ларисы Ильиничны Вольперт: В 2 ч. Тарту, 2011. Ч.2.

On the Professionalization of Russian Drama in the Beginning of the 19th Century: Toward a Biography of A. A. Shakhovskoi (RUS)

by Dmitri Ivanov

О профессионализации русской драматургии в начале XIX века: к биографии А. А. Шаховского // Humaniora: Litterae Russicae. Труды по русской и славянской филологии. Литературоведение. VII (Новая серия): К 80-летию со дня рождения З. Г. Минц, к 85-летию со дня рождения Ю. М. Лотмана. Тарту, 2009.

Marbre et sculpture en Italie au XIXe siècle

by Christian Omodeo

Perspectives, 3, 2007, p. 468-473

Vincenzo Camuccini litografo. Leone XII e la commissione de "I Fatti principali della vita di N.S. Gesù Cristo" (1825-1829)

by Christian Omodeo

Proceedings of the congress Giovanna Capitelli - Carla Mazzarelli (éd.), "La pittura di storia negli stati preunitari italiani. 1785-1870. Ricerche, quesiti, proposte", Cinisello Balsamo, Milan, Silvana Editoriale, p. 68-77

Rome, 1806-1820 : Ingres et le monde des arts

by Christian Omodeo

Proceedings of the congress "Ingres : un homme à part ?", (Paris-Rome, 25-28 april 2006), Paris, Ecole du Louvre, 2009

L'art académique, une ressource pour le XIXe siècle

by Christian Omodeo

Studiolo, 8, 2010, p. 265-269

Privileging the Object of Sculpture: Actuality and Harry Bates's 'Pandora' of 1890

by David Getsy

_Art History_ 21.1 (February 2005): 74-95

Sculptural representation negotiates between being an image (for instance, a female nude) and an object (a thing made... more Sculptural representation negotiates between being an image (for instance, a female nude) and an object (a thing made of marble, bronze, etc.).  Questions of literality and objecthood are often reserved for assessments of later modernist sculpture, but I demonstrate that this same fundamental set of concerns preoccupied the late-Victorian sculptor Harry Bates in his Pandora of 1890.  In this work, Bates staged sculptural actuality — that is, the equivalence in a sculpture between the thing represented and the sculptural object itself.  He did so in order to position himself within late-Victorian debates about the future of sculpture and to make a polemical case for the potency of the decorative object as a new avenue for sculptors’ efforts.  Beyond allowing a reconsideration of the art-theoretical sophistication of so-called ‘academic’ nineteenth-century sculpture, Bates’s Pandora illuminates on a more general level the parameters of sculptural representation.