Picturesque Landscaping and Estate Management: Uvedale Price at Foxley, 1770–1829

Rural History ◽  
1991 ◽  
Vol 2 (2) ◽  
pp. 141-169 ◽  
Author(s):  
Stephen Daniels ◽  
Charles Watkins
Keyword(s):  
Eighteenth Century ◽  
Ground Truth ◽  
Central Theme ◽  
High Culture ◽  
History Of Art ◽  
History Of ◽  
Estate Management

Georgian landscaping is conventionally studied as an example of high culture, in terms of the history of art, literature and aesthetics. We take a more down to earth view and look at landscaping as an example of estate management, in terms of such topics as farming, planting, leases and rents. We do not pretend that the study of estate management offers a sort of ground-truth for understanding landscaping. Terms like ‘rent’ and ‘estate’ are of course no more eternal, nor less ideological, than terms like ‘picturesque’ and ‘landscape’. We will not neglect high culture, indeed a central theme of the paper is how the aesthetics of painting helped frame estate management. Even a casual reading of the literature on ‘improvement’ in the eighteenth century reveals a complex overlapping of not just economic and aesthetic issues but moral and political ones too. And the point of this paper is to reinsert landscaping and estate management into this complex.

Religious Themes in Contemporary Art

2016 ◽  
pp. 188-218
Author(s):  
Codrina Laura Ionita
Keyword(s):  
Eighteenth Century ◽  
Contemporary Art ◽  
The Political ◽  
Modern Times ◽  
Bolshevik Revolution ◽  
The Enlightenment ◽  
History Of Art ◽  
History Of ◽  
Entire History ◽  
The Relationship

The relationship between art and religion, evident throughout the entire history of art, can be deciphered at two levels – that of the essence of art, and that of the actual theme the artist approaches. The mystical view on the essence of art, encountered from Orphic and Pythagorean thinkers to Heidegger and Gadamer, believes that art is a divine gift and the artist – a messenger of heavenly thoughts. But the issue of religious themes' presence in art arises especially since modern times, after the eighteenth century, when religion starts to be constantly and vehemently attacked (from the Enlightenment and the French or the Bolshevik Revolution to the “political correctness” nowadays). Art is no longer just the material transposition of a religious content; instead, religion itself becomes a theme in art, which allows artists to relate to it in different ways – from veneration to disapproval and blasphemy. However, there have always been artists to see art in its genuine meaning, in close connection with the religious sentiment. An case in point is the work of Bill Viola. In Romanian art, a good example is the art group Prolog, but also individual artists like Onisim Colta or Marin Gherasim, who understand art in its true spiritual sense of openness to the absolute.

Artisans, Artists and Hegel's History of Art

2013 ◽  
Vol 34 (2) ◽  
pp. 203-222 ◽  
Author(s):  
Allen Speight
Keyword(s):  
Eighteenth Century ◽  
Fine Arts ◽  
Social Changes ◽  
Recent Discussion ◽  
Important Distinction ◽  
Distinctive Features ◽  
The Social ◽  
History Of Art ◽  
History Of ◽  
The Continuum

This article examines Hegel's use of the distinction between ‘artist’ (Künstler) and ‘artisan’ (Werkmeister) in light of recent discussion about the ‘end’ of art and the distinction betweeen art and craft that, as some have argued, has been central to the concept of the fine arts since the eighteenth century. Hegel does employ an important distinction between artist and artisan, but he does so within a larger account of the continuum of forms of human making that can take into consideration the importance of the artisan's work as well as the artist's. Hegel's account involves two distinctive features not always at issue in the artist/artisan distinction: the stress on the social changes required for new forms of art to emerge and an embrace of the human being as the essentially retrospective and interpretive animal in whom the decisive intersection of content and form finally makes art what it is.

scholarly journals The modern Invention of Barbarians: Ethnicity and the Transmission of Form

October ◽  
2017 ◽  
Vol 161 ◽  
pp. 11-22
Author(s):  
Eric Michaud
Keyword(s):  
Eighteenth Century ◽  
Ethnic Identity ◽  
The West ◽  
Nation States ◽  
Native Populations ◽  
History Of Art ◽  
History Of

The history of art started with the myth of Barbarian invasions. Countering the timelessness of Classical art as affirmed by Winckelmann in the middle of the eighteenth century, a new argument arose: The West was propelled into modernity by the Barbarian invasions of the fourth and fifth centuries, as it was converted from paganism to Christianity. The infusion of the new blood of the northern races was seen to have engendered a new art, anti-Roman and anti-Classical, whose legacy was still apparent in Europe. This was a fantasmatic narrative, inseparable from the formation of nation-states and the rise of nationalism in Europe. Based on the dual assumption of the homogeneity and the continuity of their native populations, it assumed that styles depend on both blood and race; the “tactile” or “optical” qualities of an object became the unequivocal signs of its “Latin” or “Germanic” provenance, and museums organized their objects according to the “ethnic” identity of their creators.

Picturing Art History in Eighteenth-Century Britain

2019 ◽  
Vol 95 (2) ◽  
pp. 83-113
Author(s):  
Edward Wouk
Keyword(s):  
Eighteenth Century ◽  
Early Modern ◽  
Art History ◽  
Northern European ◽  
History Of Art ◽  
History Of ◽  
The Alps ◽  
Eighteenth Century Britain ◽  
Modern Artists

Rylands English MS 60, compiled for the Spencer family in the eighteenth century, contains 130 printed portraits of early modern artists gathered from diverse sources and mounted in two albums: 76 portraits in the first volume, which is devoted to northern European artists, and 54 in the second volume, containing Italian and French painters. Both albums of this ‘Collection of Engravings of Portraits of Painters’ were initially planned to include a written biography of each artist copied from the few sources available in English at the time, but that part of the project was abandoned. This article relates English MS 60 to shifting practices of picturing art history. It examines the rise of printed artists’ portraits, tracing the divergent histories of the genre south and north of the Alps, and explores how biographical approaches to the history of art were being replaced, in the eighteenth century, by the development of illustrated texts about art.

scholarly journals From specimens, curiosities and illustrations to representatives of the history of art

1970 ◽  
pp. 55
Author(s):  
Britta Tøndborg
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Fine Art ◽  
Historical Approach ◽  
History Of Art ◽  
History Of

-investigating the role of painting in the display context of the eighteenth century Copenhagen Kunstkammer.Paintings and fine art in general have always formed a part of the royal collections in Denmark, but they have not always been perceived in the same way or venerated for the same reasons. This is particularly true of the eighteenth century Kunstkammer where paintings formed an integral part of the encyclopaedic display in the first half of the century, only to be segregated gradually during the second half in order to be placed in the first of a series of specialized galleries of paintings. Two versions of the royal gallery of paintings were installed in the first decades of the nineteenth century; the latter was based on an art historical approach. Most of the paintings in the Kunstkammer survived the transformation from illustrations to fine art, whereas others where deemed unfit candidates for the great survey history of art. 

Sign in / Sign up

Export Citation Format

Share Document