Case Studies in the 19th Century History of Art

2008 ◽  
Vol 49 (1) ◽  
pp. 351-359
Author(s):  
Marta Herucová
Keyword(s):  
Case Studies ◽  
19Th Century ◽  
History Of Art ◽  
History Of ◽  
19Th Century History ◽  
The 19Th Century

Francis James Herbert Haskell 1928–2000

2003 ◽  
Author(s):  
Charles Hope
Keyword(s):  
19Th Century ◽  
Art History ◽  
18Th Century ◽  
17Th Century ◽  
Oxford University ◽  
French Painting ◽  
King's College ◽  
History Of Art ◽  
History Of ◽  
The 19Th Century

Publication of Patrons and Painters (1963), which dealt with art in 17th-century Rome and 18th-century Venice, established Francis Haskell as one of the leading art historians of his generation. He held posts at King's College Cambridge and was then appointed Professor of the History of Art at Oxford University with a Fellowship at Trinity College. Haskell turned to studying French painting of the 19th century. Rediscoveries in Art: Some Aspects of Taste, Fashion and Collecting in England and France (1976) won the Mitchell Prize for Art History. Haskell was elected a Fellow of the British Academy in 1971. Obituary by Charles Hope.

scholarly journals Tent Of The Emir Of Bukhara (Second Half Of The 19th Century) ( History Of One Exhibit From The Collection Of The State Hermitage)

2020 ◽  
Vol 02 (12) ◽  
pp. 180-183
Author(s):  
Dilafruz Kurbanova ◽  
Keyword(s):  
19Th Century ◽  
The State ◽  
History Of ◽  
19Th Century History ◽  
The 19Th Century

This article is dedicated to a single artifact of the 19th century, tent of Emir of Bukhara, which is stored in the collection of the State Hermitage.

scholarly journals Precedentes de la institucionalización de la Historia del Arte en España: los estudios histórico-artísticos en el siglo XIX = Precedents of the institutionalisation of Art History in Spain: Historical and artistic studies in the 19th century

2019 ◽  
Vol 31 ◽  
pp. 253
Author(s):  
Carmen de Tena Ramírez
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Art History ◽  
Early 20Th Century ◽  
History Of Art ◽  
History Of ◽  
Siglo Xix ◽  
Spanish Universities ◽  
History Of Art History ◽  
The 19Th Century

Resumen: El objetivo de este artículo es ofrecer una visión general acerca de los estudios histórico-artísticos realizados y publicados en España a lo largo del siglo XIX, así como poner de manifiesto que estos trabajos dieron base y fundamento a la posterior institucionalización de la Historia del Arte en la universidad española a comienzos de la centuria siguiente. Comenzamos nuestro texto con un estado de la cuestión para subrayar la necesidad de acometer esta clase de estudios; seguidamente exponemos una amplia perspectiva diacrónica sobre las circunstancias históricas que rodearon la práctica historiográfica del siglo XIX, sus características y quiénes fueron sus artífices. Terminamos este trabajo con una breve reflexión acerca del alcance de la investigación decimonónica y sus efectos en la institucionalización de la Historia del Arte en España.Palabras clave: historiografía artística, historia de la Historia del Arte en España, Restauración borbónica, Historia del Arte y Arqueología, fuentes para la Historia del Arte.Abstract: This articles aims chiefly to provide an overview of the historical-artistic studies carried out and published in Spain throughout the 19th century and to show that these works provided the basis and foundation for the subsequent institutionalisation of Art History in Spanish universities in the early 20th century. It begins with a summary underlining the need for this kind of study, then paints a broad diachronic perspective on the historical circumstances surrounding the historiographic practice of the 19th century, its characteristics and its writers. It ends with a brief consideration of the scope of 19th century research and its effects on the institutionalisation of Art History in Spain.Key words: Art Historiography, history of Art History in Spain, Bourbon restoration, Art History and Archaeology, Sources for Art History.

Little Transparency, Many Obstructions. The 19th Century, Exhibitions, Viewing Tools

2015 ◽  
Author(s):  
Małgorzata Litwinowcz-Droździel
Keyword(s):  
19Th Century ◽  
Large Scale ◽  
Optical Instruments ◽  
Crystal Palace ◽  
Moving Images ◽  
History Of ◽  
History Of Culture ◽  
19Th Century History ◽  
The 19Th Century

The article examines various threads of the 19th-century history of culture, which deal with the topic of vision. The author analyses 19th-century exhibitions as tools for looking, large scale and accessible optical instruments. Following archival records, the author sets forward a thesis according to which popular exhibitions fulfilled the role of stabilizing visual experience in an age of radical sensual transformation and the rising ambiguity of cognitive categories. In light of the anxieties caused by numerous new inventions, which produced illusive static and moving images, the Crystal Palace (and its local cousins) could seem to provide tools for visually controlling reality. The author also analyzes tropes of melancholia and disappointment, caused by this 19th-century project of visual utopia.

scholarly journals The Paradigm of Decline-Metamorphosis-Rebirth in Fine Arts

2015 ◽  
Vol 9 (2) ◽  
pp. 5-13
Author(s):  
Tine Germ
Keyword(s):  
19Th Century ◽  
Subject Matter ◽  
A Priori ◽  
Fine Arts ◽  
Evolutionary Model ◽  
History Of Art ◽  
History Of ◽  
The 19Th Century ◽  
Historical Periods

The triad of decline-metamorphosis-rebirth constantly reappears in the history of civilisation, it is current in all historical periods and cultural environments, in different areas and the most diverse contexts. Its manifestations are countless and the same is true of its interpretations. They are especially frequent in the area of art, because the evolutionary model, grounded in the idea of cyclic development comes very handy for explanations and illustrations which seek to present complicated things in a simple and clear way. The history of art, mainly in the 19th century, advocated a tripartite development of art which seeks greater perfection and maturity and reaches its peak just to be then inevitably followed by a decline in artistic originality and power. Already for some time now the evolutionary model has been shown too ineffective in addressing scholarly questions, especially due to oversimplification and a priori classification of subject matter which cannot possibly be classified. The perception that the art of the Early Renaissance was a preliminary period for more mature and accomplished achievements of High Renaissance which at some point began to lose its drive and went into decline either by repeating outmoded forms or their decomposition, is not only naive, but simply wrong and represents a misunderstanding of the essence of art. In much the same way it would be equally wrong to label in advance the early works of a certain artist as not-mature-yet or possessing less artistic authenticity.

scholarly journals La propaganda comercial como transmisora de elementos identitarios: Algunos ejemplos de la ephemera murciana a principios del siglo XX

Imafronte ◽  
2020 ◽  
pp. 1-16
Author(s):  
José Miguel López Castillo
Keyword(s):  
19Th Century ◽  
Visual Representations ◽  
The Social ◽  
History Of Art ◽  
The World ◽  
History Of ◽  
Siglo Xix ◽  
The One ◽  
The 19Th Century ◽  
Siglo Xx

Uno de los apartados menos tratados de las representaciones visuales de Murcia ha sido el de la ephemera comercial. Por tal motivo, dado su uso limitado y efímero, en muchas ocasiones no se le ha considerado como un apartado estimable en la historia del arte. Pero lo cierto es que las etiquetas de fábricas de conservas, frutas, licores y otros establecimientos, desde los últimos años del siglo XIX y la primera mitad del XX, en base al diseño difundieron los elementos identitarios más significativos de este territorio por toda España y el resto del mundo. En la mayoría de casos, la marca publicitaria estaba basada en estampas e imágenes del Costumbrismo romántico murciano que ya se habían consolidado durante el ochocientos para la demanda social de esa corriente; en otros casos se fueron adaptando a los nuevos criterios estéticos del siglo XX. Finalmente, esta forma de publicitar cada producto ayudó a patentar la denominación de origen de diversas empresas de varios sectores, principalmente agroalimentarias, y al mismo tiempo a su asimilación con esta región levantina gracias a sus hitos arquitectónicos, la huerta o sus tipos populares. Esta última premisa es la que abordaremos dentro de este estudio al contrastarlas con otras representaciones anteriores. One of the less treated sections of the visual representations of Murcia has been the comercial ephemera. For this reason, given its limited and fleeting use, it has often not been considerated as a valvable section in the history of art. But the truth is that the labels of canning factories, fruits, liquors and other establishments, from the last years of the 19th century based on the design spread the most significant identity elements of this territory throughout Spain and the rest the world. In the majority of cases, the advertising brand was based on prints and images of Murcian romantic costums that had already been consolidated during the 19th century for the social demand of this currens, in other cases they were adapted to the new aesthetic criteria of the 20th century. Finally, this way of advertising each product helped to panted the denomination of origin of various companies, mainly agry-food, and at the same time to assimilate it with this southeast region thanks to its architectural landmarks, the orchard or its popular types. This last premise is the one we will address within this study when contrasting them other previous representations.

Gender and the Sportification of Mountaineering: Case Studies

STADION ◽  
2019 ◽  
Vol 43 (2) ◽  
pp. 234-249
Author(s):  
Gertrud Pfister ◽  
Gerald R. Gems
Keyword(s):  
Case Studies ◽  
19Th Century ◽  
Gender Stereotypes ◽  
Theoretical Frameworks ◽  
Attitudes And Practices ◽  
Specific Focus ◽  
The World ◽  
History Of ◽  
The 19Th Century

The topic of this article is the history of mountaineering using the concepts of gender and “sportification” as theoretical frameworks. Mountains have been and in many regions of the world still are deserted areas which may be accessed by hunters or used in the valleys for goat and sheep framing. People who had to cross them used, as far as possible, the valleys. These attitudes and practices changed in the second half of the 19th century when climbing developed as a sport and when increasing numbers of male “alpinists” competed for first ascents. As this sport was difficult, strenuous and dangerous, mountains were considered as “playing grounds” of men. However, there were some female mountaineers who accompanied men or even climbed with other women. A specific focus of this article will be on the women who, in the true sense of the term, conquered new grounds countering gender stereotypes and the femininity ideals of the 19th and 20th centuries.

scholarly journals The Paradigm of Decline-Metamorphosis-Rebirth in Fine Arts

2015 ◽  
Vol 9 (2) ◽  
pp. 5-13
Author(s):  
Tine Germ
Keyword(s):  
19Th Century ◽  
Subject Matter ◽  
A Priori ◽  
Fine Arts ◽  
Evolutionary Model ◽  
History Of Art ◽  
History Of ◽  
The 19Th Century ◽  
Historical Periods

The triad of decline-metamorphosis-rebirth constantly reappears in the history of civilisation, it is current in all historical periods and cultural environments, in different areas and the most diverse contexts. Its manifestations are countless and the same is true of its interpretations. They are especially frequent in the area of art, because the evolutionary model, grounded in the idea of cyclic development comes very handy for explanations and illustrations which seek to present complicated things in a simple and clear way. The history of art, mainly in the 19th century, advocated a tripartite development of art which seeks greater perfection and maturity and reaches its peak just to be then inevitably followed by a decline in artistic originality and power. Already for some time now the evolutionary model has been shown too ineffective in addressing scholarly questions, especially due to oversimplification and a priori classification of subject matter which cannot possibly be classified. The perception that the art of the Early Renaissance was a preliminary period for more mature and accomplished achievements of High Renaissance which at some point began to lose its drive and went into decline either by repeating outmoded forms or their decomposition, is not only naive, but simply wrong and represents a misunderstanding of the essence of art. In much the same way it would be equally wrong to label in advance the early works of a certain artist as not-mature-yet or possessing less artistic authenticity.

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