This title was first published in 2000. The nineteenth century saw the emergence of numerous artistic brotherhoods - groups of artists bound together in communal production, sharing spiritual and aesthetic aims. Although it is widely acknowledged that this is an unique feature of the period, there has not previously been a separate study of the phenomenon. This collection of essays provides a thorough and wide-ranging exploration of the issue. Situating artistic brotherhoods within their historical context, it offers unique insights into the social, political, economic and cultural milieu of the nineteenth century. It focuses on the most celebrated and influential brotherhoods, while also bringing to light lesser-known or forgotten artists. The essays explore the artistic fraternity from a wide variety of perspectives, probing issues of gender, identity, professional practices and artistic formation in Europe and the United States. This book investigates the Nazarenes, the Pre-Raphaelites, the Russian Abramatsova, the Primitifs, the Nabis as well as other leading groups. The book contains a substantial introduction, which establishes the key questions and issues surrounding the phenomena of the artistic brotherhood, including their relation to the larger artistic community, their association with other social and political organizations of the period, and the ways in which mythologies have been built around them in subsequent histories and recollections of the period.
Presents the historical context behind the 19th-century's artistic movements, including Romantic Painting, The Pre-Raphaelite Brotherhood, Realist Painting , Academic Painting, and Impressionist Painting.
This volume shines a critical light on male homosociality in the arts of the long nineteenth century by combining art history with the insights of gender and queer history.
After 1863 female models posed for students at the École des Beaux - Arts , see L'Art du Nu au XIXe siècle : le photographe et son modèle ( Paris , 1997 ) , pp . 13 , 20 . 26 Wildenstein and Wildenstein , Louis David , p . 150.
They established the Brotherhood of St Luke in July 1809, named after the Roman Academy of St Luke but based on their own vision of medieval artist guilds. Motivated partly by a rejection of things French (including academic training ...
Henri Fantin-Latour letters to James McNeill Whistler. 1859–1869. Henri Fantin-Latour letters to family. 1859. Cabinet des dessins. Musée du Louvre. Paris. Album Cuisin. RF22842. Images by Alphonse Legros. RF22854-22861.
... is noted by Richard Cork in Vorticism and Abstract Art in the First Machine Age, vol. 1, Origins and Development, London: Gordon Fraser Gallery, 1976, 110. 72 Lisa Tickner, 'Men's Work? Masculinity and Modernism', in Norman Bryson, ...
Art Criticism of the Eighteenth and Nineteenth Centuries in Russia and Western Europe Carol Adlam, Juliet Simpson. I , 1850-1900 , ed . ... In Artistic Brotherhoods in the Nineteenth Century , eds L. Morowitz and W. Vaughan , 185–96 .
A dance hall at the place Blanche and rue Lepic , on the boulevard de Clichy , in Montmartre , Paris . For many years after the " Red Mill " opened in October 1889 it was the most famous dance hall in ...
established in the face of the world an economic position and capacity which have astonished our statesmen'.63 In her writings, Lowndes regularly used the accomplishments of E. C. Woodward as emblematic of the pioneering efforts of ...
See Michel Carmona, Haussmann: His Life and Times, and the Making of Modern Paris, trans. Patrick Camiller (Chicago: I.R. Dee, 2002); and David Jordan, Transforming Paris: Facos, Symbolist Art in Context.indd 210 1/7/09 4:34:01 PM 210 ...