Théodore Rousseau (1812–1867), arguably the most important French landscape artist of the mid-nineteenth century and a leader of the so-called Barbizon School, occupies a crucial moment of transition from the idealizing effects of academic painting to the radically modern vision of the Impressionists. He was an experimental artist who rejected the traditional historical, biblical, or literary subject matter in favor of “unruly nature,” a Romantic naturalism that confounded his contemporaries with its “bizarre” compositional and coloristic innovations. Lavishly illustrated and thoroughly documented, this volume includes five essays by experts in the field. Scott Allan and Édouard Kopp alternately examine Rousseau’s diverse techniques and working procedures as a painter and as a draftsman, as well as his art’s mixed economic and critical fortunes on the art market and at the Salon. Line Clausen Pedersen’s essay focuses on Mont Blanc Seen from La Faucille, Storm Effect, an early touchstone for the artist and a spectacular example of the Romantic sublime in the Ny Carlsberg Glyptotek’s collection. This catalogue accompanies an eponymous exhibition on view at the J. Paul Getty Museum from June 21 to September 11, 2016, and at the Ny Carlsberg Glyptotek from October 13, 2016, to January 8, 2017.
Perhaps there is an unruly nature to my spiritual life as well. I was raised solidly in the tradition, and my spiritual practice was formed by the culture of my religious community. I longed to be faithful to my prayer life as it had ...
Strathern, Marilyn. “What is Intellectual Property After?” In Actor Network Theory and After, by eds. John Law and John Hassard, 156–180. Oxford: Blackwell, 1999. Tang, Chenxi. The Geographic Imagination of Modernity: Geography, ...
Benton, T. (1991) 'Biology and Social Science: Why the Return of the Repressed Should be Given a (Cautious) Welcome', ... Cooper, D. and Palmer, J. (eds) (1992) The Environment in Question: Ethics andGlobal Issues,London: Routledge.
This volume historicizes the contingency of an ever-changing elemental world, reframing and reimagining landscape as a mediating space in the interplay between the natural and the artificial, the real and the imaginary, the internal and the ...
Shabecoffnotes that, according to sociologist Denton E. Morrison, the rise of environmentalism at the end ofthe 1960s “came as something ofa reliefto a movementpummeled white, middle—class America . . . [It] seemed to have potential for ...
Her words simultaneously suggest a military action—complete with violence, storming, and trumpeting—and unruly Nature herself: “That I did love the Moor to live with him, / My downright violence and storm of fortunes / May trumpet to ...
That is to say, they have forgotten the skills their ancestors acquired to manage an often unruly natural world around them, and they have largely withdrawn from direct contact with that world by spending most of their time indoors, ...
There is something most unnatural, indeed fictitious, about turning human labor into a product to be bought and sold—for, as Karl Polanyi reminds us,” unlike real commodities, human beings are not created for the purpose of being sold ...
... 395 ; their ancient funeral rites and sepulchral vaults , 399 ; evils prevalent in Ireland , 419 , 470-512 , 598607 , 609 , 610 , 637 ; English laws how unsuitable for Ireland , 427,438– 442 ; warlike and unruly nature of the Irish ...
A range of views on the morality of synthetic biology and its place in public policy and political discourse.