<p>Offering an examination of the paragone, meaning artistic rivalry, in nineteenth-century France and England, this book considers how artists were impacted by prevailing aesthetic theories, or institutional and cultural paradigms, to compete in the art world. The paragone has been considered prima
The Paragone in Nineteenth-Century Art
β Scribed by Sarah J. Lippert
- Publisher
- Routledge
- Year
- 2019
- Tongue
- English
- Leaves
- 253
- Series
- Routledge Research in Art History
- Edition
- 1
- Category
- Library
No coin nor oath required. For personal study only.
β¦ Synopsis
Offering an examination of the paragone, meaning artistic rivalry, in nineteenth-century France and England, this book considers how artists were impacted by prevailing aesthetic theories, or institutional and cultural paradigms, to compete in the art world. The paragone has been considered primarily in the context of Renaissance art history, but in this book readers will see how the legacy of this humanistic competitive model survived into the late nineteenth century.
β¦ Table of Contents
Cover
Half Title
Series Page
Title Page
Copyright Page
Dedication
Contents
Color Plates
List of Figures
Acknowledgements
Key Words
Prologue
1 An Introduction to the Paragone
2 The Archetype of Beauty: Narcissus and the Birth of the beau idΓ©al
3 Pygmalion and Galatea: The Battle between Iconophobes and Iconodules
4 SalomΓ© versus Medusa
Conclusion
Index
π SIMILAR VOLUMES
Over the past years, studies have begun not only to identify the factors that impeded the full participation of women artists in French cultural life, such as womenβs limited access to professional art education, but also to bring to light the considerable artistic accomplishments of women occluded
<span>The Art of the Reprint is a vivid and engaging history of the nineteenth-century novel as it was re-imagined for everyday readers by four extraordinary twentieth-century illustrators. It focuses especially on four reprints: a 1929 edition of Thomas Hardy's The Return of the Native (1878) with
Although the work of Pierre Francastel (1900-1970) has long carried the label "sociology of art," it bears little resemblance to anything conventionally sociological. For too long Francastel has been unavailable to English-language readers, and hence known only through erroneous and secondhand chara