Descripciones mejoradas de Syndetics:

In this second volume, Albert Boime continues his work on the social history of Western art in the Modern epoch. This volume offers a major critique and revisionist interpretation of Western European culture, history, and society from Napoleon's seizure of power to 1815. Boime argues that Napoleon manipulated the production of images, as well as information generally, in order to maintain his political hegemony. He examines the works of French painters such as Jacques-Louis David and Jean Auguste Dominique Ingres, to illustrate how the art of the time helped to further the emperor's propagandistic goals. He also explores the work of contemporaneous English genre painters, Spain's Francisco de Goya, the German Romantics Philipp Otto Runge and Caspar David Friedrich, and the emergence of a national Italian art.

Heavily illustrated, this volume is an invaluable social history of modern art during the Napoleonic era.

Stimulating and informative, this volume will become a valuable resource for faculty and undergraduates.--R. W. Liscombe, Choice

Tabla de contenidos provista por Syndetics

• Illustrations
• Introduction
• I The Adversaries
• 1 The Napoleonic Era (1800-15)
• 2 The Iconography of Napoleon
• 3 English Art in the Napoleonic Era
• 4 France and Spain
• II The Downtrodden and their Regeneration
• 5 Napoleon's Invasion of Prussia and the Rise of German Romantic Nationalism
• 6 The Political Foundations of the German Romantic Pioneers and Their Patrons
• 7 Patrons of the New Movement
• 8 Philipp Otto Runge
• 9 Caspar
• 10 Napoleon in Italy
• Notes
• Index

Reseñas proporcionadas por Syndetics

CHOICE Review

Boime, an eminent scholar, here continues the broad ideological and iconographical study of European art after the Enlightenment begun in Art in the Age of Revolution, 1750-1800 (CH, Feb'88). This volume again presents an inclusive interdisciplinary approach but one that is also curiously conventional in its fundamental assumptions, with Napoleon the archetypal "man of genius" rather than the more profound process of industrialization governing the methodological organization. Equally, the wide compass of contents results in generalizations of varying conviction. Moreover the sociopolitical discussion itself requiring rather fuller economic and strategic analysis can seem to manipulate that of the art work and individual artist, a problem that is reflected in the relegation of the illustrative material to small and often obscure black-and-white plates. The comprehensiveness of the text is further limited by lack of reference to contemporary architecture and applied art. It is supported by economical endnotes and index, but lacks a bibliography. Nonetheless stimulating and informative, this volume will become a valuable resource for faculty and undergraduates.-R. W. Liscombe, University of British Columbia

Notas de autor provistas por Syndetics

Art historian Albert Boime was born in St. Louis, Missouri on March 17, 1933. After serving in the Army, he received a B.A. in art history from UCLA in 1961 and a M.A. and a Ph.D from Columbia University in 1963 and 1968, respectively. He taught at SUNY Stony Brook from 1968 to 1972, SUNY Binghamton from 1972 to 1978, and UCLA from 1979 to 2008. He wrote almost 20 books and numerous articles. He is best-known for his Social History of Modern Art series, which comprises of Art in an Age of Revolution, 1750-1800 (1987); Art in an Age of Bonapartism, 1800-1815 (1990); Art in an Age of Counterrevolution, 1815-1848 (2004); and Art in an Age of Civil Struggle, 1848-1871 (2007). He died of myelofibrosis, a bone marrow disorder, on October 18, 2008 at the age of 75.

(Bowker Author Biography)