Author: Christie's (New-York)Publisher:
ISBN:
Category :
Languages : en
Pages : 345
Book Description
19th Century European Art and Oriental Art
Author: Christie's (New-York)Publisher:
ISBN:
Category :
Languages : en
Pages : 345
Book Description
19th century European art
Author: Christie's S.K.19th Century European Art Incl. Oriental Works [Christie's, 2001].
![19th Century European Art Incl. Oriental Works [Christie's, 2001]. PDF](https://books.google.com/books/content/images/frontcover/pN95jwEACAAJ?fife=w80-h100)
Author: COLLECTING & PICTURING THE ORI
Author: Mei-Kin Maggie WongPublisher: Open Dissertation Press
ISBN: 9781374718630
Category : Art
Languages : en
Pages : 190
Book Description
This dissertation, "Collecting and Picturing the Orient: China's Impact on Nineteenth-century European Art" by Mei-kin, Maggie, Wong, 黃美堅, was obtained from The University of Hong Kong (Pokfulam, Hong Kong) and is being sold pursuant to Creative Commons: Attribution 3.0 Hong Kong License. The content of this dissertation has not been altered in any way. We have altered the formatting in order to facilitate the ease of printing and reading of the dissertation. All rights not granted by the above license are retained by the author. Abstract: Abstract of thesis entitled Collecting and Picturing the Orient: China's Impact on Nineteenth-Century European Art submitted by Wong Mei Kin, Maggie for the degree of Master of Philosophy at the University of Hong Kong in August 2003 In view of the overwhelming emphasis in art history on Japanese art and its influence on modern Western art, this research sets out to establish some of the contributions of Chinese art to the development of modern Western art. This issue will be examined on various levels, including political engagement among Britain, France, and China in the nineteenth century, the Western perception of China at that time, collecting practices, and the artistic engagement of the European avant-garde with Chinese art and culture. James McNeill Whistler, the great avant-garde artist who was then active in the British and French art scenes, has emerged in this research as a major focus because of his profound interest in collecting Chinese blue and white porcelain and his ability to translate the Eastern aesthetics derived from blue and white into his own works. Whistler's circle, including such artists as Dante Gabriel Rossetti and James Tissot, also forms part of this scrutiny. Chapter one sets out two goals. The first is to re-examine the two dominant Western interpretive models of Far Eastern cultural influence, i.e. Chinoiserie and Japonisme, and see how these two models obscure certain facts and create a gap in our understanding of China's influence while diminishing China's visibility in nineteenth-century British and French art. The second goal is to show how China was configured on various levels in nineteenth-century Britain and France, the two imperialist powers, as a way to reinforce their European identity. Chapter two deals with nineteenth-century collecting tastes in London and Paris, and the British and French perceptions of Chinese material culture. The relations between collectors and artists, and artists as collectors, are highlighted. Focusing especially on the activities of A.W. Franks, Henri Cernuschi, Theodore Duret, Emile Guimet, and Whistler, it shows that collecting China in the nineteenth century was closely connected with the development of museums, expedition, and Oriental warehouses. Chapter three tries to establish, through an analysis of Whistler and his circle, that the craze for Chinese blue and white was a key note of European engagement with Chinese aesthetic value, thereby creating a new aestheticism in Western modernist art. By analyzing Whistler's many depictions of blue and white porcelain and his occasional blending of Chinese and Japanese motifs, the chapter demonstrates Whistler's eclectic approach to receive and assimilate Far Eastern art. One of the ultimate purposes of this thesis is to critically re-examine the discourse of Orientalism and Japonisme, so as to emphasize the importance of cultural eclecticism in nineteenth-century art history. By singling out China's influence on nineteenth-century European art, this thesis aims to participate in the discussion of a well established discourse while opening up a new dimension for cross-cultural studies. DOI: 10.5353/th_b2954452 Subjects: Arts, Modern - 19th century - Great Britain Arts, Modern - 19th century - France Art, Chinese
China on Paper
Author: Marcia ReedPublisher: Getty Publications
ISBN: 1606060686
Category : Art
Languages : en
Pages : 250
Book Description
Published to accompany the exhibition held at the Getty Research Institute, Nov. 6, 2007 to Feb. 10, 2008.
Orientalism
Author: Edward W. SaidPublisher: Vintage
ISBN: 0804153868
Category : Social Science
Languages : en
Pages : 434
Book Description
A groundbreaking critique of the West's historical, cultural, and political perceptions of the East that is—three decades after its first publication—one of the most important books written about our divided world. "Intellectual history on a high order ... and very exciting." —The New York Times In this wide-ranging, intellectually vigorous study, Said traces the origins of "orientalism" to the centuries-long period during which Europe dominated the Middle and Near East and, from its position of power, defined "the orient" simply as "other than" the occident. This entrenched view continues to dominate western ideas and, because it does not allow the East to represent itself, prevents true understanding.
Southeast Asia in Ruins
Author: Sarah TiffinPublisher: NUS Press
ISBN: 9971698498
Category : Art
Languages : en
Pages : 42
Book Description
British artists and commentators in the late 18th and early 19th century encoded the twin aspirations of progress and power in images and descriptions of Southeast Asia’s ruined Hindu and Buddhist candi, pagodas, wats and monuments. To the British eye, images of the remains of past civilisations allowed, indeed stimulated, philosophical meditations on the rise and decline of entire empires. Ruins were witnesses to the fall, humbling and disturbingly prophetic prompts to speculation on imperial failure, and the remains of the Buddhist and Hindu monuments scattered across Southeast Asia proved no exception. This important study of a highly appealing but relatively neglected body of work adds multiple dimensions to the history of art and image production in Britain of the period, showing how the anxieties of empire were encoded in the genre of landscape paintings and prints.
Orientalism in Art
Author: Christine PeltrePublisher:
ISBN: 9780789204592
Category : Art, European
Languages : en
Pages : 0
Book Description
The romance and exoticism of the Orient, as captured by 19th-century European and American painters, are brought to life in this important volume. Nineteenth-century Europe was fascinated by the Orient. Napoleon's Egyptian campaign of 1798 initiated this phenomenon, and its history-the most notable episodes of which include the Greek uprising against the Turks in 1821 and the French taking of Algiers in 1830-was closely linked to changing attitudes toward the "Eastern question." Artists of the period, too, were captivated by these events, and the rich body of imagery they produced is the subject of this volume. Incorporating much recent research, author Christine Peltre's elegant text retraces Orientalism's artistic history, in which the French and British schools predominated. The "high poetry" of the Romantics' Orient, often inspired by Byron or Hugo, strove for dramatic effect, as the works of David Roberts, Alexandre-Gabriel Decamps, and Eugène Delacroix attest. A different brand of imagery was produced by the "ethnographic gaze" of the century's middle years, practiced by artists who visited the sites they represented, such as John Frederick Lewis, Eugène Fromentin, and Jean-Léon Gérôme, as well as by others who remained studio-bound, including J.-A.-D. Ingres and Adolphe Monticelli. Work of this kind was eventually superseded by a "third style,"a fusion of European and Eastern elements, as seen in the work of August Macke, Wassily Kandinsky, Paul Klee, and Henri Matisse. Witnesses to a history that they influenced in subtle ways through their imagery, the Orientalist painters also produced a history of their own, that of a spiritual and formal quest to find in the "East" the ideal of "primitive" purity. Illustrated with more than two hundred expertly selected Orientalist paintings and drawings, Orientalism in Art is an indispensable volume for art historians and anyone lured by the romance and exoticism of Orientalist art. AUTHOR Christine Peltre is professor of the history of contemporary art at the Université des Sciences Humaines in Strasbourg. The author of a book on the encounter of nineteenth-century European artists with Greece (Retour en Arcadie, 1997), she is also a specialist in Orientalism and has published widely on the subject (L'Atelier du voyage, 1995). ILLUSTRATIONS 220 illustrations
The Orient in Western Art
Author: Gérard-Georges LemairePublisher: Konemann
ISBN:
Category : Art
Languages : en
Pages : 370
Book Description
The oriental motif is a recurring theme in western painting. From the Renaissance with its awakening interest in ancient cultures and art to the 18th century with its Grand Tours and "Turkish fashion," the oriental theme has not only documented artists' travels to the East, but has projected the wishes, desires and imagination of the West. From ethnographic etchings to exaggerated displays of the sultans' splendor, this paradox of fact and fantasy culminated in the 19th century with the genre Orientalism. Napoleon's conquest of Egypt, European colonization, and archaeological excavations opened up the region to numerous artists such as Decamps. Delacroix, Fromentin, Ingres, Lear, and Hunt, whose most famous works express oriental imagery. The Orient in Western Art presents the emergence and development of an artistic motif accompanied by explanations of social and cultural history. Book jacket.
Author: