This is a study of the relation between the fine arts and philosophy in France, from the aftermath of the 1789 revolution to the end of the nineteenth century, when a philosophy of being called “Monism” emerged and became increasingly popular among intellectuals, artists and scientists. Nina Athanassoglou-Kallmyer traces the evolution and impact of this monist thought and its various permutations as a transformative force on certain aspects of French art and culture – from Romanticism to Impressionism – and as a theoretical backdrop that paved the way to as yet unexplored aspects of a modernist aesthetic. Chapters concentrate on three major artists, Théodore Géricault (1791–1824), Eugène Delacroix (1798–1863) and Claude Monet (1840–1926), and their particular approach to and interpretation of this unitarian concept. The book will be of interest to scholars working in art history, philosophy and cultural history.
The Greek struggle against Ottoman rule was a crucial event in the history and politics of nineteenth-century Europe. In particular it had a strong impact on the political and cultural life of France during the Bourbon Restoration, where it was appropriated and promoted as the symbolic spearhead of liberal ideas and of the growing Romantic rebellion. This book by Nina Athanassoglou-Kallmyer examines the French paintings, prints, and sculptures inspired by the Greek War of Independence. Athanassoglou-Kallmyer reinterprets important works by the foremost exponents of the Romantic movement - including Delacroix, Gericault, Horace Vernet, Ary Scheffer, and David d’Angers - showing how they viewed the Greek struggle as a setting for the opposing forces of conservatism and liberalism. She explains that, far from being mere pictorial records of specific war episodes such as the massacre at Chios or the fall of Missolonghi, images of the clashes between Greeks and Turks reflected the mottos and arguments of the French liberal propaganda echoed as well by contemporary newspapers, parliamentary debates, broadsides, pamphlets, popular plays, and poems.
Discusses painter Paul Cézanne's 1886 departure from Paris to his native city, Aix-en-Provence, arguing that it was related to French regionalist politics of the time, and shows how the move affected his art.
The Greek struggle against Ottoman rule was a crucial event in the history and politics of nineteenth-century Europe. In particular it had a strong impact on the political and cultural life of France during the Bourbon Restoration, where it was appropriated and promoted as the symbolic spearhead of liberal ideas and of the growing Romantic rebellion. This book by Nina Athanassoglou-Kallmyer examines the French paintings, prints, and sculptures inspired by the Greek War of Independence. Athanassoglou-Kallmyer reinterprets important works by the foremost exponents of the Romantic movement - including Delacroix, Gericault, Horace Vernet, Ary Scheffer, and David d’Angers - showing how they viewed the Greek struggle as a setting for the opposing forces of conservatism and liberalism. She explains that, far from being mere pictorial records of specific war episodes such as the massacre at Chios or the fall of Missolonghi, images of the clashes between Greeks and Turks reflected the mottos and arguments of the French liberal propaganda echoed as well by contemporary newspapers, parliamentary debates, broadsides, pamphlets, popular plays, and poems.
Discusses painter Paul Cézanne's 1886 departure from Paris to his native city, Aix-en-Provence, arguing that it was related to French regionalist politics of the time, and shows how the move affected his art.
This is a study of the relation between the fine arts and philosophy in France, from the aftermath of the 1789 revolution to the end of the nineteenth century, when a philosophy of being called “Monism” emerged and became increasingly popular among intellectuals, artists and scientists. Nina Athanassoglou-Kallmyer traces the evolution and impact of this monist thought and its various permutations as a transformative force on certain aspects of French art and culture – from Romanticism to Impressionism – and as a theoretical backdrop that paved the way to as yet unexplored aspects of a modernist aesthetic. Chapters concentrate on three major artists, Théodore Géricault (1791–1824), Eugène Delacroix (1798–1863) and Claude Monet (1840–1926), and their particular approach to and interpretation of this unitarian concept. The book will be of interest to scholars working in art history, philosophy and cultural history.
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