Nineteenth-Century Art Worldwide: Autumn 2003

Gamboni | Gauguin's Genesis of a Picture

Paul Gauguin's Genesis of a Picture: A Painter's Manifesto and Self-Analysis
by Dario Gamboni
Paul Gauguin's "Genesis of a Picture," his explanation of Mana'o Tupapa'u, can be seen as a polemical intervention into the market of interpretations. But it is also an indirectly illuminating account of the creative process that it claims to describe.

Unwilling Moderns: The Nazarene Painters of the Nineteenth Century
by Lionel Gossman
Going back meant going forward beyond illusionism, not only to neoclassical artists at the turn of the 18th and 19th centuries but to the once admired and now almost forgotten Nazarene painters. The decline in their reputation raises questions about the influence of art history and the ideologies it embodies in determining how—and even if—works of art will be viewed.

Carolus-Duran, 1837-1917
Reviewed by William Hauptman

Constable to Delacroix: British Art and the French Romantics
Reviewed by William Hauptman

Drawn Toward the Avant-Garde: Nineteenth- and Twentieth-Century French Drawings from the Royal Museum of Fine Arts, Copenhagen
Reviewed by Cheryl K. Snay

J.W. Waterhouse by Peter Trippi
Reviewed by Kristi Holden

Menzel's Realism: Art and Embodiment in Nineteenth-Century Berlin by Michael Fried
Reviewed by Rachel Esner

Nineteenth-Century European Art by Petra ten-Doesschate Chu
Reviewed by Anthony Janson

Picturing Children: Constructions of Childhood Between Rousseau and Freud, ed. Marilyn R. Brown
Reviewed by David O'Brien

Rookwood and the Industry of Art: Women, Culture and Commerce, 1880-1913 by Nancy Owen
Reviewed by Elizabeth Fowler

Zola, historien et poète de la modernité
Reviewed by Isabelle Schaffner

		The "Atheism" of Jesus in Russian Art: Representations of Christ by Ivan Nikolevich Kramskoy, Vasily Polenov, and Nikolai Ghe by Walther K. Lang In the second half of the 19th century several Russian artists marked by the critical spirit of the Nihilist generation of the 1860s, as well as by contemporary Western criticism of religion, began to focus on an aspect of Christ traditionally neglected in orthodox painting—his manhood.

		"A New Formula for High Art": The Genesis and Reception of Marcello's Pythia by Caterina Pierre This article examines the criticism and acceptance of sculpture by female artists through an analysis of the history and development of Marcello's Pythia, an early Symbolist sculpture located, since 1875, inside Charles Garnier's Opéra.