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Millet's
Milkmaids |
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by Nicholas Frankel
The formalist rhetoric in Owen Jones's The Grammar of Ornament—a seminal text in the dissemination of ideas about decoration—was fatally undermined by the chromolithographic medium used to print the book's color plates, as well as by the radical perceptual effects unleashed by this new and visually exciting print technology.
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| American Sublime:
Landscape Painting in the United States, 1820-1880 Reviewed by Janet Whitmore |
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| Beyond the Frame:
Feminism and Visual Culture, Britain, 1850-1900 by Deborah Cherry Reviewed by Colleen Denney |
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| Bodies
of Art, French Literary Realism, and the Artist's Model by Marie
Lathers Reviewed by Gabriel P. Weisberg |
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| The Emergence
of Jewish Artists in Nineteenth-Century Europe Reviewed by Janis Bergman-Carton |
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| La Belle
Époque de la Pub Reviewed by Gabriel P. Weisberg |
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| Against the Modern:
Dagnan-Bouveret and the Transformation of the Academic Tradition Reviewed by Michelle C. Montgomery |
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| The Modern Portrait
in Nineteenth-Century France by Heather McPherson Reviewed by Julie L'Enfant |
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| Thomas Eakins:
American Realist Reviewed by Alan C. Braddock |
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Anti-Catholicism
in Albert Bierstadt's Roman Fish Market, Arch of Octavius by Paul A. Manoguerra Albert Bierstadt's Roman Fish Market, Arch of Octavius (1858) depicts a Yankee tourist couple surrounded by poor Romans, yet the picture can be read as an allegory of the sentiment against Irish Catholic immigrants felt by its primarily Protestant, and decidedly elite, audiences in Boston. |
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Empress Eugénie's
Quest for a Napoleonic Mausoleum by Alison McQueen Empress Eugénie's determination to erect a mausoleum for Napoleon III and the Prince Imperial led her to Farnborough, England, where her patronage created the only significant monument to the French Second Empire. |
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The Rouillet Process
and Drawing Education in Mid-Nineteenth-Century France by Camilla Murgia Introduced in Paris in 1843, the drawing method of Amaranthe Rouillet (1810-1888) challenged longstanding attitudes about draftsmanship, visual experience, and the objectives of art education itself. |
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