Throughout the nineteenth century, academies functioned as the main venues for the teaching, promotion, and display of art. Contemporary scholars have, for the most part, denigrated academic art, calling it formulaic, unoriginal, and repetitious. The contributors to Art and the Academy in the Nineteenth Century challenge this entrenched notion and consider how academies worldwide have represented an important system of artistic preservation and transmission. Their essays eschew easy binaries that have reigned in academia for more than half a century and that simply oppose the avant-garde to academicism.

Mining various archives and newspaper repositories, Elizabeth Robins Pennell, Nineteenth-Century Pioneer of Modern Art Criticism provides the first full-length study of a remarkable woman and heretofore neglected art critic. Pennell, a prolific 'New Art Critic', helped formulate and develop formalist methodology in Britain at the end of the nineteenth century, which she applied to her mostly anonymous or pseudonymous reviews published in numerous American and British newspapers and periodicals between 1883 and 1923. A bibliography of her art criticism is included as an appendix. In addition to advocating an advanced way in which to view art, Pennell used her platform to promote the work of ?new? artists, including ?ouard Manet and Edgar Degas, which had only recently been introduced to British audiences. In particular, Pennell championed the work of James McNeill Whistler for whom she, along with her husband, the artist Joseph Pennell, wrote a biography. Examination of her contributions to the late Victorian art world also highlights the pivotal role of criticism in the production and consumption of art in general, a point which is often ignored.

Repainting the work of another into one?s own canvas is a deliberate and often highly fraught act of reuse. This book examines the creation, display, and reception of such images. Artists working in nineteenth-century London were in a peculiar position: based in an imperial metropole, yet undervalued by their competitors in continental Europe. Many claimed that Britain had yet to produce a viable national school of art. Using pictures-within-pictures, British painters challenged these claims and asserted their role in an ongoing visual tradition. By transforming pre-existing works of art, they also asserted their own painterly abilities. Recognizing these statements provided viewers with pleasure, in the form of a witty visual puzzle solved, and with prestige, in the form of cultural knowledge demonstrated. At stake for both artist and audience in such exchanges was status: the status of the painter relative to other artists, and the status of the viewer relative to other audience members. By considering these issues, this book demonstrates a new approach to images of historic displays. Through examinations of works by J.M.W. Turner, John Everett Millais, John Scarlett Davis, Emma Brownlow King, and William Powell Frith, this book reveals how these small passages of paint conveyed both personal and national meanings.

A comprehensive review of art in the first truly modern century A Companion to Nineteenth-Century Art contains contributions from an international panel of noted experts to offer a broad overview of both national and transnational developments, as well as new and innovative investigations of individual art works, artists, and issues. The text puts to rest the skewed perception of nineteenth-century art as primarily Paris-centric by including major developments beyond the French borders. The contributors present a more holistic and nuanced understanding of the art world during this first modern century. In addition to highlighting particular national identities of artists, A Companion to Nineteenth-Century Art also puts the focus on other aspects of identity including individual, ethnic, gender, and religious. The text explores a wealth of relevant topics such as: the challenges the artists faced; how artists learned their craft and how they met clients; the circumstances that affected artist’s choices and the opportunities they encountered; and where the public and critics experienced art. This important text: Offers a comprehensive review of nineteenth-century art that covers the most pressing issues and significant artists of the era Covers a wealth of important topics such as: ethnic and gender identity, certain general trends in the nineteenth century, an overview of the art market during the period, and much more Presents novel and valuable insights into familiar works and their artists Written for students of art history and those studying the history of the nineteenth century, A Companion to Nineteenth-Century Art offers a comprehensive review of the first modern era art with contributions from noted experts in the field.

The mid-nineteenth century saw the introduction of publicly funded art education as an alternative to the established private institutions. Quinn explores the ways in which members of parliament applied Bentham’s utilitarian philosophy to questions of public taste.

This collection of essays provides a timely reassessment of nineteenth-century Islamic art and architecture. The essays demonstrate that the arts of that era were vibrant and diverse, making ingenious use of native traditions and materials or adopting imported conventions and new technologies. However, traditionalists, revivalists and modernists all referred in one way or another to an Islamic heritage, whether to reinvent, revive or reject it. Beginning with an historical introduction and an assessment of changing attitudes towards the visual arts the following essays provide case studies of architecture and art in Ottoman Turkey, Egypt, Morocco, sub-Saharan Africa, Iran, Central Asia, India and the Caribbean. They examine such issues as patronage, sources of artistic inspiration and responses to European art. The essays have a relevance and importance for our understanding of the societies and attitudes of that time, and have a direct bearing on the more general debate concerning cultural identity and the integration of modern ideas in the Muslim world. The book is richly illustrated with very many illustrations in black-and-white and in full colour.

Though known as the Danish Golden Age, nineteenth-century Denmark was one of the most tumultuous periods in the nation's history—from the disastrous siege of Copenhagen and the collapse of Denmark's monarchy to the swelling tide of nationalism that eventually engulfed all of Europe. This volume places artists at the center of Denmark's dramatic cultural, political, and philosophical transformation by bringing together 90 drawings, paintings, and oil sketches by Christoffer Wilhelm Eckersberg, Christen Købke, Constantin Hansen, Martinus Rørbye, Johan Thomas Lundbye, Vilhelm Hammershøi, and others. Five thematic essays by leading scholars in Denmark and the United States explore the way Danish artists manifested the pride, traditions, and anxieties of their nation; the sea's ever-changing role as a marker of Danish identity; the evolving nature of portraiture; nostalgia for the Danish landscape and folk traditions; and the influence on Danish artists of their travels throughout Europe.

Without question, the tache (blot, patch, stain) is a central and recurring motif in nineteenth-century modernist painting. Manet's and the Impressionists? rejection of academic finish produced a surface where the strokes of paint were presented directly, as patches or blots, then indirectly as legible signs. C?nne, Seurat, and Signac painted exclusively with patches or dots. Through a series of close readings, this book looks at the tache as one of the most important features in nineteenth-century modernism. The tache is a potential meeting point between text and image and a pure trace of the artist?s body. Even though each manifestation of tacheism generates its own specific cultural effects, this book represents the first time a scholar has looked at tacheism as a hidden continuum within modern art. With a methodological framework drawn from the semiotics of text and image, the author introduces a much-needed fine-tuning to the classic terms index, symbol, and icon. The concept of the tache as a ?crossing? of sign-types enables finer distinctions and observations than have been available thus far within the Peircean tradition. The ?sign-crossing? theory opens onto the whole terrain of interaction between visual art, art criticism, literature, philosophy, and psychology.

The nineteenth century is central to contemporary discussions of visual culture. This reader brings together key writings on the period, exploring such topics as photographs, exhibitions and advertising.