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This collection examines the development of art criticism across Russia and Western Europe in the eighteenth and nineteenth centuries. Art criticism articulated local ideas about functions of art but, more importantly, it also became one of the most responsive fields in which a larger, transnational European exchange of ideas about the role of critical discourse could take place. Art criticism of this period was also rich in rhetorical strategies and textual diversity.
International contributors to this volume, who include art historians, cultural historians, and specialists in critical and philosophical discourse, examine the emergence of art critical discourse in a variety of cultural and geo-political contexts.
Sommario
Contents: Carol Adlam/Juliet Simpson: Introduction. Critical Exchanges: Artwriting in Eighteenth- and Nineteenth-Century Europe - Andy Hamilton: Criticism, Connoisseurship and Appreciation - Katerina Deligiorgi: The Convergence of Ethics and Aesthetics: Schiller's Concept of the 'Naive' and Objects of Distant Antiquity - Richard Wrigley: Sense of Place in Eighteenth-Century Salon Criticism - Juliet Simpson: Relative Values? Ideas of 'Real' and 'Symbolic' Worth in Fin-de-Siècle French Art Criticism - Aaron J. Cohen: Profession or Politics? Modernism and the Rhetoric of Art Criticism in Late Imperial Russia, 1898-1917 - Claudia Mattos: The Torchlight Visit: Guiding the Eye through Late Eighteenth and Early Nineteenth-Century Antique Sculpture Galleries - Debbie Challis: Charles Newton and the British Museum: Articulating a Science of Ancient Art in the Nineteenth Century - Meaghan Clarke: Translating nudus: Modernity and the British Academy's New Clothes - Marijke Jonker: La Font de Saint-Yenne: Jansenism and the Beginnings of Independent Art Criticism in France - Alexey Makhrov: Defining Art Criticism in Nineteenth-Century Russia: Vladimir Stasov as Independent Critic - Elizabeth Kridl Valkenier: Ilia Repin and His Critics - Antonia Napp: Johann Buhle's Zhurnal iziashchnykh iskusstv: The German Source of Russian Art Criticism - Rosalind P. Blakesley: Emile Zola's Art Criticism in Russia - Ilia Dorontchenkov: Between Isolation and Drang nach Westen: Russian Criticism and Modern Western Art around 1900 - Emma Minns: 'New, Strange, and Beautiful to English Eyes': British Reviews of Representations of Russia at the Beginning of the Twentieth Century - Yves Landerouin: Ruskin, Whistler, Wilde, Proust: The Dispute about Creative Criticism - Helen Bridge: Rilke's Neue Gedichte and the Visual Arts.
Info autore
The Editors: Carol Adlam is Senior Lecturer in Russian at the University of Exeter. She is a specialist in nineteenth-century Russian art history, and late twentieth-century Russian literature and critical theory.
Juliet Simpson is Professor of Art History and Visual Culture at the School of Arts and Media, Buckinghamshire New University. She is a specialist in nineteenth-century and early twentieth-century French art history, visual culture and art criticism.
Relazione
«With its Franco-Russian polarity, this adventurous collection opens perspectives in nineteenth-century art criticism, provoking challenging ideas about nineteenth-century art writing across languages, economics and polemic.» (Richard Thomson, Watson Gordon Professor of Fine Art, University of Edinburgh)
