Nineteenth-Century European Art - Chu Ph.D., Petra Ten-Doesschate Review & Synopsis

 Synopsis

This survey explores the history of nineteenth-century European art and visual culture. Focusing primarily on painting and sculpture, it places these two art forms within the larger context of visual culture-including photography, graphic design, architecture, and decorative arts. In turn, all are treated within a broad historical framework to show the connections between visual cultural production and the political, social, and economic order of the time. Topics covered include The Classical Paradigm, Art and Revolutionary Propaganda In France, The Arts under Napoleon and Francisco Goya and Spanish Art at the Turn of the Eighteenth Century. For art enthusiasts, or anyone who wants to learn more about Art History.

Review

 From artists Goya to Monet and Friedrich to Munch, and From the French Revolution to the Industrial Revolution and beyond, author Petra ten-Doesschate Chu charts the fascinating story of nineteenth-century European art and the driving forces that shaped it. The notion of Modernism as the depiction of contemporary life comes to full flower in the nineteenth century, an idea heralded by the painter Gustave Courbet and championed by the Impressionists. Beginning with the painter Edouard Manet another notion of Modernism emerges-one that celebrates surface and texture, signaling a deliberate shift from art aimed at the imitation of nature, and in turn leading to the work of C�zanne and later to twentieth-century abstraction. These and other exciting developments in nineteenth-century European art did not abruptly appear in 1800, but were tied to specific historical events and cultural and artistic trends from about 1760, which the author cogently introduces in the first several chapters of the book. 

 

 Alongside the story of Modernism, the author discusses several supporting factors in the history of nineteenth-century European art-the changing relationship between artist and audience; the exposure of European artists to non-Western art due to expanding trade and travel; the impact of new technologies, such as the use of glass and iron in architecture; and changing attitudes about the depiction of nature as influenced by industrialization, ideas about so-called "primitive" cultures and "exotic" lands, and discoveries and developments in the natural sciences (e.g., Darwinism). 

 

 References to individual artists' lives enrich the student's understanding of the art, as do sidebars that focus on specific works, techniques, or historical circumstances. The student's appreciation of the period is further enhanced by the author's broad coverage of visual culture, including painting, sculpture, architecture, the decorative arts, and the burgeoning fields of photography and graphic design. A timeline, glossary, and extensive bibliography, listing not only books but also films related to the period, complete this major achievement. 

Petra ten-Doesschate Chuis a leading authority on nineteenth-century art. She is a professor in the Department of Art and Music at SetonHallUniversity, and author of many articles and book essays. Managing Editor of Nineteenth-Century Art Worldwide, she is also President of the Association of Historians of Nineteenth-Century Art. Chuis the recipient of numerous awards and scholarships, including two National Endowment for the Humanities Research grants, a Jane and Morgan Whitney Art History Fellowship, and a John Simon Guggenheim Memorial Fellowship. Her other books include French Realism and the Dutch Masters and Courbet in Perspective

Qing Encounters

Qing Encounters: Artistic Exchanges between China and the West examines how the contact between China and Europe in the eighteenth and early nineteenth centuries transformed the arts on both sides of the East-West divide. The essays in the volume reveal the extent to which images, artifacts, and natural specimens were traded and copied, and how these materials inflected both cultures’ visions of novelty and pleasure, battle and power, and ways of seeing and representing. Artists and craftspeople on both continents borrowed and adapted forms, techniques, and modes of representation, producing deliberate, meaningful, and complex new creations. By considering this reciprocity from both Eastern and Western perspectives, Qing Encounters offers a new and nuanced understanding of this critical period.

Artistic Exchanges between China and the West Petra ten - Doesschate Chu , Ning Ding ... Her textbook Nineteenth - Century European Art is widely used around the world and has recently been translated into Chinese (Peking University Press)."

Twenty-first-century Perspectives on Nineteenth-century Art

Presents an interdisciplinary and inclusive view of nineteenth-century art, observed from the vantage point of the twenty-first century. This book covers topics, which span the historical gamut from eighteenth-century influences to the roots of twentieth-century modernism, considering along the way such themes as the depiction of women.

Essays in Honor of Gabriel P. Weisberg Petra ten - Doesschate Chu , Laurinda S. Dixon ... He is the author of a catalog raisonné of Charles Gleyre (1996) and has just completed an exhibition of late nineteenth - century Belgian painting ."

National Identity and Nineteenth-Century Franco-Belgian Sculpture

This book elaborates on the social and cultural phenomenon of national schools during the nineteenth century, via the less studied field of sculpture and using Belgium as a case study. The role, importance of, and emphasis on certain aspects of national identity evolved throughout the century, while a diverse array of criteria were indicated by commissioners, art critics, or artists that supposedly constituted a "national sculpture." By confronting the role and impact of the four most crucial actors within the artistic field (politics, education, exhibitions, public commissions) with a linear timeframe, this book offers a chronological as well as a thematic approach. Artists covered include Guillaume Geefs, Eugène Simonis, Charles Van der Stappen, Julien Dillens, Paul Devigne, Constantin Meunier, and George Minne.

Minne and Meunier are also most often incorporated in the scholarly enchiridions on nineteenth - century art . For instance, Meunier in Petra Ten Doesschate Chu , Nineteenth - Century European Art (Prentice Hall, 2006), 455–456; ..."

Montmartre and the Making of Mass Culture

Located on the fringes of Paris, Montmartre attracted artists such as Toulouse-Lautrec, Picasso, Steinlen, and Jules Chéret. By the beginning of the twentieth century, the artists in the quarter began to create works blurring the boundaries between fine art and popular illustration, the artist and the audience, as well as class and gender distinctions. The creative expression that ensued was an exuberant mix of high and low-a breeding ground for what is today termed popular culture. The carefully interlocked essays in Montmartre and the Making of Mass Culture demonstrate how and why this quarter was at the forefront of such innovation. The contributors bring an unprecedented range of approaches to the topic, from political and religious history to art historical investigations and literary analysis of texts. This project is the first of its kind to examine fully Montmartre's many contributions to the creation of a mass culture that reigned supreme in the twentieth century.

She received her Ph . D . in nineteenth - and early twentieth - century European art from the University of Minnesota . ... of Images : Visual Culture under the July Monarchy , edited by Petra ten Doesschate Chu and Gabriel Weisberg ."

"Women, Femininity and Public Space in European Visual Culture, 1789?914 "

Focusing on images of or produced by well-to-do nineteenth-century European women, this volume explores genteel femininity as resistant to easy codification vis-?is the public. Attending to various iterations of the public as space, sphere and discourse, sixteen essays challenge the false binary construct that has held the public as the sole preserve of prosperous men. By contrast, the essays collected in Women, Femininity and Public Space in European Visual Culture, 1789-1914 demonstrate that definitions of both femininity and the public were mutually defining and constantly shifting. In examining the relationship between affluent women, femininity and the public, the essays gathered here consider works by an array of artists that includes canonical ones such as Mary Cassatt and Fran?s G?rd as well as understudied women artists including Louise Abb? and Broncia Koller. The essays also consider works in a range of media from fashion prints and paintings to private journals and architectural designs, facilitating an analysis of femininity in public across the cultural production of the period. Various European centers, including Madrid, Florence, Paris, Brittany, Berlin and London, emerge as crucial sites of production for genteel femininity, providing a long-overdue rethinking of modern femininity in the public sphere.

Qtd. in Linda Nochlin ( ed .), Realism and Tradition in Art 1848–1900 (Englewood Cliffs, NJ: PrenticeHall, 1966), 41. ... 11 Petra ten - Doesschate Chu , The Most Arrogant Man in France: Gustave Courbet and the NineteenthCentury Media ..."

Unruly Nature

Théodore Rousseau (1812–1867), arguably the most important French landscape artist of the mid-nineteenth century and a leader of the so-called Barbizon School, occupies a crucial moment of transition from the idealizing effects of academic painting to the radically modern vision of the Impressionists. He was an experimental artist who rejected the traditional historical, biblical, or literary subject matter in favor of “unruly nature,” a Romantic naturalism that confounded his contemporaries with its “bizarre” compositional and coloristic innovations. Lavishly illustrated and thoroughly documented, this volume includes five essays by experts in the field. Scott Allan and Édouard Kopp alternately examine Rousseau’s diverse techniques and working procedures as a painter and as a draftsman, as well as his art’s mixed economic and critical fortunes on the art market and at the Salon. Line Clausen Pedersen’s essay focuses on Mont Blanc Seen from La Faucille, Storm Effect, an early touchstone for the artist and a spectacular example of the Romantic sublime in the Ny Carlsberg Glyptotek’s collection. This catalogue accompanies an eponymous exhibition on view at the J. Paul Getty Museum from June 21 to September 11, 2016, and at the Ny Carlsberg Glyptotek from October 13, 2016, to January 8, 2017.

“Rue Laffitte: Looking at and Buying Contemporary Art in Mid- Nineteenth - Century Paris. ... Christie's 2007 19th - Century European Art : Including Spanish and Orientalist Art . Auction catalogue. ... Chu 1974 Chu , Petra Ten - Doesschate ."

Art Markets, Agents and Collectors

Art Markets, Agents and Collectors brings together a wide variety of case studies, based on letters and detailed archival research, which nuance the history of the art market and the role of the collector within it. Using diaries, account books and other archival sources, the contributions to this volume show how agents set up networks and acquired works of art, often developing the taste and knowledge of the collectors for whom they were working. They are therefore seen as important actors in the market, having a specific role that separates them from auctioneers, dealers, museum curators or amateurs, while at the same time acknowledging and analyzing the dual positions that many held. Each chronological period is introduced by a contextual essay, written by a leading expert in the field, which sets out the art market in the period concerned and the ways in which agents functioned. This book is an invaluable tool for those needing a broader introduction to the intricate workings of the art market.

Collecting Strategies in Europe and the United States, 1550-1950 Adriana Turpin, Susan Bracken ... 187 ff; Petra ten Doesschate - Chu , The Most Arrogant Man in France: Gustave Courbet and the Nineteenth - Century Media Culture (Princeton, ..."

Women, Femininity and Public Space in European Visual Culture, 1789–1914

Focusing on images of or produced by nineteenth-century European women, this volume explores genteel femininity as resistant to easy codification vis-à-vis the public. Attending to various iterations of the public as space, sphere and discourse, sixteen essays challenge the false binary construct that has held the public as the sole preserve of prosperous men. By considering works in a range of media by an array of canonical and understudied women artists, they demonstrate that definitions of both femininity and the public were mutually defining and constantly shifting.

3 Judith Wechsler, A Human Comedy: Physiognomy and Caricature in NineteenthCentury Paris (Chicago: University of Chicago ... Petra ten - Doesschate Chu , The Most Arrogant Man in France: Gustave Courbet and the Nineteenth - Century Media ..."

"Framing the Ocean, 1700 to the Present "

Before the eighteenth century, the ocean was regarded as a repulsive and chaotic deep. Despite reinvention as a zone of wonder and pleasure, it continued to be viewed in the West and elsewhere as ?uninhabited?, empty space. This collection, spanning the eighteenth century to the present, recasts the ocean as ?social space?, with particular reference to visual representations. Part I focuses on mappings and crossings, showing how the ocean may function as a liminal space between places and cultures but also connects and imbricates them. Part II considers ships as microcosmic societies, shaped for example by the purpose of the voyage, the mores of shipboard life, and cross-cultural encounters. Part III analyses narratives accreted to wrecks and rafts, what has sunk or floats perilously, and discusses attempts to recuperate plastic flotsam. Part IV plumbs ocean depths to consider how underwater creatures have been depicted in relation to emergent disciplines of natural history and museology, how mermaids have been reimagined as a metaphor of feminist transformation, and how the symbolism of coral is deployed by contemporary artists. This engaging and erudite volume will interest a range of scholars in humanities and social sciences, including art and cultural historians, cultural geographers, and historians of empire, travel, and tourism.

In Twenty-First-Century Perspectives on Nineteenth - Century Art : Essays in Honor of Gabriel P. Weisberg, edited by Petra ten - Doesschate Chu and Laurinda S. Dixon, 29–38. Newark DE: University of Delaware Press. ——. ( ed .). 2000."

A Companion to Nineteenth-Century Art

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.

... Editions d ' art Albert Skira. Cachin, Françoise, Charles S. Moffett, and Michel Melot. 1983. Manet, 1832–1883. New York: The Metropolitan Museum of Art /Harry N. Abrams. Chu , Petra ten ‐ Doesschate . 2012. Nineteenth ‐ Century European Art ..."

At the Source

In 2016, a landscape painting of the source of the Lison river in France was discovered at the University of Pennsylvania and was immediately suspected of being the work of Gustave Courbet. A lengthy authentication process began in 2018 and the landscape has since been confirmed as his. This new discovery sparked an exhibition showcasing the infamous painter's modern landscape practice. Titled At the Source: A Courbet Landscape Rediscovered, the exhibition is presented at the University of Pennsylvania's Arthur Ross Gallery from February 4 to May 28, 2023. Focusing on the motifs of grottos and waterfalls in his art of the 1850s and 1860s, it highlights the rediscovered Courbet painting, not shown in public for close to 100 years, and emphasizes the process of authenticating and conserving this historic work. Gustave Courbet (1819-1877) was a French painter who led the Realism movement of the mid nineteenth-century. Committed to painting only what he could see, he rejected academic conventions and the Romanticism of the previous generation of artists. Courbet's paintings of the late 1840s and early 1850s brought him his first recognition. They challenged tradition by depicting unidealized peasants and workers, often on a grand scale previously reserved for paintings of religious or historical subjects. Courbet's subsequent paintings offer a wide range of genres and broadened the political character of his art: landscapes, seascapes, hunting scenes, nudes, and still lifes. This heavily illustrated catalog brings together essays by leading Courbet scholars, including Petra ten-Doesschate Chu, Aruna D'Souza, Paul Galvez, and Mary Morton, and situates Courbet's modern landscapes within the genre of nineteenth-century plein-air painting. Contextualizing the newly discovered work in relation to other visual depictions of the site, the catalog reproduces postcards and maps as well as the few other versions of the Source of the Lison that Courbet painted, including other related subjects. The essays draw connections between Courbet's paintings and his political activism, his interests in geology and environmentalism, and his engagement with issues of gender.

In 2016, a landscape painting of the source of the Lison river in France was discovered at the University of Pennsylvania and was immediately suspected of being the work of Gustave Courbet."

Masterpieces of European Painting, 1800-1920, in the Metropolitan Museum of Art

12; Gabriel P. Weisberg, Petra ten - Doesschate Chu et al., The Realist Tradition: French Painting and Drawing, ... 69; Frances Weitzenhoffer, The Creation of the Havemeyer Collection, 7875-7900, Ph . D . diss., City University of New York, ..."

The Europeans

From the “master of historical narrative” (Financial Times), a dazzling, richly detailed, panoramic work—the first to document the genesis of a continent-wide European culture. The nineteenth century in Europe was a time of unprecedented artistic achievement. It was also the first age of cultural globalization—an epoch when mass communications and high-speed rail travel brought Europe together, overcoming the barriers of nationalism and facilitating the development of a truly European canon of artistic, musical, and literary works. By 1900, the same books were being read across the continent, the same paintings reproduced, the same music played in homes and heard in concert halls, the same operas performed in all the major theatres. Drawing from a wealth of documents, letters, and other archival materials, acclaimed historian Orlando Figes examines the interplay of money and art that made this unification possible. At the center of the book is a poignant love triangle: the Russian writer Ivan Turgenev; the Spanish prima donna Pauline Viardot, with whom Turgenev had a long and intimate relationship; and her husband Louis Viardot, an art critic, theater manager, and republican activist. Together, Turgenev and the Viardots acted as a kind of European cultural exchange—they either knew or crossed paths with Delacroix, Berlioz, Chopin, Brahms, Liszt, the Schumanns, Hugo, Flaubert, Dickens, and Dostoyevsky, among many other towering figures. As Figes observes, nearly all of civilization’s great advances have come during periods of heightened cosmopolitanism—when people, ideas, and artistic creations circulate freely between nations. Vivid and insightful, The Europeans shows how such cosmopolitan ferment shaped artistic traditions that came to dominate world culture.

Nicholas Green, The Spectacle of Nature: Landscape and Bourgeois Culture in Nineteenth - Century France (Manchester, 1990), pp. 118–19; Jones et al., In the Forest of Fontainebleau, pp. 21–3. 125. Petra ten - Doesschate Chu ( ed . and trans.) ..."

Gardner's Art through the Ages: A Global History, Volume II

Want to learn Art History the creative way? GARDNER'S ART THROUGH THE AGES: A GLOBAL HISTORY, VOLUME II, 16th Edition, is the unique resource for you! Exploring pivotal artistic works from the Stone Age to the modern era, readers have trusted the expertise in this text for more than 85 years. Even better, the learning features make art history as colorful as the images on the page. Use the Scale feature to imagine art works in their true size. Use the ebook to zoom in on fine image details like brush strokes just as the artists saw them. Use Google Earth coordinates to find the location of famous works of art in their homelands. Much more than an ordinary text, this resource combines scholarship and storytelling with YouTube playlists, videos, flashcards, how-to writing resources, quizzing and other features that bring art history into focus and inspire success in your course. Important Notice: Media content referenced within the product description or the product text may not be available in the ebook version.

Chipp , Herschel B. Theories of Modern Art . Berkeley : University of California Press , 1968 . Chu , Petra ten - Doesschate . Nineteenth - Century European Art . 3d ed . Upper Saddle River , N.J .: Prentice Hall , 2011 ."

"Exhibiting Outside the Academy, Salon and Biennial, 1775-1999 "

In recent years, there has been increasing scholarly interest in the history of museums, academies and major exhibitions. There has been, however, little to no sustained interest in the histories of alternative exhibitions (single artwork, solo artist, artist-mounted, entrepreneurial, privately funded, ephemeral, etc.) with the notable exception of those publications that deal with situations involving major artists or those who would become so - for example J.L. David?s exhibition of Intervention of the Sabine Women (1799) and The First Impressionist Exhibition of 1874 - despite the fact that these sorts of exhibitions and critical scholarship about them have become commonplace (and no less important) in the contemporary art world. The present volume uses and contextualizes eleven case studies to advance some overarching themes and commonalities among alternative exhibitions in the long modern period from the late-eighteenth to the late-twentieth centuries and beyond. These include the issue of control in the interrelation and elision of the roles of artist and curator, and the relationship of such alternative exhibitions to the dominant modes, structures of display and cultural ideology.

Instead of the usual process of European /American curators 'discovering' African art and artists, Adéagbo curates, ... 7 See Petra ten - Doesschate Chu , The Most Arrogant Man in France: Gustave Courbet and the Nineteenth - Century Media ..."

Gardner's Art through the Ages: A Concise Global History

GARDNER'S ART THROUGH THE AGES: A CONCISE GLOBAL HISTORY, 4th Edition provides you with a comprehensive, beautifully illustrated tour of the world's great artistic traditions, and, with MindTap, all of the online study tools you need to excel in your art history course! Easy to read and understand, the fourth edition includes new artists and provides a rich cultural backdrop for each of the covered periods and geographical locations. Important Notice: Media content referenced within the product description or the product text may not be available in the ebook version.

CHAPTER 6 Early Medieval and Romanesque Europe Ashley , Kathleen , and Marilyn Deegan . Being a ... Nees , Lawrence J. Early Medieval Art . New York : Oxford University Press , 2002 . ... Stained Glass from its Origins to the Present ."

Gardner's Art through the Ages: A Concise Western History

GARDNER'S ART THROUGH THE AGES: A CONCISE WESTERN HISTORY has been written from the ground up to create a one-semester, student-friendly introduction to art history while retaining the impeccable reliability and scholarship of Gardner's Art through the Ages. This beautifully illustrated fourth edition has been updated to make it easier than ever for students to master the material. Important Notice: Media content referenced within the product description or the product text may not be available in the ebook version.

chaPter 6 Early Medieval and Romanesque Europe Ashley, Kathleen, and Marilyn Deegan. ... Nees , Lawrence J. Early Medieval Art . New York: Oxford University Press, 2002. ... Sienese Painting : From Its Origins to the Fifteenth Century."

Is Paris Still the Capital of the Nineteenth Century?

"Is Paris Still the Capital of the Nineteenth Century?" The question that guides this volume stems from Walter Benjamin's studies of nineteenth-century Parisian culture as the apex of capitalist aesthetics. Thirteen scholars test Benjamin's ideas about the centrality of Paris, formulated in the 1930s, from a variety of methodological perspectives. Many investigate the underpinnings of the French capital's reputation and mythic force, which was based largely upon the city's capacity to put itself on display. Some of the authors reassess the famed centrality of Paris from the vantage point of our globalized twenty-first century by acknowledging its entanglements with South Africa, Turkey, Japan, and the United States. The volume equally studies a broader range of media than Benjamin did himself: from modernist painting and printmaking, photography, and illustration to urban planning. The essays conclude that Paris did in many ways function as the epicenter of modernity's international reach, especially in the years from 1850 to 1900, but did so only as a consequence of the idiosyncratic force of its mythic image. Above all, the essays affirm that the study of late nineteenth-century Paris still requires nimble and innovative approaches commensurate with its legend and global aura.

 Chu , Petra ten - Doesschate , The Most Arrogant Man in France: Gustave Courbet and the Nineteenth - Century Media Culture (Princeton, NJ: Princeton University Press, 2007). Clark, T. J. The Painting of Modern Life: Paris in the Art of Manet ..."

"Elizabeth Robins Pennell, Nineteenth-Century Pioneer of Modern Art Criticism "

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.

1880–1892, unpublished doctoral thesis, Oxford University, 1983. Bevir, Mark. ... Brown, Marilyn R. Gypsies and Other Bohemians: The Myth of the Artist in NineteenthCentury France. ... Chu , Petra ten - Doesschate ."

Reframing Japonisme

Japonisme, the nineteenth-century fascination for Japanese art, has generated an enormous body of scholarship since the beginning of the twenty-first century, but most of it neglects the women who acquired objects from the Far East and sold them to clients or displayed them in their homes before bequeathing them to museums. The stories of women shopkeepers, collectors, and artists rarely appear in memoirs left by those associated with the japoniste movement. This volume brings to light the culturally important, yet largely forgotten activities of women such as Clémence d'Ennery (1823\u00961898), who began collecting Japanese and Chinese chimeras in the 1840s, built and decorated a house for them in the 1870s, and bequeathed the \u0093Musée d'Ennery\u0094 to the state as a free public museum in 1893. A friend of the Goncourt brothers and a fifty-year patron of Parisian dealers of Asian art, d'Ennery's struggles to gain recognition as a collector and curator serve as a lens through which to examine the collecting and display practices of other women of her day. Travelers to Japan such as the Duchesse de Persigny, Isabella Stewart Gardner, and Laure Durand- Fardel returned with souvenirs that they shared with friends and family. Salon hostesses including Juliette Adam, Louise Cahen d'Anvers, Princesse Mathilde, and Marguerite Charpentier provided venues for the discussion and examination of Japanese art objects, as did well-known art dealers Madame Desoye, Madame Malinet, Madame Hatty, and Madame Langweil. Writers, actresses, and artists-Judith Gautier, Thérèse Bentzon, Sarah Bernhardt, and Mary Cassatt, to name just a few- took inspiration from the Japanese material in circulation to create their own unique works of art. Largely absent from the history of Japonisme, these women-and many others-actively collected Japanese art, interacted with auction houses and art dealers, and formed collections now at the heart of museums such as the Louvre, the Musée Guimet, the Musée Cernuschi, the Musée Unterlinden, and the Metropolitan Museum of Art.

Women and the Asian Art Market in Nineteenth - Century France, 1853–1914 Elizabeth Emery. Alexandre, Arsène. 1913. “Fin d 'un rêve ... In Women Artists in Paris: 1850–1900, ed . ... Petra ten - Doesschate Chu and Laurinda S. Dixon, 162–70."

"Marketing Art in the British Isles, 1700 to the Present "

A cultural history of the first truly modern art market, Marketing Art in the British Isles, 1700 to the Present furthers the burgeoning exploration of Britain's struggle to carve a niche for itself on the international art scene. Bringing together scholars from the UK, US, Europe, and Asia, this collection sheds new light on such crucial notions as the internationalization of the art market; the emergence of an increasingly complex exhibition culture; issues of national rivalry and emulation; artists' individual and collective strategies for their own promotion and survival; the persistent anti-commercialism of an elite group of art lovers and critics and accusations of philistinism levelled at the middle classes; as well as an unquestionable native British genius at reconciling jarring discourses. Essays explore the unresolved tension between artistic aspirations and commercial interest - a tension that has come to shape Britain's national artistic tradition - from the perspectives of artists, dealers and (super-) collectors, and the upwardly mobile middle classes whose consumerism gave rise to the British art market as it is known today. Specific case studies include Whistler, Roger Fry, Damien Hirst, and Charles Saatchi; essays consider art markets from London and Manchester to Paris and Flanders.

Christie, Christopher, The British Country House in the Eighteenth Century (Manchester: Manchester University Press, 2000). Chu , Petra ten - Doesschate , 'The lu(c)re of London: French artists and art dealers in the British capital, ..."

George Inness and the Science of Landscape

George Inness (1825-94), long considered one of America's greatest landscape painters, has yet to receive his full due from scholars and critics. A complicated artist and thinker, Inness painted stunningly beautiful, evocative views of the American countryside. Less interested in representing the details of a particular place than in rendering the "subjective mystery of nature," Inness believed that capturing the spirit or essence of a natural scene could point to a reality beyond the physical or, as Inness put it, "the reality of the unseen." Throughout his career, Inness struggled to make visible what was invisible to the human eye by combining a deep interest in nineteenth-century scientific inquiry—including optics, psychology, physiology, and mathematics—with an idiosyncratic brand of mysticism. Rachael Ziady DeLue's George Inness and the Science of Landscape—the first in-depth examination of Inness's career to appear in several decades—demonstrates how the artistic, spiritual, and scientific aspects of Inness's art found expression in his masterful landscapes. In fact, Inness's practice was not merely shaped by his preoccupation with the nature and limits of human perception; he conceived of his labor as a science in its own right. This lavishly illustrated work reveals Inness as profoundly invested in the science and philosophy of his time and illuminates the complex manner in which the fields of art and science intersected in nineteenth-century America. Long-awaited, this reevaluation of one of the major figures of nineteenth-century American art will prove to be a seminal text in the fields of art history and American studies.

For further discussion of Lecoq, see Petra ten - Doesschate Chu , “Lecoq de Boisbaudran and Memory Drawing: A Teaching ... Expressive Interior in Nineteenth - Century Realist Painting ” ( Ph . D . diss., University of Pennsylvania, 1989), chap."

"Travel, Collecting, and Museums of Asian Art in Nineteenth-Century Paris "

Travel, Collecting, and Museums of Asian Art in Nineteenth-Century Paris examines a history of contact between modern Europe and East Asia through three collectors: Henri Cernuschi, Emile Guimet, and Edmond de Goncourt. Drawing on a wealth of material including European travelogues of the East and Asian reports of the West, Ting Chang explores the politics of mobility and cross-cultural encounter in the nineteenth century. This book takes a new approach to museum studies and institutional critique by highlighting what is missing from the existing scholarship -- the foreign labors, social relations, and somatic experiences of travel that are constitutive of museums yet left out of their histories. The author explores how global trade and monetary theory shaped Cernuschi's collection of archaic Chinese bronze. Exchange systems, both material and immaterial, determined Guimet's museum of religious objects and Goncourt's private collection of Asian art. Bronze, porcelain, and prints articulated the shifting relations and frameworks of understanding between France, Japan, and China in a time of profound transformation. Travel, Collecting, and Museums of Asian Art in Nineteenth-Century Paris thus looks at what Asian art was imagined to do for Europe. This book will be of interest to scholars and students interested in art history, travel imagery, museum studies, cross-cultural encounters, and modern transnational histories.

Les itinéraries d 'Émile Guimet, edited by Françoise Chappuis and Francis Macouin, 77–93. ... In Twenty-First-Century Perspectives on Nineteenth - Century Art , edited by Petra ten - Doesschate Chu and Laurinda S. Dixon, 162–170."

"French Paintings of Childhood and Adolescence, 1848?886 "

The premise of Anna Green's timely and original book, is that nineteenth-century representations of childhood and adolescence-in paintings, but also in other forms of visual culture and in diverse written discourses of the period-are critical for understanding modernity. Whilst such well-worn signifiers for modernity as the city, the dandy and the prostitute have been well mined, childhood and adolescence have not. Paintings of the young produced in France from 1848 to 1886, Green contends, inform not only our understanding of modern life but also our perception of modernist or avant-garde painting. Figuring largely are Manet and the Impressionists, as well as a gamut of more traditional painters of children who are crucial in providing context for the avant garde. Because modernity is an essentially urban phenomenon, Green's focus is primarily on the city, usually Parisian, child. The painted youth of her study are organized initially by class and gender. Then the chapters are structured according to themes (parent-child relations, modes of discipline, work, education, and play, the spectacle, sexuality) that straddle the congruences among the book's triple trajectory: the young, their modernist representations, and the experience of modernity. Green's interdisciplinary approach ensures that this book will be of interest not only to art historians but to all those concerned with the cultural and social history of childhood.

Trans. and ed . Walter Clement. London: Dent, 1937. Boas, Franz. The Cult of Childhood. London: Warburg Institute, 1966. Boime, Albert. The Academy and French Painting in the Nineteenth Century . ... In The European Realist Tradition. Ed ."

Beyond Chinoiserie

In Beyond Chinoiserie, historians of art, literature, and material culture address artistic relations between China and the West during the nineteenth century, a time when Western powers’ attempts at extending a sphere of influence in China led to increasingly hostile interactions.

Artistic Exchange between China and the West during the Late Qing Dynasty (1796-1911) Petra ten - Doesschate Chu , Jennifer Milam ... Japonisme: The Japanese Influence on Western Art in the 19th and 20th Centuries (New York: Harmony Books, ..."

Empress Eug?e and the Arts

Reconstructing Empress Eug?e's position as a private collector and a public patron of a broad range of media, this study is the first to examine Eug?e (1826-1920), whose patronage of the arts has been overlooked even by her many biographers. The empress's patronage and collecting is considered within the context of her political roles in the development of France's institutions and international relations. Empress Eug?e and the Arts: Politics and Visual Culture in the Nineteenth Century also examines representations of the empress, and the artistic transformation of a Hispanic woman into a leading figure in French politics. Based on extensive research at architectural sites and in archives, museums, and libraries throughout Europe, and in Britain and the United States, this book offers in-depth analysis of many works that have never before received scholarly attention - including reconstruction and analysis of Eug?e's apartment at the Tuileries. From her self-definition as empress through her collections, to her later days in exile in England, art was integral to Eug?e's social and political position.

“Power and Patronage: Empress Eugénie and the Musée chinois,” in TwentyFirst-Century Perspectives on Nineteenth - Century Art . Eds. Petra ten - Doesschate Chu and Laurinda Dixon. Newark: University of Delaware Press, 2008, 153–61."

Nature and the Nation in Fin-de-Siècle France

Cover -- Half Title -- Title Page -- Copyright Page -- Dedication -- Contents -- List of figures -- Acknowledgments -- Introduction: Object nation: The role of the decorative arts in defining a modern style for France -- 1 Carved into the flesh of France : Gallé and the Franco-Prussian War -- 2 Clear water: Japonisme, nature, and the formation of a national style -- 3 Gallé and Dreyfus: A Republican vision -- 4 One for all or all for one? Gallé and the Ecole de Nancy -- Conclusion: A fragile legacy -- Works cited -- Index

 Petra ten - Doesschate Chu and Ning Ding, with Lidy Jane Chu (Los Angeles: Getty Research Institute, 2015), 234. ... In the late nineteenth century , many European porcelain manufacturers, including Worcester and Minton, adopted this shape ..."

Manet's Modernism

"Fried put forward a highly original, beholder-centered account of the evolution of a central tradition in French painting from Chardin to Courbet."--P. [4] of cover.

... Alphonse Legros : The Development of an Archaic Visual Vocabulary in Nineteenth Century Art ” ( Ph . D . diss . , State ... 1903 ) ; and Petra ten - Doesschate Chu , " Lecoq de Boisbaudran and Memory Drawing : A Teaching Course between ..."

The Popular Frontier

When William F. Cody introduced his Wild West exhibition to European audiences in 1887, the show soared to new heights of popularity and success. With its colorful portrayal of cowboys, Indians, and the taming of the North American frontier, Buffalo Bill’s Wild West popularized a myth of American national identity and shaped European perceptions of the United States. The Popular Frontier is the first collection of essays to explore the transnational impact and mass-cultural appeal of Cody’s Wild West. As editor Frank Christianson explains in his introduction, for the first four years after Cody conceived it, the Wild West exhibition toured the United States, honing the operation into a financially solvent enterprise. When the troupe ventured to England for its first overseas booking, its success exceeded all expectations. Between 1887 and 1906 the Wild West performed in fourteen countries, traveled more than 200,000 miles, and attracted a collective audience in the tens of millions. How did Europeans respond to Cody’s vision of the American frontier? And how did European countries appropriate what they saw on display? Addressing these questions and others, the contributors to this volume consider how the Wild West functioned within social and cultural contexts far grander in scope than even the vast American West. Among the topics addressed are the pairing of William F. Cody and Theodore Roosevelt as embodiments of frontier masculinity, and the significance of the show’s most enduring persona, Annie Oakley. An informative and thought-provoking examination of the Wild West’s foreign tours, The Popular Frontier offers new insight into late-nineteenth-century gender politics and ethnicity, the development of American nationalism, and the simultaneous rise of a global mass culture.

In Twenty-First-Century Perspectives on Nineteenth - Century Art : Essays in Honor of Gabriel P. Weisberg, 29–38. Edited by Petra ten - Doesschate Chu and Laurinda S. Dixon. ... Forbes, Jack D . Apache, Navaho, and Spaniard."

Eighteenth-Century Art Worlds

While the connected, international character of today's art world is well known, the eighteenth century too had a global art world. Eighteenth-Century Art Worlds is the first book to attempt a map of the global art world of the eighteenth century. Fourteen essays from a distinguished group of scholars explore both cross-cultural connections and local specificities of art production and consumption in Africa, the Americas, Asia, and Europe. The result is an account of a series of interconnected and asymmetrical art worlds that were well developed in the eighteenth century. Capturing the full material diversity of eighteenth-century art, this book considers painting and sculpture alongside far more numerous prints and decorative objects. Analyzing the role of place in the history of eighteenth-century art, it bridges the disciplines of art history and cultural geography, and draws attention away from any one place as a privileged art-historical site, while highlighting places such as Manila, Beijing, Mexico City, and London as significant points on globalized map of the eighteenth-century art world. Eighteenth-Century Art Worlds combines a broad global perspective on the history of art with careful attention to how global artistic concerns intersect with local ones, offering a framework for future studies in global art history.

Luxury in the Eighteenth Century : Debates, Desires, and Delectable Goods . New York : Palgrave MacMillan , 2003 . ... In La Chine à Versailles: art et diplomatie au XVIIIe siècle , ed . ... Chu , Petra ten - Doesschate and Ning Ding , eds."

The Reincarnating Mind, or the Ontopoietic Outburst in Creative Virtualities

Tymieniecka's phenomenology of life reverses current priorities, stressing the primogenital role of aesthetic enjoyment, rather than cognition, as typifying the Human Condition. The present collection offers clues to a crucial breakthrough in the perennial uncertainties about the powers and prerogatives of the human mind. It proposes human creativity as the pivot of the mind's genesis and its endowment. In the midst of the current defiance of the transcendental certainties of cognition, this turn to the creative act of the human being represents a radical reversion to an approach to human powers that is predominated by the aesthetic virtualities of the Human Condition. The collection lays down the foundations for a new discovery of the human mind, addressing the `plumbing' of the functional system that originates in the creative potentiality of the Human Condition, undercutting the currently prevalent empirical reductionism.

 Petra ten Doesschate Chu , The European Realist Tradition, 281–282. * Parker, 59. * Roger Price, A Social History of Nineteenth - Century France (London: Hutchinson, 1987), 307–309. * Eugen Weber, Peasants into Frenchmen (Stanford: ..."