|
||
 A
Building from which Derived "All that is Good": Observations
on the Intended Reconstruction of the Parthenon on Calton Hillby Marc Fehlmann In
the 1820s, Scottish architects Charles Robert Cockerell and William
Playfair designed a national monument to memorialize those who had
died in the Napoleonic Wars, modelling it after the Parthenon at
Athens. Ambitious as it was, the project was never completed and
came to stand as "proof of Scotland's pride and poverty."
Through examining little-studied letters and documents at the National
Library of Scotland, the author describes the struggle to erect
this monument and considers the motivations behind emulating such
a towering cultural achievement. |
||
|
|
||||||||
 |
|
 |
|
 |
by Julie M. Johnson
Women artists often undergo a cycle of repeated rediscoveries and are only rarely firmly established in art historical memory. In a case study of Austrian Impressionist Tina Blau, this essay traces the moments of silencing and erasure that occur in the writing of her life, suggesting how biography can play a significant role in maintaining historical memory for women artists.
|
||
| Eve's
Daughter/Modern Woman: A Mural by Mary Cassatt by Sally Webster Reviewed by Sarah Burns |
||
| Orientalism
and Visual Culture: Imagining Mesopotamia in Nineteenth-Century Europe
by Frederick N. Bohrer Reviewed by
Frances S. Connelly |
||
| The
Arts and Crafts Movement in Europe and America: Design for the Modern
World, 1880-1920 by Wendy Kaplan Reviewed
by Sarah Sik |
||
| Japonisme
in Britain: Whistler, Menpes, Henry, Hornel and nineteenth-century
Japan by Ayako Ono Reviewed by
Linda Gertner Zatlin |
||
| International
Arts and Crafts Reviewed by Jason
T. Busch |
||
| The
Origins of L'Art Nouveau: The Bing Empire Reviewed
by Phillip Dennis Cate |
||
| The
Power of Conversation: Jewish Women and Their Salons Reviewed
by Daniel Harkett |
||
| Toulouse-Lautrec
and Montmartre Reviewed by Janet
Whitmore |
||
 "This
Deep, Great, and Religious Feeling": Delécluze on History
Painting and Davidby Marijke Jonker Delécluze's famous biography of Jacques-Louis David, Louis David, son école et son temps: Souvenirs (1855), depicts David as an artist whose career was thwarted under the ancien régime due to the official promotion of history painting as the genre most suitable to display the superiority of French art. In Delécluze's view, the Revolution gave David a chance to create paintings that belonged in a category of their own. |
 "I
never had so difficult a picture to paint": Albert Bierstadt's
White Mountain Scenery and The Emerald Poolby Nancy Siegel Albert Bierstadt chose a popular tourist site in the White Mountains of New Hampshire as the subject for his largest composition of an eastern landscape, The Emerald Pool of 1870. The author examines how guidebooks, stereographs, recently discovered and attributed sketches, as well as a thriving tourist industry, all informed Bierstadt's monumental painting. |