Otherwise , he casti- Leghorn's struggle for independence in 1848-49 , Durbé has pioneergated Italian writers who made Italian painters like Giuseppe De ed in laying out the social and cultural context of the Macchiaioli .
Author: Frederick S. Wight Art Gallery
Publisher: University of Washington Press
ISBN: UOM:39015021483485
Category: Macchiaioli
Page: 172
View: 881
Against the advice of his closest colleagues , Durbé cautiously launched the Macchiaioli into the wider community , but their success in Paris and Munich erased all doubts as to the reception of the " provincial " painters .
Author: Albert Boime
Publisher: University of Chicago Press
ISBN: 0226063305
Category: Art
Page: 374
View: 762
During the 1860s and '70s, more than a decade before the development of French Impressionism, Italy produced a group of avant-garde artists whose fervently nationalist paintings anticipated some of Impressionism's theoretical concerns. These artists were called "Macchiaioli" because they based their technique on a quickly rendered macchia, or sketch. In the first extended sociopolitical interpretation in English of this important group, Albert Boime places the Macchiaioli in the cultural context of the Risorgimento—the political movement that unified Italy, freed from foreign rule, under a secular, constitutional government. Anglo-American art criticism has generally neglected these painters (probably because of their overt political affiliation and nationalist expression), but Boime shows that these artists, while deeply political, nevertheless created aesthetically superior work. Boime's study departs from previous research on the Macchiaioli by systematically investigating the group's writings, sources, and patronage in relation to the Risogimento. The book also examines both contemporary and later critical responses, revealing how French art criticism has obscured the achievements of Macchiaioli art. Richly illustrated, The Art of the Macchia and the Risorgimento will appeal to anyone interested in nineteenth-century European art or the history of Italy.12 EUGENIA PAULICELLI Art in modern Italy : from the Macchiaioli to the Transavanguardia The Macchiaioli and the unification of Italy Until the middle of the nineteenth century , the term ' Italy ' was an abstract concept that ...
Author: West
Publisher: Cambridge University Press
ISBN: 0521559820
Category: History
Page: 396
View: 942
This collection of essays provides a comprehensive account of the culture of modern Italy. Contributions focus on a wide range of political, historical and cultural questions. The volume provides information and analysis on such topics as regionalism, the growth of a national language, social and political cultures, the role of intellectuals, the Church, the left, feminism, the separatist movements, organised crime, literature, art, design, fashion, the mass media, and music. While offering a thorough history of Italian cultural movements, political trends and literary texts over the last century and a half, the volume also examines the cultural and political situation in Italy today and suggests possible future directions in which the country might move. Each essay contains suggestions for further reading on the topics covered. The Cambridge Companion to Modern Italian Culture is an invaluable source of materials for courses on all aspects of modern Italy.The following discussion on the Jewish artists of the Macchiaioli and their relationship to the Risorgimento is indebted to A. Boime and his excellent study " The Macchiaioli and the Risorgimento , " in Frederick S. Wight Art Gallery ...
Author: Jewish Museum (New York, N.Y.)
Publisher: Univ of California Press
ISBN: 0520068254
Category: Art
Page: 388
View: 860
Jews arrived in the Republic of Rome some time in the second or first century B.C.E. They soon formed their own community which absorbed Roman cultural forms but was able to maintain its identity and integrity. For more than twenty centuries, the Italian peninsula has been home to the heirs of this ancient minority community, whose culture is a blend of traditional Jewish content with Roman, then Italian cultural forms. Gardens and Ghettos: The Art of Jewish Life in Italy is the title of an exhibition curated by Vivian B. Mann and Emily Braun for The Jewish Museum, New York (September 1989-January 1990), an exhibition that explores the extraordinarily rich artistic legacy of Italian Jewry. This book, like the exhibition itself, focuses on four time periods: the Empire, the Era of the City States (1300-1550), the Era of the Ghettos (1550-1750), and the period since the Risorgimento. Artifacts and architecture are generously represented along with fine arts. Essays by prominent scholars introduce us to the historical and cultural context of a splendid array of works, from ancient Roman architectural fragments and gold glass to illuminated manuscripts and printed books from the Renaissance, baroque ceremonial textiles and silver, and paintings, graphics, and sculpture of the modern era. The many illustrations illuminate the art and life of a minority community in dynamic tension with dominant society and show the vibrant, ongoing contribution by Jews to the arts of Italy. Jews arrived in the Republic of Rome some time in the second or first century B.C.E. They soon formed their own community which absorbed Roman cultural forms but was able to maintain its identity and integrity. For more than twenty centuries, the Italian peninsula has been home to the heirs of this ancient minority community, whose culture is a blend of traditional Jewish content with Roman, then Italian cultural forms. Gardens and Ghettos: The Art of Jewish Life in Italy is the title of an exhibition curated by Vivian B. Mann and Emily Braun for The Jewish Museum, New York (September 1989-January 1990), an exhibition that explores the extraordinarily rich artistic legacy of Italian Jewry. This book, like the exhibition itself, focuses on four time periods: the Empire, the Era of the City States (1300-1550), the Era of the Ghettos (1550-1750), and the period since the Risorgimento. Artifacts and architecture are generously represented along with fine arts. Essays by prominent scholars introduce us to the historical and cultural context of a splendid array of works, from ancient Roman architectural fragments and gold glass to illuminated manuscripts and printed books from the Renaissance, baroque ceremonial textiles and silver, and paintings, graphics, and sculpture of the modern era. The many illustrations illuminate the art and life of a minority community in dynamic tension with dominant society and show the vibrant, ongoing contribution by Jews to the arts of Italy.As extensive as allusions to the Macchiaioli's paintings in Senso may be,o Visconti rejected Blasetti's nationalism by relying upon an international répertoire of references. Alessandro Bencivenni lists several of them: "The music of ...
Author: Angela Dalle Vacche
Publisher: Princeton University Press
ISBN: 9781400862542
Category: Performing Arts
Page: 326
View: 715
This rich, wide-ranging book explores Italy's national film style by relating it closely to politics and to the historicist thought of Croce, Gentile, and Gramsci. Here is a new kind of film history--a nonlinear, intertextual approach that confronts the total story of the growth of a national cinema while challenging the traditional formats of general histories and period studies. Examining Italian silent films of the fascist era through neorealism to modernist filmmaking after May 1968, Angela Dalle Vacche reveals opera and the commedia dell'arte to be the strongest influences. As she presents the whole history of Italian cinema from the standpoint of a dialectic between these two styles, she offers brilliant interpretations of individual films. The "body in the mirror" is the national self-image on the screen, which changes shape in response to historical and political context. To discover how the nation represents, understands, and recognizes this fictional "body," Dalle Vacche discusses changes in the strongest parameters of Italian cinema: allegory, spectacle, body, history, unity, and continuity. In her hands these concepts yield a wealth of insights for film scholars, art historians, political scientists, and those concerned with cultural studies in general, as well as for other educated readers interested in Italian cinema. Originally published in 1992. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.The Italian Macchiaioli artists worked in Florence. They have often been misinterpreted as precursors of Impressionism based on their small sketches, often on cardboard, that record dramatically contrasting patterns of light and shade.
Author: Michelle Facos
Publisher: Routledge
ISBN: 9781136840708
Category: Art
Page: 464
View: 431
Using the tools of the "new" art history (feminism, Marxism, social context, etc.) An Introduction to Nineteenth-Century Art offers a richly textured, yet clear and logical, introduction to nineteenth-century art and culture. This textbook will provide readers with a basic historical framework of the period and the critical tools for interpreting and situating new and unfamiliar works of art. Michelle Facos goes beyond existing histories of nineteenth-century art, which often focus solely on France, Britain, and the United States, to incorporate artists and artworks from Scandinavia, Germany, and Eastern Europe. The book expertly balances its coverage of trends and individual artworks: where the salient trends are clear, trend-setting works are highlighted, and the complexity of the period is respected by situating all works in their proper social and historical context. In this way, the student reader achieves a more nuanced understanding of the way in which the story of nineteenth-century art is the story of the ways in which artists and society grappled with the problem of modernity. Key pedagogical features include: Data boxes provide statistics, timelines, charts, and historical information about the period to further situate artworks. Text boxes highlight extracts from original sources, citing the ideas of artists and their contemporaries, including historians, philosophers, critics, and theorists, to place artists and works in the broader context of aesthetic, cultural, intellectual, social, and political conditions in which artists were working. Beautifully illustrated with over 250 color images. Margin notes and glossary definitions. Online resources at www.routledge.com/textbooks/facos with access to a wealth of information, including original documents pertaining to artworks discussed in the textbook, contemporary criticism, timelines and maps to enrich your understanding of the period and allow for further comparison and exploration. Chapters take a thematic approach combined within an overarching chronology and more detailed discussions of individual works are always put in the context of the broader social picture, thus providing students with a sense of art history as a controversial and alive arena of study. Michelle Facos teaches art history at Indiana University, Bloomington. Her research explores the changing relationship between artists and society since the Enlightenment and issues of identity. Prior publications include Nationalism and the Nordic Imagination: Swedish Painting of the 1890s (1998), Art, Culture and National Identity in Fin-de-Siècle Europe, co-edited with Sharon Hirsh (2003), and Symbolist Art in Context (2009).W.S. DiPiero points out that in 1903, Boccioni painted a landscape in the Macchiaioli style—I assume he means Campagna romana (meriggio) (Roman Countryside [Noon]).DiPiero's essay on the group, “Modern Instances: The Macchiaioli,” in ...
Author: R. Bruce Elder
Publisher: Wilfrid Laurier Univ. Press
ISBN: 9781771122726
Category: Performing Arts
Page: 591
View: 780
Cubism and futurism were closely related movements that vied with each other in the economy of renown. Perception, dynamism, and the dynamism of perception—these were the issues that passed back and forth between the two. Cubism and Futurism: Spiritual Machines and the Cinematic Effect shows how movement became, in the traditional visual arts, a central factor with the advent of the cinema: gone were the days when an artwork strived merely to lift experience out the realm of change and flow. The cinema at this time was understood as an electric art, akin to X-rays, coloured light, and sonic energy. In this book, celebrated filmmaker and author Bruce Elder connects the dynamism that the cinema made an essential feature of the new artwork to the new science of electromagnetism. Cubism is a movement on the cusp of the transition from the Cartesian world of standardized Cartesian coordinates and interchangeable machine parts to a Galvanic world of continuities and flows. In contrast, futurism embraced completely the emerging electromagnetic view of reality. Cubism and Futurism examines the similarity and differences between the two movements’ engagement with the new science of energy and shows that the notion of energy made central to the new artwork by the cinema assumed a spiritual dimension, as the cinema itself came to be seen as a pneumatic machine.About Signorini's career after the early 1860s , see Broude , The Macchiaioli , 136-151 ; and Montecatini Terme , Villa Forini , Telemaco Signorini : 1835-1901 , exh . cat . ( Montecatini : Assessorato alla Cultura , 1987 ) , 51-89 ...
Author: Gustave Caillebotte
Publisher:
ISBN: 0813530172
Category: Art
Page: 278
View: 363
Once neglected, Gustave Caillebotte (1848-1894), a painter associated with the French Impressionists, has become the subject of intense public interest and renewed scholarly debate. With a series of exhibitions showcasing his work, Caillebotte's enigmatic paintings have begun to exert an unexpected fascination for postmodern audiences and have become rich sites for interpretive debate.65 Barrett Browning's portraitist Michele Gordigiani had studied in Florence and in Paris with Silvestro Lega , one of the most important of the Macchiaioli artists . While the group was influenced by the French neoclassical political ...
Author: Clare Pettitt
Publisher: Oxford University Press
ISBN: 9780192566157
Category: Literary Criticism
Page: 224
View: 734
1848 was a pivotal moment not only in Europe but in much of the rest of the world too. Marx's scornful dismissal of the revolutions created a historiography for 1848 that has persisted for more than 150 years. Serial Revolutions 1848 shows how, far from being the failure that Karl Marx claimed them to be, the revolutions of 1848 were a powerful response to the political failure of governments across Europe to care for their people. Crucially, this revolutionary response was the result of new forms of representation and mediation: until the ragged and the angry could see themselves represented, and represented as a serial phenomenon, such a political consciousness was impossible. By the 1840s, the developments in printing, transport, and distribution discussed in Clare Pettitt's Serial Forms: The Unfinished Project of Modernity, 1815-1848 (Oxford University Press, 2020) had made the social visible in an unprecedented way. This print revolution led to a series of real and bloody revolutions in the streets of European cities. The revolutionaries of 1848 had the temerity to imagine universal human rights and a world in which everyone could live without fear, hunger, or humiliation. If looked at like this, the events of 1848 do not seem such 'poor incidents', as Marx described them, nor such an embarrassing failure after all. Returning to 1848, we can choose to look back on that 'springtime of the peoples' as a moment of tragi-comic failure, obliterated by the brutalities that followed, or we can look again, and see it as a proleptic moment of stored potential, an extraordinary series of events that generated long-distance and sustainable ideas about global citizenship, international co-operation, and a shared and common humanity which have not yet been fully understood or realised.Underlying the book's gossip about who said what to whom is a narrative linking the history of the Macchiaioli to that of the Risorgimento . One connecting influence was ro- manticism , even though the Macchiaioli were relentlessly ...
Author: John A. Agnew
Publisher: University of Chicago Press
ISBN: 0226010538
Category: History
Page: 320
View: 792
How do the places where people live help structure and restructure their sociopolitical identities and interests? In this book, renowned political geographer John A. Agnew presents a theoretical model that addresses the relation of place to politics and applies it to a series of historicogeographical case studies set in modern Italy. For Agnew, place is not just a static backdrop against which events occur, but a dynamic component of social, economic, and political processes. He shows, for instance, how the lack of a common "landscape ideal" or physical image of Italy delayed the development of a sense of nationhood among Italians after unification. And Agnew uses the post-1992 victory of the Northern League over the Christian Democrats in many parts of northern Italy to explore how parties are replaced geographically during periods of intense political change. Providing a fresh new approach to studying the role of space and place in social change, Place and Politics in Modern Italy will interest geographers, political scientists, and social theorists.