Relevant bibliographies by topics / 19th Century painting

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic '19th Century painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 April 2022

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Journal articles on the topic "19th Century painting"

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Tatham, David, Albert Boime, Elizabeth Johns, and John Wilmerding. "19th-Century American Painting." Art Journal 51, no. 4 (1992): 95. http://dx.doi.org/10.2307/777290.

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Goldberg, Marcia. "Textured Panels in 19th-Century American Painting." Journal of the American Institute for Conservation 32, no. 1 (1993): 33. http://dx.doi.org/10.2307/3179650.

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Goldberg, Marcia. "Textured Panels in 19th-Century American Painting." Journal of the American Institute for Conservation 32, no. 1 (January 1993): 33–42. http://dx.doi.org/10.1179/019713693806066492.

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Ogden, Kate Nearpass. "Musing on Medium: Photography, Painting, and the Plein Air Sketch." Prospects 18 (October 1993): 237–81. http://dx.doi.org/10.1017/s0361233300004920.

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The relationship of photography and painting has greatly intrigued art historians in recent years, as has the uneasy status of photography as “art” and/or “documentation.” An in-depth study of 19th-century landscape images suggests two new premises on the subject: first, that opinions differed on photography's status as an art in the 19th Century, just as they differ today; and, second, that the landscape photograph is more closely related to the plein air oil sketch than to the finished studio easel painting. For ease of comparison, the visual material used here will consist primarily of landscapes made in and around Yosemite Valley, California, in the 1860s and 1870s; comparisons will be made among paintings by Albert Bierstadt, photographs by Carleton Watkins and Eadweard Muybridge, and works in both media by less famous artists.
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Titarenko, E. M. "Russian painting of the 19th century in the context of the projective aesthetics of N.F. Fyodorov." Solov’evskie issledovaniya, no. 4 (December 15, 2019): 114–27. http://dx.doi.org/10.17588/2076-9210.2019.4.114-127.

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The article is dedicated to the insufficiently studied problem of N.F. Fyodorov’s projective aesthetics research connected to his interpretation of Russian painting of the 19th century. The objects of the analysis are such works of the philosopher as “The Question of Restoration of Kinship among Mankind. The Means for the Restoration of Kinship (Sobor)” (1880s), “About the Kremlin Walls Paintings” (1893), “Kremlin Walls” (1893), “The brilliant robber. (About Ge’s Painting “The Crucifixion”)” (1894), “Moscow Rumyantsev’s Museum by the Kremlin and the Monument to the Founder of this Museum in the Kremlin” (1898) and other works. The article considers N.F. Fyodorov’s analysis of paintings by A.A. Ivanov, N.N. Ge, V.V. Vereschagin, and I.E. Repin. The comparative investigation of the aesthetic program and artistic ideas of Ivanov and Fyodorov is based on the analysis of the painting “The Apparition of Christ before the People” (1858). The article traces the influence of the artist’s works on the conceptual and compositional creation of the “pictorial demonstration” of Fyodorov’s aesthetic supramoralism. It uncovers the specificity of the philosopher’s religious-philosophical discourse, defined by the iconographic traditions and imaginary system of Christian art. The analysis of Fyodorov’s texts dedicated to the paintings by Ge and Repin, reveals that he does not accept the aesthetic program of realism. The article defines the meaning of projective ecphrasis in Fyodorov’s critical account of Ge’s “Biblical cycle” as a theurgical project. The reception of Vereschagin’s painting is considered in the context of the historiosophical ideas of Fyodorov, based on the principles of Christian eschatology.
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Hilton, Alison, and Elizabeth K. Valkenier. "The Wanderers: Masters of 19th-Century Russian Painting." Russian Review 52, no. 1 (January 1993): 106. http://dx.doi.org/10.2307/130872.

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Howden-Chapman, P. "Poverty and painting: representations in 19th century Europe." BMJ 325, no. 7378 (December 21, 2002): 1502–5. http://dx.doi.org/10.1136/bmj.325.7378.1502.

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Tarasova, Maria, and Sabina Maremkulova. "РЕПРЕЗЕНТАЦИЯ ПОНЯТИЯ «СОЦИУМ» В РУССКОЙ ЖИВОПИСИ БЫТОВОГО ЖАНРА XIX ВЕКА." Social Anthropology of Siberia 2, no. 1 (March 31, 2021): 15–28. http://dx.doi.org/10.31804/2687-0606-2021-2-1-15-28.

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The aim of the study is to reveal the ways of representing the concept of “society” in the works of the genre art in the Russian painting of the 1860-1870s. The research is carried out using the method of philosophical and art history analysis of works of fine art. The main object of the study is the painting “Rural procession on Easter” by Vasiliy G. Perov. The study describes the specific features of the genre art in the Russian painting of the 19th century. The research shows how works of the genre art realize their didactive and educating functions. A theoretical analysis of the concepts of “everyday life”, “being”, “society” made it possible to conclude how genre painting of the 19th century models both an ideal person who is in co-existence with the absolute spirit, and a person who is far from the ideal. In the research the authors reveal two worldview models that developed in Russian painting in the 1860-1870s: a model of a perfect human being and a model of a person who is mired in everyday life. The study proves that the latter human model is represented in index signs of characters that worship only material values. The study investigates the versatility of the pictorial model of the Russian society, represented not only as a community absorbed in the routine of the everyday life, but also as a group of people whose life is elevated upwards to the true existence. The research has resulted in the typology of characters of paintings of the genre art, where the type of the character depends on the model of the society represented by the work of art. In its conclusion the study discloses two models of representing the society in Russian painting of the genre art in the 19th century. According to the first model, the everyday principle acts as an absorber of being. The second model represents a society in which everyday life manifests true existence, in harmony with nature and filled with the divine essence.
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Chernysheva, Maria A. "The New Historical Narrative in the 19th Century Painting." Actual Problems of Theory and History of Art 8 (2018): 140–48. http://dx.doi.org/10.18688/aa188-1-13.

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Lilien Filipovitch-Robinson. "Interpreting Western Academic Traditions in 19th-Century Serbian Painting." Serbian Studies: Journal of the North American Society for Serbian Studies 1, no. 2 (2009): 293–305. http://dx.doi.org/10.1353/ser.0.0031.

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Dissertations / Theses on the topic "19th Century painting"

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Lee, Sai-chong Jack, and 李世莊. "China trade painting: 1750s to 1880s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45015442.

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Gill, Laura Fox. "Peripheral vision : the Miltonic in Victorian painting, poetry, and prose, 1825-1901." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/72673/.

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This thesis explores the influence of John Milton on the edges of Victorian culture, addressing temporal, geographical, bodily, and sexual thresholds in Victorian poetry, painting, and prose. Where previous studies of Milton's Victorian influence have focused on the poetic legacy of Paradise Lost, this project identifies traces of Miltonic concepts across aesthetic borders, analysing an interdisciplinary cultural sample in order to state anew Milton's significance in the period between British Romanticism and early twentieth-century critical debates about the value of Paradise Lost. The project is divided into four chapters. The first explores apocalyptic images and texts from the 1820s-Mary Shelley's The Last Man (1826) and the paintings of John Martin-in relation to Miltonic aetiology and eschatology. These texts offer a complex re-thinking of the relation between personal loss and universal catastrophe, which draws on and positions itself against prophecy and apocalypse in Paradise Lost. In the second chapter I address conceptual connections that cross boundaries of medium and nationality, identifying the presence of a Miltonic notion of powerful passivity in the writing and marginalia of Herman Melville and the paintings and anecdotal appendages of J. M. W. Turner. In the third chapter I consider Milton's importance for A. C. Swinburne's poetic presentation of peripheral sexualities, identifying in Milton's poetry a pervasive metaphysics of bodily 'melting' or 'cleaving' which is essential to Swinburne's poetic project. The final chapter analyses the presence of the Miltonic in the fiction of Thomas Hardy, whose repeated readings of Milton contributed to both establishing his poetic vocabulary, and prompting a career-long engagement with Miltonic ideas. The thesis refocuses attention on peripheral elements of the work of these writers and artists to re-articulate Milton's importance for the Victorians, whilst bringing together models of influence which show the Victorian Milton to be at once liminal and galvanising.
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Sprague, Abbie Noel. "The craftsman painters of the arts and crafts movement." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609045.

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Hoene, Katherine Anne. "Tracing the Romantic impulse in 19th-century landscape painting in the United States, Australia, and Canada." Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/278748.

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The purpose of this thesis is to identify essential characteristics of the first generation of Romantic landscape painters and painting movements in a given English-speaking country which followed the generation of Turner, Constable and Martin in England, and then trace how the second generation of Romantic-realist painters represents a different paradigm. For a paradigmatic construct of the first generation, the focus is on the lives and major works of the American arch-Romantic landscape painter Thomas Cole (1801--1848) and the Australian Romantic landscape painter Conrad Martens (1801--1878). The second generation model features the American Frederic Edwin Church (1826--1900), the Australian William Charles Piguenit (1836--1914), and the British Canadian Lucius Richard O'Brien (1832--1899). Cole and Martens, closer to their predecessors in England, created dynamic paradigm shifts in their new countries. Following them, the second generation of Romantic-realists produced a synthesis of romanticism, scientific naturalism, and nationalistic symbolism.
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Dudley, Ian A. "Edward Goodall's 'Sketches in British Guiana' : art, anthropography and colonialism in 19th century Amazonia." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/20121/.

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This thesis examines sketched portraits of Amerindian peoples created by the English artist Edward Goodall during the 1841-1844 Boundary Survey of British Guiana, now Guyana, which was carried out by the German scientific explorer, Robert Schomburgk. The portraits formed part of a larger body of over 250 drawn and watercolour works labelled as Sketches in British Guiana, and carried out by Goodall in his role as official expedition illustrator. These sketches captured a wide range of geographical subjects, from botany, topography and zoology, to hydrography, geology and historical scenes of the expedition itself, in addition to the ethnographic representations upon which this thesis focuses, and which dominate the body in terms of their numbers and interest. The sketches were carried out in relation to the cartographic and geographical mapping and documenting of the Guayana territory and its peoples by Schomburgk as he moved across the disputed border regions between British Guiana and its neighbouring colonial states, Brazil, Venezuela and Surinam. Focusing on the works as a manifestation of the different subjective forces and ideologies at play within this colonial enterprise, I argue the portraits and Sketches more generally, exemplify art’s cooption as a tool of colonial reconnaissance, expansion and domination during the mid-nineteenth century, playing a key role in visualising the geographical colonization that Schomburgk’s Boundary Survey represented, capturing disputed inhabitants and their locales as they were inscribed onto British colonial maps, and substantiating British imperial claims over them. In essence, through Goodall’s work, Schomburgk sought to cultivate and performatively demonstrate knowledge of and control over Amerindians through their representation, which paralleled the way the Guayana landscape was brought into British guardianship, all under the aegis of Christian humanitarianism, scientific advance and national-imperial prestige.
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Anesti, Maria. "'La femme modèle' from the first communicant to the affectionate mother : a dialogue between painting and moral discourse under the early Third Republic (1870-1900)." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7574.

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This PhD dissertation seeks to define the configuration and evolution of French women’s moral identity and social status, through works of art created during the first thirty years of the Third Republic (1870-1900). More specifically, my thesis investigates the artistic perception and visual recording of “traditional” female roles and analyses the socio-historical factors which contributed to the construction of the ideal woman. I focus on the representation of young girls’ education and First Communion and study the portrayal of maternity which was perceived both as a personal role and a republican ideal. Furthermore, I consider the institutions of marriage and family through portraits and scenes of everyday life. The woman’s relations to the Catholic Church within a secular state, as well as the notions of chastity and patriotism, are thoroughly explored. In my dissertation I prioritised nineteenth century texts, where French doctors, demographers and statesmen from different ideological backgrounds give moral guidelines concerning hygiene, breastfeeding and childcare, or analyse phenomena such as the birth rate decline. The writings of these authors who communicated major social anxieties served as an evaluative platform; more specifically, I ventured to see how French painters and illustrators participated to the most important debates of their time. Therefore, the criterion for the choice of images was not artistic excellence, but their engagement with the moral and social issues I decided to consider. Since in my thesis pictures are treated within a socio-historical context, I was challenged to achieve a balance between the visual and theoretical material, making them inter-relate effectively. Finally, my time-frame covers the three first decades of the French Third Republic and observes the succession of different governments. I investigate to what extent certain social attitudes which were developed during this period of thirty years shifted, and try to find out whether these alterations are conveyed in painting.
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Pasco, Hélène. "When 19th century painters prepared organic-inorganic hybrid gels : physico-chemical study of « gumtions »." Electronic Thesis or Diss., Sorbonne université, 2019. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2019SORUS296.pdf.

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Les médiums étaient utilisés par les peintres afin de modifier la texture et le séchage de leur peinture. Au 19ème siècle, des artistes britanniques ont développé un médium composé d’huile siccative, de résine mastic et d’acétate de plomb trihydraté : le « gumtion ». Ce matériau de type gel surpasse les additifs alors existants. Dans cette thèse, nous contribuons à la compréhension des processus chimiques impliqués dans la formation et le vieillissement des gumtions. Dans un premier temps, nous avons centré l’étude sur la résine mastic, car il s’agit d’un élément clé dans la préparation des gels. La fraction triterpénique de la résine a été identifiée et quantifiée par GC/MS. De plus, nous avons étudié par ellipsométrie les propriétés optiques de vernis sous forme de films minces, ainsi que leur comportement (gonflement) sous différentes atmosphères. Puis, en reproduisant des recettes historiques et afin d’approfondir la compréhension des interactions chimiques entre les composants du gel, nous avons développé des formulations simplifiées à base d’acide oléanolique (triterpène commercial) et d’un composé de plomb (acétate ou oxyde). L’utilisation de techniques d’analyses complémentaires aux échelles moléculaire (IR, MAS-RMN) et supramoléculaire (cryo-TEM, SAXS) indique dans un premier temps la formation d’un complexe de coordination entre le plomb et les fonctions acides des triterpénoïdes, qui s’arrangent en objets 2D expliquant le comportement viscoélastique du matériau. Après plusieurs mois de vieillissement, nous avons observé l’auto-organisation de nanoparticules cristallines en en lamelles, témoignant du caractère dynamique de ce matériau même avec gélification
Mediums were used by painters in order to modify the texture and drying properties of their paint. During the 19th century, British artists developed a particular medium made of siccative oil, mastic resin and lead acetate trihydrate. The so-called “gumtions” form gel-like materials in a relatively short time, outperforming the existing paint media. This thesis contributes unveiling the chemical processes involved in the formation and ageing of gumtions. As a first step, we focused on mastic resin since it is a key component for the preparation of gumtion. The triterpenic fraction of the resin was identified and quantified using GC and GC/MS. Moreover, we took advantage of Spectroscopic Ellipsometry so as to study the optical properties of varnish thin films as well as their behaviour (swelling) under various atmospheres. Then, we reproduced historical recipes that helped us afterwards to define simplified formulations to deepen the understanding of the chemical interactions between the gel components, made of oleanolic acid (commercial triterpenoid) and a lead compound (acetate or oxide). They were investigated at dierent scales by spectroscopic (FTIR, MASNMR) and supramolecular analyses (Cryo-TEM, SAXS). The use of these complementary techniques gives an overview of the gel’s structure and formation: rapidly, a coordination complex is formed between lead and the carboxylic acid moieties of the triterpenoids, that organizeinto2Dobjectsleadingtothesolid-likebehaviorofthematerial. After few months ageing, we observed the self-assembly of crystalline nanoparticles into lamellar structures, witnessing the dynamic occurring in the material even after gelation.bly of crystalline nanoparticles into lamellar structures, witnessing the dynamic occurring in the material even after gelation
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Filippa, Kenne. "The object biography of Breakfast-Piece by Nicolaes Gillis : The reception of Netherlandish art in Sweden during the 19th century." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182722.

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Wilsey, Shannon K. "Interpretations of Medievalism in the 19th Century: Keats, Tennyson and the Pre-Raphaelites." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/cmc_theses/20.

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This thesis describes how different 19th century poets and artists depicted elements of the medieval in their artwork as a means to contradict the rapid progress and metropolitan build-up of the Industrial Revolution. The poets discussed are John Keats and Alfred, Lord Tennyson; the painters include William Holman Hunt and John William Waterhouse. Examples of the poems and corresponding Pre-Raphaelite depictions include The Eve of Saint Agnes, La Belle Dame Sans Merci and The Lady of Shalott.
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Kwok, Yin-ning, and 郭燕寧. "Concepts of realism and the reception of John Constable's landscape paintings." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B39707301.

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Books on the topic "19th Century painting"

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Galleries, Hammer. 19th & 20th century American paintings. New York: Hammer Galleries, 1991.

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Metropolitan Museum of Art (New York, N.Y.), ed. Indian court painting, 16th-19th century. New York: Metropolitan Museum of Art, 1997.

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Metropolitan Museum of Art (New York, N.Y.), ed. Indian court painting, 16th-19th century. London: bThemes and Hudson, 1997.

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Cleveland Museum of Art. European paintings of the 19th century. [Cleveland]: Cleveland Museum of Art, 1999.

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Marius, Gerarda Hermina. Dutch painters of the 19th century. Woodbridge: Antique Collectors' Club, 1988.

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Friborg, Flemming. French painting in the 19th century: Catalogue. Copenhagen: Carlsberg Glyptotek, 1994.

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Chicago, Art Institute of. Treasures of 19th- and 20th- century painting. New York: Abbeville, 1993.

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19th century maritime watercolours. Newton Abbot: David & Charles, 1989.

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Solonin, K. Y. 19th century paintings of life in China. Reading: Garnet, 1995.

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Solonin, K. I︠U︡. 19th century paintings of life in China. Edited by Wood Frances 1948- and Naumkin Vitaliĭ Vi︠a︡cheslavovich. Reading [England]: Garnet, 1995.

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Book chapters on the topic "19th Century painting"

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Eitner, Lorenz. "French Landscape." In An Outline of 19th Century European Painting, 197–223. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-8.

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Eitner, Lorenz. "David and His School." In An Outline of 19th Century European Painting, 15–54. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-2.

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Eitner, Lorenz. "British Neoclassicism and William Blake." In An Outline of 19th Century European Painting, 75–99. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-4.

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Eitner, Lorenz. "English Landscape." In An Outline of 19th Century European Painting, 121–54. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-6.

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Eitner, Lorenz. "Edouard Manet, 1832-1883." In An Outline of 19th Century European Painting, 289–312. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-11.

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Eitner, Lorenz. "Academic and Salon Painters." In An Outline of 19th Century European Painting, 269–87. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-10.

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Eitner, Lorenz. "Francisco José de Goya y Lucientes, 1746-1828." In An Outline of 19th Century European Painting, 55–73. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-3.

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Eitner, Lorenz. "Impressionism." In An Outline of 19th Century European Painting, 334–418. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-13.

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Eitner, Lorenz. "Edgar Degas, 1834-1917." In An Outline of 19th Century European Painting, 313–31. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-12.

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Eitner, Lorenz. "Introduction." In An Outline of 19th Century European Painting, 1–13. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-1.

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Conference papers on the topic "19th Century painting"

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Lu, Zhang. "THE INTERTEXTUALITY OF RUSSIAN LITERATURE AND RUSSIAN PAINTING IN THE 19TH CENTURY." In INNOVATIONS IN THE SOCIOCULTURAL SPACE. Amur State University, 2020. http://dx.doi.org/10.22250/iss.2020.21.

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The background color of Russian literature and Russian painting art in the 19th century is gloomy and heavy, and there exists text intertextuality between them, which is different from single text and single painting. Literary words and painting invisible words quote, permeate, insinuate and rewrite each other. Literature is the writing of painting, and painting is the color of literature. The main line of literature development and the main line of painting development seem to be twisted together like a rope, presenting spiral development, closely linked, complementary and inseparable.The same value orientation and aesthetic purpose have intertextuality, mutual influence, mutual interaction and mutual transformation, no matter in creation method, theme, artistic style or creation background. Direct description or sharp pen, or by the protagonist of indirect irony, using realistic and critical realism creation method, revealing the tsarist autocracy savage, dissatisfaction with the reality in protest of rebellion, as well as being bullied and oppressed pain and struggle, at the same time reflects the immortality of the Russian national literature and art achievement.
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Farhangpour, Yasaman. "THE EFFECTS OF AESTHETIC HEDONISM IN PAINTING RESTORATION IN THE 19TH CENTURY." In 2nd Arts & Humanities Conference, Florence. International Institute of Social and Economic Sciences, 2018. http://dx.doi.org/10.20472/ahc.2017.002.001.

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Zhang, Xiaojie. "The Painting Technical Characteristics and Sources of Hungarian Painter MihALy MunkACsy in the 19th Century." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.65.

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Morozova, Anna Valentinovna. "THE DEVELOPMENT OF RUSSIAN PERCEPTION OF SPANISH PAINTING IN THE PERIOD FROM THE MIDDLE OF THE 19TH CENTURY TO THE BEGINNING OF THE 20TH CENTURY." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b41/s12.004.

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Kushida, Maria. "Образ писателя-художника как коммуникативный феномен." In Пражская Русистика 2020 – Prague Russian Studies 2020. Charles University, Faculty of Education, 2020. http://dx.doi.org/10.14712/9788076032088.16.

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The article analyzes the illustrative work of Russian writers of the first quarter of the 19th century. Special attention is paid to the definition of the term "writer-artist", as well as to techniques for creating the image of a writer-Illustrator in a work of fiction. In conclusion, we draw a conclusion about the relationship between literature and painting (on the example of interpreting the creativity of word masters who create illustrations for their works), as well as about the unique communicative nature of the image of the writer-artist.
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Madan, Elena. "The bed: element of peasant furniture on the territory of the Republic of Moldova, late XIX - middle of XX century." In Ethnology Symposium "Ethnic traditions and processes", Edition II. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975333788.24.

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In this article, our attention is focused on the BED as an element of peasant furniture, on the territory of the Republic of Moldova (late nineteenth century - mid-twentieth century). The bed derives in most cases from the bench. As furniture with a special shape, the bed appears in the rural house in the 19th century, first in wealthy families. It is more widespread in the interwar period and after the Second World War. According to the system of joining the parts, the classification of beds can be divided into two categories: beds joined in «feather and gutter»; beds joined with «plug and hollow». The tables present the largest decoration of the bed through various wavy profiles, through variations of planes, turned parts, in rare cases decorated with simple paintings or by imitation veneer. The detailed analysis of the peasant furniture, and of the beds, in particular, starting from the craftsman, who made this furniture, the execution and decoration technique used, tell us about the tendencies of a period, which is worth following closely to better understand the artistic peculiarities of the furniture and traditional art.
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