Relevant bibliographies by topics / The historical painting of the 19th century

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

Academic literature on the topic 'The historical painting of the 19th century'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "The historical painting of the 19th century"

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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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Antropova, Nataliya D. "HISTORICAL AND PHILOSOPHICAL ASPECTS IN THE RENEWAL OF THE LANGUAGE OF CHURCH MONUMENTAL PAINTING IN FRANCE AT THE TURN OF THE 20th CENTURY ON THE EXAMPLE OF PAINTINGS BY MAURICE DENIS." Architecton: Proceedings of Higher Education, no. 3(71) (September 29, 2020): 21. http://dx.doi.org/10.47055/1990-4126-2020-3(71)-21.

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The study analyzes the historical and philosophical origins of the renewal in church monumental art in French culture at the turn of the 20th century. The crisis that broke out in the second half of the 19th century within the philosophical knowledge and classical religion and an attempt to rethink the evolution of Christianity entailed significant changes in artistic creativity devoted to the sacred theme. The author explores the topic based on the church mural paintings of the French painter Maurice Denis, who stood at the origins of the transformation of the language of religious painting and whose role is significant for the further history of European art. The relevance of the work lies in the fact that all previous studies on this topic were primarily art criticisms. They paid special attention to the analysis of the artistic language and pictorial and expressive means. At the same time, questions of historical and philosophical nature and their role in the formation of new European religious painting were analyzed to a much lesser extent.
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Suzdaltsev, Yevgeny, Peter Khromenkov, Pavel Chistov, and Irina Pavelyeva. "Applying the war historical re-enactment method in teaching historical painting." E3S Web of Conferences 210 (2020): 18111. http://dx.doi.org/10.1051/e3sconf/202021018111.

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Being an artist is not enough to make a piece of historical art. This requires a study, the deliverables of which allow creating a scientifically reliable composition. To put it otherwise, an artwork brought into existence in such a way can be created on an interdisciplinary basis, and it is not until then that it becomes educational. A study used in the educational process considerably increases the degree of professional competence of students. The authors of this article, being professors at the Fine Arts and Folk Crafts Department, Moscow Region State University, have employed a range of research methods as the basic ones. These include war historical re-enactment, case review of its research and organization in modern social and cultural settings, modeling and forecasting deliverables of students‘ artistic activities when creating historical paintings, and the method of expert evaluation. In order to trial war historical re-enactment as an academic research method together with the Department‘s students, art and research project “Neuchatel‘s Battalion at the Battle of Wagram” has been launched across the curriculum. The project incorporates stages of joint research and artistic work of academicians and students. During the project, a mechanism of inter-knowledge interaction is formed in the minds of students, which allows students to acquire historical knowledge about the Neuchatel battalion, Battle of Wagram, uniforms worn during the Napoleonic Wars, and the work of battle painters. Based on the above, the students acquire metadisciplinary skills they employ to create themed art in terms of traditional battle paintings by Alexander Averyanov, Peter von Hess, and Louis-Francois Lejeune. We have summarized the experience of employing the war historical re-enactment method in teaching students historical painting. It is reflected in the study guide students use to study military garments worn in the early 19th century and create themed works of art. Its contents are recommended for both teachers and students studying art to create student artworks consistent with traditional battle paintings.
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Portnova, Irina V. "Russian Animalism in Relation to Other Genres of Fine Art in the History of Russian Culture of the 18th—19th Centuries." Observatory of Culture 17, no. 6 (2021): 606–15. http://dx.doi.org/10.25281/2072-3156-2020-17-6-606-615.

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The article deals with the historical-cultural topic of relations of the Russian animalism with other genres of fine art of the 18th and 19th centuries. When the features of animalistic art were identified as a peculiar and characteristic phenomenon open to interaction, animalism became an original page of Russian culture. The author refers to this topic in connection with the small number of complex studies in the field of animalism. The purpose of the article is to consider the specific features of animalism, as a characteristic original phenomenon of Russian artistic culture, in the context of the existing genre system of the two designated periods. The relevance of the article lies in the fact that the issues of interaction and integration are very significant in historical and modern artistic practice. The demonstration of such “communications” on the example of Russian animalistic painting, graphics, and sculpture further enriches and diversifies the sphere of Russian art, giving it the character of integrity and national color.The article presents a review of Russian and foreign literature on this topic, indicates that animalism entered the system of genres of Russian art of the 18th—19th centuries as a special “genus” of it, showing an independent status. For two centuries, artists set their task to create an animal’s image in the sphere of the natural reality they observed. The nature they perceived and the animals in it were reflected in different genres of fine art. In the 18th century, when the Academy of Arts and related classes were organized in Russia, animals and birds began to be depicted in historical, battle, landscape paintings, and still lifes. Wild and domestic animals appeared in paintings by foreign and Russian masters. In the 19th century, the horse became one of the most preferred characters in portraiture and sculpture (along with the historical and landscape genre). The author concludes that the historical realities of that time highlighted that image and determined the formation of a separate “hippic genre”.
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Kovalchuk, Igor. "Galician painters of the end of the 19th - the first third of the twentieth century - the creators of the latest page of Ukrainian sacred art." Ukrainian Religious Studies, no. 74-75 (September 8, 2015): 176–86. http://dx.doi.org/10.32420/2015.74-75.573.

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The article deals with the development of sacred art in Galicia at the turn of the 19th and 20th centuries. Masters of Ukrainian icon painting K. Ustinovich, Y. Pankevich, M. Sosenko, P. Kholodny and others. continued the creative process through which the Ukrainian icon for a long historical period of development did not lose its viable direction, did not degenerate into the picture. They have not crossed that limit, when the departure from the fundamental theological foundations of iconoclasm threatens to transform it into a painting of dry religious content.
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Zalaffi, Maria Sole, Ines Agostinelli, Najmeh Karimian, and Paolo Ugo. "Ag-Nanostars for the Sensitive SERS Detection of Dyes in Artistic Cross-Sections—Madonna della Misericordia of the National Gallery of Parma: A Case Study." Heritage 3, no. 4 (2020): 1344–59. http://dx.doi.org/10.3390/heritage3040074.

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In historical paintings, the detection of low amounts of pigments and dyes by Raman spectroscopy can sometimes be challenging, in particular for fluorescent dyes. This issue can be overcome by using SERS (surface-enhanced Raman spectroscopy) which takes advantage of the properties of nanostructured metal surfaces to quench fluorescence and enhance Raman signals. In this work, silver nanostars (AgNSs) are applied for the first time to real art samples, in particular to painting cross-sections, exploiting their effective SERS properties for pigment identification. The case study is the Madonna della Misericordia of the National Gallery of Parma (Italy). Cross-sections were analyzed at first by optical microscopy, SEM-EDS, and micro-Raman spectroscopy. Unfortunately, in some cross-sections, the application of conventional Raman spectroscopy was hindered by an intense background fluorescence. Therefore, AgNSs were deposited and used as SERS-active agent. The experimentation was successful, allowing us to identify a modern dye, namely copper phthalocyanine. This result, together with the detection of other modern pigments (titanium white) and expert visual examination, allowed to reconstruct the painting history, postdating its realization from the 15th century (according to the Gallery inventory) to 19th century with a heavy role of recent (middle 20th century) restoration interventions.
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Song, Joon Il. "The Influence of Far Eastern Culture on the Creative Work of S.M. Eisenstein." Journal of Flm Arts and Film Studies 10, no. 3 (2018): 45–54. http://dx.doi.org/10.17816/vgik10345-54.

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The article investigates the influence of Japanese and Chinese traditional culture on Sergey Eisensteins theory of artistic thinking, his activity as a film director. The author explores the origin of Eisensteins interest for the Far East in the historical context of the late 19th - early 20th century. Special attention is paid to his reflection on the nature of Japanese and Chinese drama, painting and poetry as well as its results manifested in his montage theory.
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Gerasimov, A. P., and T. V. Biryukova. "INTERIOR OF ART NOUVEAU ARCHITECTURE IN SIBERIA." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture, no. 2 (April 29, 2019): 102–12. http://dx.doi.org/10.31675/1607-1859-2019-21-2-102-112.

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The article discusses the development of the interior in private and public buildings in Russia late in the 19th and early 20th centuries. Romantic trends that emerged in architecture Western Europe in the 19th century turned into the new style expressed in modernity, which fundamentally differs from the historical repetition in architecture of the early period. This article is an interdisciplinary work and describes such arts as architecture, painting, and decorative and applied arts. The main feature of modernity is the internal space, subordinating the interior to the exterior, its graphic and artistic solution. The article focuses on the history of the interior and light design, furniture style and color.
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Drakopoulou, Eugenia. ""Pittura Romeica" in Italy: Artistic transfers across the Adriatic sea (18th - 19th centuries)." Historical Review/La Revue Historique 13 (February 24, 2017): 7. http://dx.doi.org/10.12681/hr.11553.

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The complex historical reality of the Adriatic region, an area located even today on the borderline between East and West, is reflected in the works of religious painting and in the painters’ geographical movements. The art of Orthodox regions was mainly influenced by Venice, but also by the rest of Italy, and, as a result, a unique art emerged in the Ionian Islands, which remained under Venetian control until the end of the eighteenth century. In the course of the eighteenth century, political and economic conditions contributed to the growth of the Orthodox communities in Italy. Their members were interested in the art of the country where they lived and prospered, but they simultaneously wished to preserve the “pittura romeica” in the decorations of churches and in the icons used for their personal worship. From Naples to the cosmopolitan Trieste, Orthodox painters, coming mainly from the Ionian Islands, produced artworks which were adapted to the new surroundings, thereby making the Adriatic region once again a privileged area for cultural exchanges.
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Rittig Šiško, Tea. "Musealisation of folk art - on the occasion of the 100th anniversary of the Ethnographic Museum." Etnološka istraživanja, no. 24 (December 5, 2019): 17–42. http://dx.doi.org/10.32458/ei.24.9.

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Starting from the concept of folk art as a historical phenomenon that refers to par- ticular civic processes of valorisation, selection and representation of peasant painting traditions, its role can be considered against the backdrop of specific economic, social and political circumstances of congenial cultural activities, which, from the end of the 19th century to the World War II, included the practices of gathering of ethnographic collections, the formation of the first museum collections and museum activities, the development of artistic crafts, encouragement of home-based handicraft businesses, as well as education in visual arts through professional education. This paper provides a historical overview of the process of affirmation of folk art, with an emphasis on musealisation and it is intended as a contribution to the interpretation of the initial collections of the Ethnographic Museum
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Dissertations / Theses on the topic "The historical painting of the 19th century"

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Walkowska-Boiteux, Joanna. "Auguste Couder, peintre d’histoire (1790-1873). Catalogue raisonné de l'oeuvre." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040093.

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Peintre d’histoire actif dès le début de la Restauration jusqu’au Second Empire, membre de l’Académie des beaux-arts et officier de la Légion d’honneur, Auguste Couder représente parfaitement toute une génération d’artistes reconnus de leur vivant, mais oubliés par la suite. Méconnue de nos jours, son œuvre, riche et variée, mérite pourtant d’être redécouverte. Elève fidèle de David, fortement marqué par l’enseignement de son maître, Couder se distingua en tant qu’un excellent dessinateur qui ne négligeait pas pour autant la couleur. Sollicité pour de nombreuses commandes officielles et privées, il réalisa un grand nombre d’œuvres inspirées tantôt de l’histoire – aussi bien antique que nationale, tantôt de la religion ou de la littérature. Peintre prolifique, exposant régulièrement aux Salons des années 1814-1848, il participa également à plusieurs travaux de décoration d’édifices civils et religieux. Pourtant, jusqu’à présent, sa création ne fit l’objet d’aucune étude. Cette thèse a pour objectif de combler cette lacune, en retraçant la carrière de Couder d’une part, et en établissant le premier catalogue raisonné de son œuvre, d’autre part. Comprenant près de 400 peintures et dessins, dont plusieurs sont inédits, ce catalogue met en évidence la richesse de la création artistique de Couder laquelle retrouve ainsi sa place dans l’histoire de la peinture du XIXe siècle<br>Auguste Couder, a historical painter active from the outset of the French Restauration to the Second Empire, a member of the Académie des beaux-arts (Academy of Fine Arts) and an Officer of the Legion of Honour, is a true representative of a whole generation of painters who were recognised as such during their lifetime but forgotten afterwards. Little known today, his works, abundant and varied, well deserve to be rediscovered. As a loyal student of David whose teaching greatly influenced him, Couder stood out as an excellent drawer but was nevertheless much interested in colours. He was commissioned numerous orders, from official and private sources, for paintings of a historical nature – both ancient and national – and inspired by religion and literature. A prolific artist, he participated regularly in the Salon held between 1814 and 1848 ; he also took part in several decorative works for official and religious edifices. Yet, his works have never been the subject of any study. The object of the present thesis is to remedy this situation by reviewing his whole career as well as drawing up, for the first time, a full descriptive catalogue of his works. This catalogue, which comprises some 400 paintings and drawings – several of which are unpublished, highlights the rich creation of Couder, reinstating him in the history of the 19th century arts
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Van, der Hoek Jessica. "The faithful and/or flattering in 19th Century portraiture." Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/13996.

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The nineteenth century's creation of different optical devices such as the camera obscura, the kaleidoscope and the thaumatrope signifies a change in the perception of vision at the time. The aim of this dissertation is to examine the work of four artists with reference to nineteenth century concerns surrounding vision. The scope for this examination is limited to the painted portraiture of Dante Gabriel Rossetti and John Singer Sargent and photographic portraiture of Julia Margaret Cameron and Félix Nadar Tournachon. Rossetti and Cameron represent two Victorian artists whose vision is turned inward to the imagination, with feelings of nostalgia and sentimentalism evoked in their portraits. This dissertation argues that the act of turning the eye inwards to the imagination is at the root of the flattering quality of these two artists' portraits. A further argument is that the sustained use of literary reference is the catalyst to the inward vision seen in these two Victorian artists' work. I examine Dante Gabriel Rossetti‟s later phase of idealised and "flattering" portraits of women in relation to the sonnets that Rossetti began to physically attach to either the frame or canvas of the portrait. The use of literary reference as catalyst to the inward vision is discussed namely through Julia Margaret Cameron‟s photographic portraits based on Alfred, Lord Tennyson's Enoch Arden. Cameron's allegorical and often mythological portraits of women are then analysed in order to establish the "flattering" quality of her portraits. With regards to the two artists who have been termed "faithful", an examination of their more outward vision and focus on the exterior realities is discussed. An exposition surrounding Félix Nadar Tournachon's "faithful" photographic portraits of nineteenth-century celebrities follows the discussion on Cameron. In order to further enquire into the notion of nineteenthcentury celebrities, an examination of John Singer Sargent follows. With the idea of Sargent being torn between the faithful and the flattering, I examine his more faithful Portrait of Madame X in relation to his later flattering celebrity portraits painted in the Grand Manner. In conclusion it will be suggested that Victorian and French ideas of vision and representation differed, exemplified by these four artists. These two very different perceptions of vision, one inward and the other outward, is the root of my distinction between the "faithful" and the "flattering" as manifested in portraiture.
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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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Hébert, Oriane. "La peinture d’Histoire en France sous le Second Empire libéral (1860-1870)." Thesis, Clermont-Ferrand 2, 2016. http://www.theses.fr/2016CLF20016/document.

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Genre prestigieux héritier d’une longue tradition, la peinture d'histoire connaît de multiples évolutions tout au long du XIXe siècle. Sous le Second Empire, régime longtemps affecté par sa « légende noire », ce genre restait encore à définir. Il présente des caractéristiques qui l’inscrivent véritablement dans son siècle, tout en lui conférant une originalité : émanation de la peinture d'histoire et de ses mutations dans la première moitié du siècle, précurseur de sa reformulation sous la Troisième République, la peinture d'histoire sous le Second Empire est marquée par la singularité. L’étude des représentations de l’histoire peintes entre 1860 et 1870 en est révélatrice. D’emblée, la corrélation entre les créations et le terme même de « peinture d'histoire » pose question. En effet, tout en se maintenant dans un sujet classique (historique), ces « peintures à sujet historique » se rapprochent tour à tour de la peinture de genre et du genre historique, et sont contaminées par le réalisme et le goût de la couleur locale. Si l’expression académique de « peinture d'histoire » convient encore à la peinture de bataille, cette dernière subit aussi les assauts de la modernité et connaît une mutation sous la forme spécifique de la peinture militaire. La démarche des peintres de sujets historiques présente des récurrences. Un important travail préparatoire, à partir de textes, de sources voire de découvertes archéologiques, est mis au service de reconstitutions positivistes des événements, permettant de susciter l’intérêt du public. Le choix des sujets varie selon les intentions : édifier le spectateur, montrer un passé idéalisé utilisé comme répertoire de sujets émouvants, ou encore exposer une idéologie. Au-delà de la dimension historiciste d’éducation par le passé national, ces œuvres donnent à voir un certain état de la pensée historique, des principaux courants d’idées qui ont influencé les peintres. Plus encore, ces derniers véhiculent et diffusent une conception de l’histoire qui rejaillit sur leur présent par l’intermédiaire de la presse et de l’illustration, et ils contribuent ainsi à construire l’image qui va s’ancrer dans les mémoires. Support traditionnel de propagande et de « fabrication » du pouvoir, la peinture d’histoire conduit à se poser la question des pratiques culturelles du gouvernement du Second Empire. L’instrumentalisation de l’image par l’État est réelle, mais se cantonne aux peintures de bataille et aux figurations du faste impérial. Napoléon III, dans sa politique d’acquisition, s’adapte aux créations plus qu’il ne les génère. En revanche, il exerce une influence indirecte : la mise en scène de sa personne, du couple impérial et de ses goûts historiques, offre une série de thèmes exploités par les peintres. La peinture à sujet historique n’est pas instrumentalisée dans le cadre des envois de l’État. Les élites locales jouent un rôle essentiel dans le développement de ce genre : municipalités et Sociétés savantes, édiles et érudits encouragent les créations sur l’histoire nationale ou locale. La représentation de l’histoire entre 1860 et 1870 donne à voir la place primordiale de l’histoire, dans ses aspects savants et populaires, à échelle nationale et locale, inspirée par le sentiment d’attachement à la « petite patrie » comme à la nation<br>Prestigious genre, heir to a long tradition, the history painting experiences multiple evolutions throughout the 19th century. Under the Second Empire, for a long time a regime marked by its "black legend", the genre still remained to be defined. Its characteristics fix it deeply in its century, while conferring it an originality : an emanation of the history painting and its transformations in the first half of the century, a precursor of its reformulation under the Third Republic, the history painting under the Second Empire is marked by its singularity. The study of the representations of history painted between 1860 and 1870 is revealing there. Straightaway, the correlation between the creations and the term of "history painting" raises questions. Indeed, while remaining in a classic subject (history), these "paintings on historic subject" get closer alternately to the genre painting and the historic genre, and are contaminated by the realism and the interest in the local colour. If the academic expression of "history painting" still suits for the painting of battle, the latter is also touched by the modernity and transformed into military painting. The approach of the painters of historic subjects presents recurrences. An important preparatory work, on texts, sources, even archaeological discoveries, is put in the service of positivist reconstructions of the events, in order to raise the interest of the public. The choice of the subjects varies according to the intentions: educate the spectator, show an idealised past used as directory of moving scenes, or develop an ideology. Beyond the historicist dimension of education about the national past, these pieces of art show a certain state of the historic thought, the main currents of ideas that influenced the painters. Moreover, the latter convey and spread a conception of history that reaches the contemporary through the press and the illustration, and so they contribute to build the image that will be anchored in the memory. A traditional mean of propaganda and "manufacturing" of the power, the history painting raises the question of the cultural practices of the government of the Second Empire. The instrumentalisation of the image by the State is real, but is restricted to the paintings of battle and of the imperial splendour. Napoleon III, in his acquisition policy, adapts himself to the creations more than he generates them. On the other hand, he exercises an indirect influence: the staging of his person, the imperial couple and its tastes in history, offer a series of themes exploited by the painters. The painting of historic subject is not instrumentalised within the framework of the envois of the State. The local elites play an essential role in the development of this genre: municipalities and Learned societies, town councillors and scholars encourage creations on national or local history. The representation of the history between 1860 and 1870 reveals the essential place of history, in its erudite and popular aspects, on a national and local scale, inspired by the feeling of attachment to the "small homeland" as well as the nation
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Schuman, Samuel A. "Representation, Narrative, and “Truth”: Literary and Historical Epistemology in 19th-Century France." Oberlin College Honors Theses / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1621948796558803.

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Arenas, Erick G. "A historical Study of Charles Gounod's Messe Solennelle de Sainte-Cecile." Thesis, University of Oregon, 2004. http://hdl.handle.net/1794/23902.

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189 p.<br>Church music has been given relatively little scholarly attention in the study of nineteenth-century music. While there is an array of mass settings that were composed by Romantic-era composers, current musicological research marginalizes them. Paris was one location where a tradition of composing new masses continued well into the nineteenth century. While best known for his works for the stage, Charles Gounod (1818-1893) was a leading French composer of sacred music and one of the most prolific sacred composers of his time. His most important liturgical composition is the Messe solennelle de Sainte-Cecile, which once enjoyed considerable international success. This thesis focuses on the history of this mass in biographical and historical context. I discuss the topics of music and religion in France from the Revolution to Gounod's time, the composer's long musical relationship with the church, the music of the Messe de Sainte-Cecile, and its reception.
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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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Books on the topic "The historical painting of the 19th century"

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S, D'Ambrosio Paul, and Emans Charlotte M, eds. Folk art's many faces: Portraits in the New York State Historical Association. The Association, 1987.

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The impressionists: The origins of modern painting. Peter Bedrick Books, 2000.

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The impressionists: The origin of modern painting. P. Bedrick Books, 1994.

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

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

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

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

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

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19th century maritime watercolours. David & Charles, 1989.

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

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Book chapters on the topic "The historical painting of the 19th century"

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Eitner, Lorenz. "French Landscape." In An Outline of 19th Century European Painting. 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. 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. 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. 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. 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. 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. 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. 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. 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. Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-1.

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Conference papers on the topic "The historical painting of the 19th century"

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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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Chekayeva, Rachima. "HISTORICAL FORMATION WOODEN HOUSES OF PETROPAVLOVSK FROM 19TH TO EARLY 20TH CENTURY." In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/hb51/s17.017.

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Bakharev, D. S. "Northern Trans-Urals at the end of the 19th century: the experience of ethnodemographic analysis." In Current Challenges of Historical Studies: Young Scholars' Perspective. Novosibirsk State University, 2020. http://dx.doi.org/10.25205/978-5-4437-1110-2-257-265.

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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). Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.65.

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Kozlova, M. A. "The reflections of the concepts “constitution” and “revolution” in the Russian periodicals of the first quarter of the 19th century." In Current Challenges of Historical Studies: Young Scholars' Perspective. Novosibirsk State University, 2020. http://dx.doi.org/10.25205/978-5-4437-1110-2-328-335.

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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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Plekh, O. A. "“Dear sir Mikhailo Matveyevich ...”: letters to the director-general of the Russian-American company M. M. Buldakov in the first quarter of the 19th century." In Current Challenges of Historical Studies: Young Scholars' Perspective. Novosibirsk State University, 2020. http://dx.doi.org/10.25205/978-5-4437-1110-2-89-98.

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Filimonov, A. V. "The contribution of the chiefs of the Altai district to the development of the activities of public non-political organizations at the end of the 19th century." In Current Challenges of Historical Studies: Young Scholars' Perspective. Novosibirsk State University, 2020. http://dx.doi.org/10.25205/978-5-4437-1110-2-174-180.

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Ischenko, Roman, Vladimir Skraschuk, and Dmitry Lyustritsky. "Industrialization of Siberia: Design, Implementation, Consequences." In Irkutsk Historical and Economic Yearbook 2020. Baikal State University, 2020. http://dx.doi.org/10.17150/978-5-7253-3017-5.62.

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The main stages of the industrial development of Siberia are analyzed. The role of large projects formed by the scientific community is indicated. It contains general information about the industrial potential of the Irkutsk region since the end of the 19th century.
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Reports on the topic "The historical painting of the 19th century"

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Gutiérrez Rodríguez, Encarnación. Entangled Migrations The Coloniality of Migration and Creolizing Conviviality. Maria Sibylla Merian International Centre for Advanced Studies in the Humanities and Social Sciences Conviviality-Inequality in Latin America, 2021. http://dx.doi.org/10.46877/rodriguez.2021.35.

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This Working Paper discusses entangled migrations as territorially and temporally entangled onto-epistemological phenomena. As a theoretical-analytical framework, it addresses the material, epistemological and ethical premises of spatial-temporal entanglements and relationality in the understanding of migration as a modern colonial phenomenon. Entangled migrations acknowledges that local migratory movements mirror global migrations in complex ways, engaging with the analysis of historical connections, territorial entrenchments, cultural confluences, and overlapping antagonistic relations across nations and continents. Drawing on European immigration to the American continent and specifically to Brazil in the 19th century, this argument is tentatively developed by discussing two opposite moments of entangled migrations, the coloniality of migration and creolizing conviviality. To do this, the paper engages first with the theoretical framework of spatial-temporal entanglements. Second, it approaches the coloniality of migration. Finally, it briefly discusses creolizing conviviality.
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