Seismic Shifts in Subject and Style - Durante, Dianne L.
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Why did subject and style in art change so dramatically over the course of the 19th century - from Madame Recamier, by Jacques-Louis David (1800) to Luxe, Calme et Volupte by Matisse (1904)? We'll look for an explanation through a combination of art analysis and philosophical detection. Artistic trends are not the result of a collective consciousness working its will. Such trends are simply the styles that a majority of artists chooses to embrace. Each of those artists, in turn, makes his own choice of style. Over the 19th century, France was the epicenter of artistic change. We briefly survey…mehr

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Produktbeschreibung
Why did subject and style in art change so dramatically over the course of the 19th century - from Madame Recamier, by Jacques-Louis David (1800) to Luxe, Calme et Volupte by Matisse (1904)? We'll look for an explanation through a combination of art analysis and philosophical detection. Artistic trends are not the result of a collective consciousness working its will. Such trends are simply the styles that a majority of artists chooses to embrace. Each of those artists, in turn, makes his own choice of style. Over the 19th century, France was the epicenter of artistic change. We briefly survey the works of 18 French artists, including Neoclassicists, Romantics, Naturalists, Impressionists, Post-Impressionists, Pointillists, Symbolists, and Academics. Then we look at what these artists (as well as a few influential art critics) have to say about four crucial issues: the role of training; the role of reason vs. emotion in creating art; the importance of style vs. subject; and qualifications for judging art. Finally we see how these statements relate to the philosophical context of the time.
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Autorenporträt
At age five, I won my first writing award: a three-foot-long fire truck with an ear-splitting siren. I've been addicted to writing ever since. Today I'm an independent researcher, freelance writer, and lecturer. The challenge of figuring out how ideas and facts fit together, and then sharing what I know with others, clearly and concisely - that's what makes me leap out of bed in the morning. Janson's *History of Art*, lent to me by a high-school art teacher, was my first clue that art was more than the rock-star posters and garden gnomes that I saw in Catawissa, Pennsylvania, and that history wasn't just a series of names, dates, and statistics. Soon afterwards I read Ayn Rand's fiction and nonfiction works, and discovered that art and history - as well as politics, ethics, science, and all fields of human knowledge - are integrated by philosophy. My approach to studying art is based on Rand's *The Romantic Manifesto*. (See my review of it on Amazon.) As an art historian I'm a passionate amateur, and I write for other passionate amateurs. I love looking at art, and thinking about art, and helping other people have a blast looking at it, too. *Outdoor Monuments of Manhattan: A Historical Guide* (New York University Press, 2007), which includes 54 sculptures, was described by Sam Roberts in the *New York Times* as "a perfect walking-tour accompaniment to help New Yorkers and visitors find, identify and better appreciate statues famous and obscure" (1/28/2007). Every week I issue four art-related recommendations to my supporters, which have been collected in *Starry Solitudes* (poetry) and *Sunny Sundays* (painting, sculpture, architecture, literature, and more). For more of my works, see https://diannedurantewriter.com/books-essays