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Nineteenth Century Painting in the Netherlands' fills a gap in art history. There has been no survey on Dutch art since 1948, and the only English publication available is a translation from an earlier 1920s book. This new publication offers a synthesis of research done by many during the last half century and provides new insights into the art market, into stylistic development, and into the relations between Dutch and foreign artists. It also offers over 500 full colour illustrations of paintings: some famous, some hardly known and even some new discoveries. Vincent van Gogh, Joseph Israëls and Anton Mauve are internationally renowned Dutch painters from the 19th century. Their work was collected in Europe and the USA, and of course Van Gogh is perhaps the most famous artist ever. They came from a country famous for its painting since the 16th century. Yet apart from Van Gogh and the Hague School, 19th century Dutch art is for many still unfamiliar territory. This is no surprise, as the last overview dates from 1948, and an earlier book from 1920 was the only one translated in English (in 1973). So it is really high time that another survey is published, as much new research has been done since. Jenny Reynaerts, senior curator of the Rijksmuseum and a well-known specialist on 19th century Dutch art, has written her book for a large reading public. She looks at the period with fresh eyes and often from a contemporary point of view. Her results show that Dutch painters were far more internationally oriented than has been thought until now: Ary Scheffer became a superstar in France, as did Lawrence Alma-Tadema in England, and painters like Barend Cornelis Koekkoek, Johan Barthold Jongkind, Jacob and Matthijs Maris made a name for themselves all over Europe. Exhibition: Singer Museum, Laren, The Netherlands (15.01.-15.05.2020).
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Nicht allein Geräte begründen die mediale Moderne. Vielmehr setzen Ideen und Konzepte der Aufklärung die Medialisierung überhaupt erst in Gang. Die Kulturwelt der Aufklärung und Medien der Gegenwart werden von hier aus völlig neu einschätzbar. Achtzehn Pioniere dieser Perspektive beleuchten die Mediensehnsüchte der Aufklärung: frühe Formen von Hypertext und algorithmischer Empfehlung, Camera obscura, Farbenlehre und Physiognomik, Medien der Aufzeichnung, Messung und Präsentation, Reise- und Forschungskulturen, virtuelle Gartenwelten sowie Umwälzungen in Theater und öffentlichem Austausch. Gegensätzliche Ziele wie äußere Objektivität und subjektive Entfaltung sowie Funktionen der Abbildung, Messung, Speicherung und Verbreitung erweisen sich hierbei als medienbildende Energien, die sich aus der Aufklärung ableiten und in die Gegenwart führen.
Realism in art --- Arts, Modern --- Enlightenment
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Theater --- Realism in art --- Realism --- Postmodernism --- History
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A survey of the illustrations in textbooks of modern art demonstrates that scholars do consider Jackson Pollock the most important modern American painter, but not by a wide margin over Jasper Johns and Andy Warhol, the leading artists of the following generation. The distribution of the illustrations furthermore reveals a sharp contrast in the careers of the major artists of these two generations: the Abstract Expressionists produced their most important contributions late in their careers, whereas their successors innovated early in theirs. This difference resulted from the differing approaches of the artists, for the Abstract Expressionists were experimental innovators, who developed new visual images by a process of trial and error, while the leading artists of the 1960s were conceptual innovators, whose work embodied new ideas.
Painting, American --- Realism in art. --- Pollock, Jackson,
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Art --- Realism in art --- Themes, motives
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Photography, Artistic --- Photography --- Realism in art --- Philosophy --- Philosophy
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Prints --- Realism in art --- Romanticism in art --- History
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Art, Chinese --- Painting, Chinese --- Socialist realism in art
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