Representations Of G F Watts
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Representations of G.F. Watts
Originally published in 2004. Once the most popular Victorian artist, G. F. Watts was also a complex and elusive figure. Influenced by evolutionary theory, he reinterpreted the tradition of the classical body, while his philanthropic and educational interests informed projects for a more affective public art. This book is the first modern account of the full range of Watts's different artistic interests and practices. Offering fresh approaches to his historical, allegorical and mythological paintings, it also traces his increasingly radical approach to portraiture and sculpture and examines the institutional and biographical factors behind his immense public profile. Together the essays present a comprehensive analysis of Watts's work and his vital relationship to the intellectual, cultural and social forces of his time.
The Paragone in Nineteenth-Century Art
Offering an examination of the paragone, meaning artistic rivalry, in nineteenth-century France and England, this book considers how artists were impacted by prevailing aesthetic theories, or institutional and cultural paradigms, to compete in the art world. The paragone has been considered primarily in the context of Renaissance art history, but in this book readers will see how the legacy of this humanistic competitive model survived into the late nineteenth century.
The Artist as Divine Symbol
Author: Adam Edward Carnehl
language: en
Publisher: Wipf and Stock Publishers
Release Date: 2023-10-09
In critical yet appreciative dialogue with four different art critics who demonstrated theological sensitivities, Adam Edward Carnehl traces an ongoing religious conversation that ran through nineteenth-century aesthetics. In Carnehl's estimation, this critical conversation between the John Ruskin, Walter Pater, and Oscar Wilde, culminated in the brilliant approach of G. K. Chesterton, who began his journalistic career with a series of insightful works of art criticism. By conducting a close reading of these largely neglected works, Carnehl demonstrates that Chesterton developed a theological aesthetic that focuses us on the revelation of God's image in every human being. In Chesterton's eyes, only those made in God's image can produce images themselves, and only those who receive a revelation of truth are able to reveal truths for others. Art is therefore a rich and symbolic unveiling of the truth of humanity which finds its origin and purpose in God the Divine Artist.