Benjamin, Walter. Charles Baudelaire: A Lyric Poet in the Era of High Capitalism, Harry Zohn, trans. London: NLB, 1973
Chapter 11
CRISIS IN THE ACADEMY
State-sponsored art academies were slow to change, and often changes were too little and came too late. The situation was complicated by the fact that artistic prestige continued to be measured by success at offical art exhibitions. Depending on their interests, temperament, and financial situation, artists chose paths of conformity or rebellion, or a path in between. Clearly, however, artistic preferences were becoming increasingly diverse.
Artists and Artworks:
11.1 - Thomas Couture, Romans of the Decadence, 1847
11.3 - Auguste Clésinger, Woman Bitten by a Snake, 1847
11.5 - Rosa Bonheur, Horse Fair, 1853-55
11.6 - Edouard Manet, Déjeuner sur l’herbe, 1863
11.7 - Alexandre Cabanel, Birth of Venus, 1863
11.9 - Jean-Baptiste Carpeaux, Ugolino and His Sons, 1863
11.10 - Edouard Manet, Olympia, 1863
11.11 - Gustave Moreau, Thracian Girl Carrying the Head of Orpheus, 1879
11.12 - Jules Dalou, Triumph of the Republic, 1879-89
11.13 - Fredéric Bartholdi, Liberty Enlightening the World, 1884 (installed)
11.14 - Mariya Bashkirtseva (Marie Bashkirtseff), Meeting, 1884
11.16 - Karl von Piloty, Seni by the Corpse of Wallenstein, 1855
11.17 - Hans Makart, Entry of Karl V into Antwerp, 1878
11.19 - Adolf von Menzel, Flute Concert at Sanssouci Palace, 1850-52
Readings:
Bergman-Carton, Janis. “The Gendering of Impressionism” in Norma Broude and Mary D. Garrard, eds. Reclaiming Female Agency: Feminist Art History after Postmodernism. Berkeley, CA: University of California Press, 2005, pp. 203-15
Blakesley, Rosalind P. Pride and the Politics of Nationality in Russia's Imperial Academy of Fine Arts, 1757-1807. Hoboken, NJ: Wiley, 2010
Boime, Albert. Art in an Age of Civil Struggle, 1848-1871. Chicago, IL: University of Chicago Press, 2007
Boime, Albert. The Academy and French Painting in the Nineteenth Century. London: Phaidon, 1971
Friedrich, Otto. Olympia: Paris in the Age of Manet. New York: HarperCollins, 1992
Greenhalgh, Paul. Ephemeral Vistas: The Expositions Universelles, Great Exnibitions and World’s Fairs, 1851-1939. New York: St. Martin’s Press, 1988
Harrison, Charles. Painting the Difference: Sex and Spectator in Modern Art. Chicago, IL: University of Chicago Press, 2006
Hobsbawm, Eric. The Age of Capital: 1848-1875. New York: Vintage Books, 1996
Holt, Elizabeth Gilmore, ed. The Triumph of Art for the Public: The Emerging Role of Exhibitions and Critics. Garden City NY: Anchor Press, 1979
Lenman, Robin. Artists and Society in Germany, 1850-1914. Manchester and New York: Manchester University Press, 1997
Mainardi, Patricia. Art and Politics of the Second Empire: The Universal Expositions of 1855 and 1867. New Haven, CT and London: Yale University Press, 1987
Marrinan, Michael. Painting Politics for Louis-Philippe: Art and Ideology in Orleanist France, 1830-1848. New Haven, CT: Yale University Press, 1988
Prettejohn, Elizabeth. Art for Art’s Sake: Aestheticism in Victorian Painting. Exhibition catalogue. New Haven, CT: Yale University Press, 2007
Shaw, Jennifer. “The Figure of Venus: Rhetoric of the Ideal and the Salon of 1863,” in Caroline Arscott, and Katie Scott, eds., Manifestations of Venus. Manchester: Manchester University Press, 2001, pp. 90-108
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