Art, Power and Modernity
English Art Institutions, 1750-1950
Seiten
2001
Leicester University Press (Verlag)
978-0-7185-0111-2 (ISBN)
Leicester University Press (Verlag)
978-0-7185-0111-2 (ISBN)
Drawing on primary and secondary materials, this is a sociological interpretation of the rise of metropolitan art institutions and their role in modernism and the modernization of art in England. In particular, it looks at submerged artists and their interpretations of the art world.
Drawing on primary and secondary materials, this is a sociological interpretation of the rise of metropolitan art institutions and their role in modernism and the modernization of art in England. It explores the complex relationships between the artist as creator, notions of class and taste, and the power of institutions (academies, museums, workshops, exhibitions, art dealers and publishing houses) to enable or constrain creativity, and to reflect and shape artistic expression. In particular, it looks at the experiences of submerged artists (for example, reproductive engravers and the Chantrey artists) and their interpretations of the changing art world. The radicalism of engravers and their claim to be artists is an important and neglected aspect of the 19th-century art world; and the aesthetic dispute over the Chantrey Bequest epitomized conflicts of taste, cultural dependence and interdependence between opposed art institutions and the Treasury.
Drawing on primary and secondary materials, this is a sociological interpretation of the rise of metropolitan art institutions and their role in modernism and the modernization of art in England. It explores the complex relationships between the artist as creator, notions of class and taste, and the power of institutions (academies, museums, workshops, exhibitions, art dealers and publishing houses) to enable or constrain creativity, and to reflect and shape artistic expression. In particular, it looks at the experiences of submerged artists (for example, reproductive engravers and the Chantrey artists) and their interpretations of the changing art world. The radicalism of engravers and their claim to be artists is an important and neglected aspect of the 19th-century art world; and the aesthetic dispute over the Chantrey Bequest epitomized conflicts of taste, cultural dependence and interdependence between opposed art institutions and the Treasury.
Gordon Fyfe is lecturer in sociology at the University of Keele.
Fugitive authorship - William Ivins and the reproduction of art; artists, exhibitions, and power during the 19th century; auditing the Royal Academy - official discourse and the 19th-century Royal Academy; art and reproduction - some aspects of the relations between engravers and painters in London, 1760-1850; art classification and rituals of power - the resurgence of etching; a Trojan horse at the Tate -the Chantrey episode; towards an historical typology of art museums.
| Erscheint lt. Verlag | 1.1.2001 |
|---|---|
| Reihe/Serie | Contemporary Issues in Museum Culture S. |
| Zusatzinfo | 21 illustrations |
| Verlagsort | London |
| Sprache | englisch |
| Maße | 153 x 234 mm |
| Gewicht | 300 g |
| Themenwelt | Kunst / Musik / Theater ► Kunstgeschichte / Kunststile |
| Geisteswissenschaften ► Geschichte ► Hilfswissenschaften | |
| Sozialwissenschaften | |
| ISBN-10 | 0-7185-0111-X / 071850111X |
| ISBN-13 | 978-0-7185-0111-2 / 9780718501112 |
| Zustand | Neuware |
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Buch | Softcover (2024)
transcript (Verlag)
CHF 49,90
