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Cezanne and Provence
The Painter in His Culture
Nina Maria Athanassoglou-Kallmyer
University of Chicago Press, 2003
In 1886 Paul Cézanne left Paris permanently to settle in his native Aix-en-Provence. Nina M. Athanassoglou-Kallmyer argues that, far from an escapist venture like Gauguin's stay in Brittany or Monet's visits to Normandy, Cézanne's departure from Paris was a deliberate abandonment intimately connected with late-nineteenth-century French regionalist politics.

Like many of his childhood friends, Cézanne detested the homogenizing effects of modernism and bourgeois capitalism on the culture, people, and landscapes of his beloved Provence. Turning away from the mainstream modernist aesthetic of his impressionist years, Cézanne sought instead to develop a new artistic tradition more evocative of his Provençal heritage. Athanassoglou-Kallmyer shows that Provence served as a distinct and defining cultural force that shaped all aspects of Cézanne's approach to representation, including subject matter, style, and technical treatment. For instance, his self-portraits and portraits of family members reflect a specifically Provençal sense of identity. And Cézanne's Provençal landscapes express an increasingly traditionalist style firmly grounded in details of local history and even geology. These landscapes, together with images of bathers, cardplayers, and other figures, were key facets of Cézanne's imaginary reconstruction of Provence as primordial and idyllic—a modern French Arcadia.

Highly original and lavishly illustrated, Cézanne and Provence gives us an entirely new Cézanne: no longer the quintessential icon of generic, depersonalized modernism, but instead a self-consciously provincial innovator of mainstream styles deeply influenced by Provençal culture, places, and politics.
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The Nazi, the Painter and the Forgotten Story of the SS Road
G. H. Bennett
Reaktion Books, 2012

In 2006 a long-forgotten canister of film was discovered in a church in Devon, a county located in the southwestern corner of the United Kingdom. No one knew how it had gotten there, but its contents were tantalizing—the grainy black and white footage showed members of the German SS and police building a road in Ukraine and Crimea in 1943. The BBC caused a sensation when it aired the footage, but the film gave few clues to the protagonists or their task.

World War II historian G. H. Bennett pieces together the story of the film and its principal characters in The Nazi, the Painter and the Forgotten Story of the SS Road. In his search for answers, Bennett unearthed an overlooked chapter of the Holocaust: a wartime German road-building project led by Walter Gieseke, the Nazi policeman who ended up running the SS task force, that served the dual purpose of exterminating Jewish and other lives while laying the infrastructure for a utopian Nazi haven in the Ukraine. Bennett tells the story of the road and its builders through the experiences of Arnold Daghani, a Romanian artist who was one of the few Jewish laborers to survive the project. Daghani describes the brutal treatment he endured, as well as the beating, torture, and murder of his fellow laborers by the Nazis, and his postwar efforts to bring the perpetrators to justice.
 
Recovering an important but lost episode in the history of World War II and the Holocaust, The Nazi, the Painter and the Forgotten Story of the SS Road is a moving and at times horrifying chronicle of suffering, deprivation, and survival.
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Patron to Painter
Elizabethan Programs for Five Allegorical Paintings
David Evett
Arizona Center for Medieval and Renaissance Studies, 2020
For more than two centuries the group of early modern English manuscripts presented in this volume sat mostly ignored on the shelves of the British Library, known only to the librarians who catalogued them. Six of them, for four different elaborate allegorical paintings, appear in the manuscript catalog of the Sloane Collection as “Instructions to painters.” A seventh, from the Harley collection in the same library, has more recently been added to the group. On art historical, iconographic, and historical grounds the manuscripts add significantly to our knowledge of Elizabethan visual allegory, and reveal a provocative new contribution to the evolution of English political thought. And the development across three of the programs of a warm personal relationship between the patron and the artist opens a unique window into early modern relationships of this kind. Unlike most other surviving artistic programs, this one reveals its author’s personality and interests in a rich and beguiling way, and although as a writer he is no Sidney or Nashe, the naïve yet widely informed enthusiasm with which he addresses his readers has considerable force and charm.
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Sir Joshua Reynolds
The Painter in Society
Richard Wendorf
Harvard University Press, 1996

That Sir Joshua Reynolds (1723–1792) became the most fashionable painter of his time was not simply due to his artistic gifts or good fortune. The art of pleasing, Richard Wendorf contends, was as much a part of Reynolds’s success—in his life and in his work—as the art of painting. The author’s examination of Reynolds’s life and career illuminates the nature of eighteenth-century English society in relation to the enterprise of portrait-painting. Conceived as an experiment in cultural criticism, written along the fault lines that separate (but also link) art history and literary studies, Sir Joshua Reynolds: The Painter in Society explores the ways in which portrait-painting is embedded in the social fabric of a given culture as well as in the social and professional transaction between the artist and his or her subject. In addition to providing a new view of Reynolds, Wendorf’s book develops a thoroughly new way of interpreting portraiture.

Wendorf takes us into Reynolds’s studio to show us the artist deploying his considerable social and theatrical skills in staging his sittings as carefully orchestrated performances. The painter’s difficult relationship with his sister Frances (also an artist and writer), his complicated maneuvering with patrons, the manner in which he set himself up as an artist and businessman, his highly politicized career as the first president of the Royal Academy of Arts: as each of these aspects of Reynolds’s practice comes under Wendorf’s scrutiny, a new picture of the painter emerges—more sharply defined and fully fleshed than the Reynolds of past portraits, and clearly delineating his capacity for provoking ambivalence among friends and colleagues, and among viewers and readers today.

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The Universal Art of Samuel van Hoogstraten (1627-1678)
Painter, Writer, and Courtier
Edited by Thijs Weststeijn
Amsterdam University Press, 2013
Samuel van Hoogstraten was not only one of Rembrandt’s most successful pupils but also a versatile painter in his own right. His experiments in optical illusion also attracted the interest of the natural scientists of his time, and he wrote some of the first Dutch novels, plays, and a treatise on painting. This rich interdisciplinary study examines how van Hoogstraten understood the relationship between art, literature, and science and how these reflected the general views of his time. Bringing to the fore hitherto unknown works, the book is an important contribution to our understanding of van Hoogstraten’s life and art. 
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