A. M. Vogt

The Universe History of Art and Architecture

The Nineteenth Century

New York 1989

Stron 189, format: 15x21,5 cm, papier kredowy

166 ilustracji z czego 48 kolorowych

Bez śladów używania

NINETEENTH CENTURY European art confronts us with something new: man had lost the naive possession
of a style and was faced with the need to choose one. No previous era talked as much or as self-consciously about style, and it was during this period that foreign and ancient styles were adopted and revived on a grand scale. At the same time, painting showed intense polarizations: between Classicism and Romanti­cism, Realism and Idealism, Impressionism and Pre-Raphaelitism, Expressionism and Symbolism. Architecture showed similar divisions: the 'functional' Chicago school and Art Nouveau; architecture by architects in contrast to architecture by engineers and gardeners.
This period of changes and contrasts was extraordinarily and obstinately concerned with the unity of style. The Greek temple portico motif, for example, persistently occurred in the Madeleine in Paris (1806), in London's Euston railroad station (1835-39), even in the Rolls-Royce radiator (1904). Other genuine areas of style can be found: in painting (especially Impressionism), the application of scientific knowledge acquired from optics to artistic ends; in architecture, iron structures, such as halls, bridges, and towers.
Painting took precedence over sculpture, and it was the French who dominated: Ingres, Delacroix, Corot, Courbet, Daumier, Degas, Monet, Renoir, Seurat, Gauguin, Cezanne.
ADOLF MAX VOGT is professor of art history at the Technische Hochschule fur Architektur in Zurich.
'Students, serious art lovers and libraries seeking to enrich their art shelves with fine quality books will find real value in the Universe History of Art series ... written by acknowledged art authorities.' — Publishers Weekly.

Contents
Introduction 5
Architecture 22
Sculpture 85
Painting 107
Art and the Range of Civilization 179
Bibliography 184
Index 186