| Preface |
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12 | (1) |
| Introduction |
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13 | (6) |
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Rococo, Enlightenment, and the Call for a New Art in the Mid-Eighteenth Century |
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19 | (24) |
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Louis XV and the Emergence of the Rococo Interior |
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19 | (3) |
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Rococo Decoration: Paintings, Sculptures, and Porcelains |
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22 | (2) |
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24 | (2) |
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The Rococo outside France |
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26 | (3) |
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Portrait Painting in Britain |
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29 | (2) |
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The Eighteenth-Century Artist: Between Patronage and the Art Market |
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31 | (2) |
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The Education of the Artist and the Academy |
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33 | (1) |
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34 | (1) |
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Salon Critics and the Call for a New Art in France |
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34 | (2) |
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Count d'Angiviller and the Promotion of Virtuous Art |
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36 | (5) |
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Reynolds and the Call for a New Art in Britain |
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41 | (2) |
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43 | (30) |
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Winckelmann and Reflections on the Imitation of Greek Works in Painting and Sculpture |
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43 | (1) |
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Classical Art and Idealism |
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44 | (1) |
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45 | (1) |
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Archaeology and the Discovery of Pompei and Herculaneum |
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46 | (1) |
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Winckelmann's History of Ancient Art |
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47 | (1) |
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48 | (2) |
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The Beginnings of Neoclassicism |
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50 | (6) |
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56 | (4) |
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60 | (1) |
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61 | (4) |
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65 | (2) |
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The Industrial Revolution and the Popularization of Neoclassicism |
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67 | (2) |
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69 | (4) |
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British Art during the Late Georgian Period |
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73 | (22) |
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73 | (2) |
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The Lure of the Middle Ages |
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75 | (1) |
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Horace Walpole, William Beckford, and the Taste for the ``Gothick'' in Architecture |
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75 | (2) |
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The Sublime and the Gothick in Painting: Benjamin West |
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77 | (2) |
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Boydell's Shakespeare Gallery |
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79 | (1) |
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80 | (3) |
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83 | (5) |
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Contemporary Heroes and Historical Context |
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88 | (2) |
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The Grand Manner and Bourgeois Portraits |
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90 | (5) |
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Art and Revolutionary Propaganda in France |
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95 | (16) |
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Marie Antionette, Before and After |
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96 | (2) |
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98 | (1) |
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Commemorating the Heroes and Martyrs of the Revolution |
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99 | (4) |
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Creating a Revolutionary Iconography |
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103 | (1) |
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104 | (1) |
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Quatremere de Quincy, the Pantheon, and the Absent Republican Monument |
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105 | (3) |
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108 | (3) |
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111 | (32) |
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112 | (1) |
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Vivant Denon and the Napoleon Museum |
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113 | (1) |
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Napoleonic Public Monuments |
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114 | (2) |
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116 | (3) |
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119 | (7) |
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Antoine-Jean Gros and the Napoleonic Epic |
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126 | (2) |
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The School of David and the ``Crisis'' of the Male Nude |
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128 | (5) |
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133 | (1) |
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The Transformation of Neoclassicism: New Subjects and Sensibilities |
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134 | (1) |
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Historic Genre Painting and the So-Called Troubadour Style |
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135 | (1) |
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The Lesser Genres: Portraiture and Landscape |
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135 | (8) |
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Francisco Goya and Spanish Art at the Turn of the Eighteenth Century |
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143 | (18) |
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Court Patronage under Carlos III: Tiepolo and Mengs |
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143 | (3) |
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The Making of Francisco Goya |
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146 | (4) |
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150 | (2) |
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152 | (2) |
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The Execution of the Rebels |
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154 | (3) |
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157 | (1) |
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157 | (4) |
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The Beginnings of Romanticism in the German-Speaking World |
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161 | (20) |
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161 | (2) |
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Early Nazarenes: Friedrich Overbeck and Franz Pforr |
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163 | (3) |
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Later Nazarenes: Peter Cornelius and Julius Schnorr von Carolsfeld |
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166 | (3) |
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German Painting in Context |
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169 | (1) |
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169 | (6) |
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175 | (6) |
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The Importance of Landscape---British Painting in the Early-Nineteenth Century |
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181 | (22) |
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Nature Enthusiasm in Great Britain |
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181 | (1) |
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182 | (3) |
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The Popularity of Watercolor: Amateurs and Professionals |
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185 | (2) |
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Thomas Girtin, John Sell Cotman, and the Pictorial Possibilities of Watercolor |
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187 | (4) |
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Joseph Mallord William Turner |
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191 | (6) |
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197 | (6) |
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The Restoration Period and the Rejection of Classicism in France |
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203 | (22) |
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Government Patronage and the Rejection of Classicism |
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203 | (2) |
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205 | (1) |
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The Salons of the Restoration Period |
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206 | (1) |
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Madame de Stael and the Introduction of Romantic Ideas into France |
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206 | (1) |
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207 | (1) |
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208 | (1) |
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209 | (1) |
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209 | (7) |
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216 | (5) |
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Ingres and the Transformation of Classicism |
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221 | (2) |
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Classicism and Romanticism |
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223 | (2) |
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The Popularization of Art and Visual Culture in France during the July Monarchy (1830--1848) |
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225 | (32) |
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Classicism, Romanticism, and the Juste-Milieu |
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226 | (1) |
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Louis-Philippe and the Museum of the History of France |
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227 | (2) |
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229 | (2) |
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The Revival of Religious Mural Painting |
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231 | (1) |
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The Salon during the July Monarchy |
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232 | (2) |
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Historical Genre and Orientalist Painting |
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234 | (3) |
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Landscape Painting: Corot and the Historical Landscape Tradition |
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237 | (1) |
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Landscape: The Picturesque Tradition |
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238 | (2) |
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Landscape Painting: The Barbizon School and Naturalism |
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240 | (2) |
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242 | (3) |
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245 | (1) |
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The Explosion of the Press and the Rise of Popular Culture |
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246 | (1) |
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247 | (5) |
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252 | (1) |
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Louis Daguerre and the Beginnings of Photography in France |
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253 | (4) |
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The Revolution of 1848 and the Emergence of Realism in France |
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257 | (12) |
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The Salons of the Second Republic |
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258 | (1) |
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258 | (2) |
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Gustave Courbet's A Burial at Ornans |
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260 | (2) |
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Courbet, Millet, and an Art of Social Consciousness |
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262 | (2) |
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Daumier and the Urban Working Class |
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264 | (3) |
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267 | (2) |
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Progress, Modernity, and Modernism---French Visual Culture during the Second Empire, 1852--1870 |
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269 | (36) |
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Napoleon III and the ``Hausmannization'' of Paris |
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271 | (1) |
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The Opera and Mid-Nineteenth-Century Sculpture |
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272 | (5) |
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Salons and Other Exhibitions during the Second Empire |
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277 | (1) |
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Popular Trends at the Second Empire Salons |
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277 | (2) |
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History through a Magnifying Glass: Meissonier and Gerome |
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279 | (2) |
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Second Empire Orientalism---Gerome, Formentin, Du Camp, Cordier |
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281 | (4) |
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285 | (1) |
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Landscape and Animal Painting: Courbet and Bonheur |
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285 | (4) |
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Second Empire Peasant Painting: Millet and Jules Breton |
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289 | (2) |
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Baudelaire and ``The Painter of Modern Life'' |
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291 | (2) |
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Courbet, Manet, and the Beginnings of Modernism |
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293 | (7) |
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300 | (1) |
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New Roles for Photography |
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301 | (4) |
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Art in the German-Speaking World from the Congress of Vienna to the German Empire, 1815--1871 |
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305 | (18) |
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305 | (1) |
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Biedermeier Conversation Pieces |
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306 | (2) |
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Urban Scenes and Landscapes |
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308 | (2) |
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310 | (2) |
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312 | (1) |
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312 | (1) |
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Academic History Painting |
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313 | (1) |
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314 | (4) |
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Realism and Idealism: Diverging Trends in the Early 1870s |
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318 | (5) |
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Art in Victorian Britain, 1837--1901 |
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323 | (30) |
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Social and Economic Conditions during the Victorian Age |
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324 | (1) |
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325 | (1) |
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Painting during the Early Victorian Period: Anecdotal Scenes |
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326 | (3) |
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Fairy Painting: Paton and Dadd |
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329 | (2) |
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Early Victorian Landscape and Animal Painting: Martin and Landseer |
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331 | (2) |
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Early Victorian Portraiture and the New Photographic Medium |
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333 | (1) |
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Government Patronage and the Houses of Parliament |
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334 | (3) |
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The Pre-Raphaelite Brotherhood |
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337 | (3) |
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The Pre-Raphaelites and Secular Subject Matter |
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340 | (3) |
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Genre Painting and Photography in the Mid-Victorian Period |
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343 | (1) |
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From Pre-Raphaelitism to the Aesthetic Movement |
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344 | (5) |
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349 | (4) |
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National Pride and International Rivalry---the Great International Expositions |
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353 | (20) |
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Origins of the International Expositions |
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353 | (1) |
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The Great Exhibition of the Works of Industry of All Nations |
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354 | (1) |
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The Crystal Palace: A Revolution in Architecture |
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354 | (2) |
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The Great Exhibition and the Design Crisis in Britain |
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356 | (1) |
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New Attitudes toward Design: Owen Jones and John Ruskin |
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357 | (1) |
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The International Exhibition in London, 1862 |
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358 | (2) |
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The Japanese Court at the Exhibition of 1862 |
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360 | (1) |
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The Universal Exposition of 1855 in Paris |
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361 | (3) |
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The International Art Exposition |
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364 | (1) |
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364 | (1) |
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Courbet's Private Pavilion |
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364 | (2) |
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Foreign Artists at the International Exposition of 1855 |
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366 | (2) |
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The Paris Universal Exposition of 1867 |
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368 | (1) |
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The Fine Arts Exhibition of 1867 |
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369 | (1) |
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370 | (1) |
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The Importance of the International Exhibitions of the 1850s and 1860s |
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371 | (2) |
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French Art after the Commune---Conservative and Modernist Trends |
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373 | (38) |
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The Commune and Early Photo-Journalism in Europe |
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373 | (2) |
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375 | (3) |
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Mural Painting during the Third Republic |
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378 | (3) |
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The Third Republic and the Demise of the State-Sponsored Salon |
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381 | (1) |
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Academic and Realist Art at the Salons of 1873--90 |
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382 | (2) |
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Naturalism at the Salons of 1870--90 |
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384 | (3) |
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Manet at the Salons of the 1870s and 1880s |
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387 | (2) |
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389 | (1) |
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Origin and Definition of the Term ``Impressionism'' |
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389 | (1) |
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Claude Monet and the Impressionist Landscape |
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390 | (2) |
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Other Impressionist Landscape Painters: Pissarro and Sisley |
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392 | (1) |
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Monet's Early Painting Series |
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392 | (3) |
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Impressionist Figure Painting |
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395 | (4) |
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Impressionism and the Urban Scene: Edgar Degas |
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399 | (4) |
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Impressionists and the Urban Scene: Caillebotte |
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403 | (4) |
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Women at the Impressionist Exhibitions |
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407 | (2) |
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Impressionism and Modern Vision |
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409 | (2) |
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French Avant-Garde Art in the 1880s |
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411 | (30) |
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Georges Seurat and Neo-Impressionism |
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411 | (6) |
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Neo-Impressionism and Utopianism: Signac and Pissarro |
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417 | (2) |
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The ``Crisis'' in Impressionism |
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419 | (1) |
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Monet and the Later Series Paintings |
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420 | (1) |
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421 | (3) |
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424 | (1) |
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425 | (7) |
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432 | (6) |
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438 | (3) |
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When the Eiffel Tower Was New |
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441 | (22) |
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441 | (2) |
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443 | (1) |
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The History of Habitation Pavilions |
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443 | (1) |
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443 | (4) |
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447 | (1) |
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The Triumph of Naturalism |
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447 | (2) |
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Nordic Naturalism: Nationalism and Naturism |
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449 | (4) |
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Naturalism in Germany: Max Liebermann and Fritz von Uhde |
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453 | (2) |
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455 | (1) |
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Jozef Israels and the Hague School in the Netherlands |
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456 | (1) |
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457 | (4) |
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The 1889 Exposition in Review |
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461 | (2) |
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France during La Belle Epoque |
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463 | (36) |
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Transport of Soul and Body: Sacre Coeur and the Metro |
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465 | (2) |
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Art Nouveau, Siegfried Bing, and the Concept of Decoration |
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467 | (1) |
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The Sources of Art Nouveau |
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467 | (4) |
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Henri de Toulouse-Lautrec and the Art Nouveau Poster |
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471 | (2) |
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Toulouse-Lautrec, the Painter |
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473 | (1) |
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Paul Gauguin and Emile Breton: Cloisonnism and Synthetism |
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474 | (3) |
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Paul Gauguin: The Passion for Non-Western Culture |
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477 | (6) |
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483 | (1) |
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Symbolism and Romanticism: Gustave Moreau and Odilon Redon |
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483 | (4) |
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Symbolist Cult Groups: Rosicrucians and Nabis |
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487 | (3) |
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490 | (6) |
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496 | (3) |
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International Trends c. 1920 |
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499 | (29) |
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499 | (1) |
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500 | (2) |
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Antoni Gaudi and Spanish Modernisme |
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502 | (3) |
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505 | (1) |
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Art Nouveau and Symbolism |
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505 | (2) |
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Salons of the Rose + Croix |
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507 | (2) |
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Les XX or ``The Group of Twenty'' |
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509 | (1) |
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510 | (2) |
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512 | (4) |
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516 | (2) |
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518 | (1) |
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519 | (3) |
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The Paris International Exposition of 1900 |
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522 | (6) |
| Timeline |
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528 | (4) |
| Glossary |
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532 | (3) |
| Bibliography |
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535 | (14) |
| Picture Credits |
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549 | (1) |
| Index |
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550 | |
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