Nineteenth-century art: a critical history
Gespeichert in:
| Hauptverfasser: | , , , , , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London
Thames & Hudson
2020
|
| Ausgabe: | Fifth edition |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | 528 Seiten Illustrationen |
| ISBN: | 9780500294895 |
Internformat
MARC
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Datensatz im Suchindex
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| adam_text | E Contents Preface............................................................................................ 8 Introduction: Critical Art and History................................. 10 The Disasters of War........................................................................... 100 The “Black Paintings”........................................................................103 The First Modem Century............................................................... 10 Art and Emancipation, Art and Reaction....................................... 11 A Critical Survey of Nineteenth-Century Art................................ 14 4 Visionary History Painting: Blake and His Contemporaries c. 1780-1810........................................................................... 106 BRIAN LUKACHER PARTI CLASSICISM AND ROMANTICISM Introduction......................................................................................106 Blake’s Revolution............................................................................. 107 Body Politics and Religious Mysticism........................................... 108 Blake’s Public Art...............................................................................112 Blake and Contemporary English Art of the Sublime.................. 114 Prophecy and Prehistory.................................................................. 118 5 1 Patriotism and Virtue: David to the Young Ingres e. 1780-1810............................................................................. 16 BRIAN LUKACHER THOMAS CROW
Introduction...................................................................................... 16 The Cult of Civic Virtue.................................................................... 17 A Call to Order.................................................................................. 18 The Enterprise of Women................................................................. 21 The Circle of Men............................................................................. 24 A Violent Patrimony......................................................................... 25 Tragedy and the Republic of Equals................................................ 28 Figures of Revolutionary Virtue...................................................... 31 Figures of Revolutionary Death........................................................ 33 Leaving Terror Behind...................................................................... 37 The Sublime of Authoritarianism...................................................... 45 Dreams beyond History.................................................................... 51 Introduction......................................................................................124 Landscape Instincts and the Picturesque........................................125 Three Critical Thinkers: Marx, Ruskin, and Baudelaire......................................................................... 128 Ruins and Cities.............................................................................. 129 Constable’s Rustic
Naturalism....................................................... 131 Constable and the Ruin of England.............................................. 133 Լ՜, I Art and the Industrial Revolution........................................136 Visionary Landscapes of Palmer and Martin................................ 138 Turner’s Meaningful Obscurity........................................................142 Turner’s Later Work......................................................................... 144 6 2 Classicism in Crisis: Gros to Delacroix c. 1800-1830........................................................................... 55 Landscape Art and Romantic Nationalism in Germany and America C. 1800-1865......................................................................... 149 BRIAN LUKACHER THOMAS CROW Introduction...................................................................................... Force of Arms.................................................................................... An Imperial Antiquity...................................................................... The Artist Hero in the Face of Empire........................................... Return from the Wreckage............................................................... Punishments of the Damned........................................................... Suicide of the Despot........................................................................ Nature and History in English Romantic Landscape Painting C. 1790-1845.............................................................................
124 55 56 58 64 67 73 77 3 The Tensions of Enlightenment: Goya c. 1775-1828 ........................................................................ 83 Introduction...................................................................................... 83 Reason and Madness: Conflicts of the Age.................................... 84 Divided Allegiance, Rapid Success.................................................. 85 The Anti-Enlightenment.................................................................. 88 The Image of the Pueblo: The Later Art of Goya........................... 92 □ Madness.................................................................................... 93 Los Caprichos.........................................................................................94 The Mythic Pueblo: The Second of May and Third of May.................96 Introduction.................................................................................... 149 Runge’s New Age............................................................................. 150 A Soulful Past: Lukasbund...............................................................153 Friedrich and the Mediation of Landscape....................................156 Progress and its Discontents: Thomas Cole and the American Landscape...............................................................159 To Silence or to Reveal Nature’s Allegory......................................165 7 Architecture Unshackled 1790-1851.............................................................................. 169 BRIAN LUKACHER
Introduction.................................................................................... 169 A Modern Enlightenment.............................................................. 170 The New Architecture of Social Institutions................................ 173 Architecture and the Gothic Imagination......................................178 Changing Urban Landscapes........................................................... 180 Faith or Technology........................................................................... 184
PART 2 NEW WORLD FRONTIERS p ~ Æ^JÈë ľ 1—11 Art and Revolution................................................................................. 269 Courbet’s Trilogy of 1849֊50................................................................ 271 Art anc* p°Pular Culture........................................................................276 Courbet’s The Studio of the Painter.........................................................278 12 Photography, Modernity, and Art 8 Old World, New World: The Encounters ofCultures on the American Frontier 1790-1900...............................................................................190 FRANCES K. POHL Introduction.......................................................................................... 190 The Myth of the Frontier......................................................................191 The Stain on a Painter’s Palette: Charles Bird King and George Catiin............................................................................. 196 Alternative Representations: Photography and Ledger Art....... 202 9 Black and White in America 1810-1900................................................................................ 211 FRANCES K. POHL Introduction.......................................................................................... 211 The Abolitionist Movement and Challenges to Racial Stereotypes...................................................212 Prelude to the Civil War........................................................................215 African Americans and the Civil
War............................................... 217 Images of Reconstruction: Prisoners from the Front and A Visit from the Old Mistress.....................................................224 African American Artists at Home and Abroad: c. 1830-1917............................................................................... 284 DAVID LLEWELLYN PHILLIPS Introduction...........................................................................................284 The Daguerreotype in France...............................................................285 Fox Talbot and Photography in Britain............................................. 288 The Identity of Photography................................................................ 290 The Discourses of Photography...........................................................292 The Daguerreotype in America...........................................................294 Paper Photography in Europe.............................................................298 The Expansion of Photography...........................................................300 Disdéri and the Carte-de-Visite...........................................................300 Nadar and Portraiture.......................................................................... 302 Photography and Art..............................................................................303 Art Photography in Britain.................................................................. 305 Cameron and the Debate over Focus................................................. 310 Emerson
and Scientific Vision.............................................................311 Kodak and Amateur Photography.......................................................313 Pictorialism and the Photo-Secession............................................... 314 Stieglitz in New York............................................................................316 Strand and Modernism........................................................................317 Conclusion...............................................................................................318 Edmonia Lewis and Henry Osawa Tanner..................................228 13 The Decline of History Painting: Germany, Italy, France and Russia PART 3 REALISM AND NATURALISM c. 1855-1890................................................................................320 Introduction...........................................................................................320 Liberating Art from History................................................................ 321 The Rise of Naturalism in Germany................................................. 321 The Italian Macchiaioli........................................................................ 325 10 The Generation of1830 and the Crisis in tlíc Public Sphere 1830-1848...............................................................................239 Introduction.......................................................................................... 239 Romanticism and the Burden of Truth............................................. 240 The July Monarchy and the
Art of the fuste Milieu........................ 241 Genre Historique.....................................................................................244 The Paradox of Patriotism: David d’Angers’s Pantheon Pediment......................................................................... 247 Classicism and the Woman Question: Thomas Couture............... 252 ! Ί Three Fundamental Concepts: Academic Art, the Avant-Garde, and Modernism..........................................253 13 Race and Racism......................................................................... 256 11 The Rhetoric ofRealism: Courbet and the Origins ofthe Avant-Garde c. 1840-1880......................................................................... 260 Introduction.......................................................................................... 260 Rhetorics of Realist Art and Politics................................................. 261 The Pre-Raphaelite Brotherhood.......................................................263 Ford Madox Brown’s Work..................................................................268 í J Art and Animals............................................................................326 Individualism in French Salon Art..................................................... 329 The Salon and the Salon des Refusés................................................. 330 Classicists at the Salon..........................................................................333 Romanticists at the Salon.................................................................... 334
Naturalists at the Salon........................................................................ 336 Ш Ecology...........................................................................................338 Challenges to Academic Painting in Russia....................................340
1JJ— j h VI pi՜ Vi. I PART 4 MODERN ARTAND LIFE լ _ _ _ _ _ _ _ _ _ _ _ _ _ ,ι* л rsz. „՝ wwlv v. ..v. ;.ւ՞ i 14 Architecture and Design in the Age of Industry C. 1850-1900.......................................................................... 343 Introduction.................................................................................... 343 Handcraft and Machine Production..............................................344 Opposition to Mechanization........................................................ 347 William Morris................................................................................. 348 EÜ2 Charles Darwin and the Evolution of Form.................... 350 Arts and Crafts Architecture and Town Planning........................ 353 The Garden City............................................................................... 356 Reconciliation with the Machine................................................... 358 Art Nouveau.....................................................................................358 Wright and the Emergence of an American Machine Esthetic.......................................................................... 361 The Architecture of World’s Fairs and Capitalist Commerce............................................................362 The Crystal Palace............................................................................363 The Eiffel Tower............................................................................... 364 Louis Sullivan: Form Follows Function........................................ 366 15 Manet and
the Impressionists c. 1850-1882............................................................................ 368 Introduction.....................................................................................368 Edouard Manet and Haussmannization........................................ 369 The Flâneur...................................................................................... 370 Manet’s Olympia............................................................................... 372 Impressionism and the Commodity................................................376 Impressionism Defined................................................................... 377 The “Mirror of Painting”................................................................. 385 16 Issues of Gender in Cassatt and Eakins 1860-1900..............................................................................388 LINDA NOCHLIN Introduction.....................................................................................388 Gender and Difference..................................................................... 389 The Portrait...................................................................................... 393 Cassatt and the Gaze.........................................................................396 Eakins and the American Hero....................................................... 397 Women and Children.......................................................................399 Cassatt, Eakins, and the Modern Allegory..................................... 405 17 Mass Culture and Utopia:
Seurat and Ncoimpressionism c. 1880-1900 ....................................................................... 408 Introduction.....................................................................................408 The Antinomies of Georges Seurat................................................409 Seurat’s Drawings and Their Dispersion of Meaning................... 409 A “Manifesto Painting”: A Sunday on La Grande Jatte................... 411 Seurat’s Method: “Chromo-Luminarism”..................................... 413 Q Utopianism..............................................................................416 The Paradox of Pleasure: Le Chahut................................................ 418 Mass Culture.....................................................................................421 18 The Appeal ofModern Art: Toulouse-Lautrec c. 1880-1900......................................................................... 424 Introduction.................................................................................... 424 Novelty and Desire......................................................................... 425 The Crowd........................................................................................425 Toulouse-Lautrec and Urban Art.................................................. 426 Modern Form, Popular Content.................................................... 427 Poster Art......................................................................................... 430 The Metropolitan
Fetish.................................................................431 19 Abstraction and Populism: Van Gogli 1880-1890............................................................................. 433 Introduction.................................................................................... 433 Seurat and Van Gogh Compared.................................................... 434 Two Myths about Van Gogh........................................................... 435 Van Gogh’s First Statements of Purpose........................................436 Early Art in The Hague and Neunen: The Potato Eaters.............. 436 Academic Training and Avant-Garde Education in Antwerp and Paris....................................................................... 441 Van Gogh in Arles...........................................................................443 Starry Night and Critical Modernism.............................................447 20 Symbolism and the Dialectics of Retreat c. 1885-1910......................................................................... 449 Introduction....................................................................................449 Modernism versus Symbolism....................................................... 450 The Rhetoric of Symbolism...........................................................451 Gauguin and Symbolism in Brittany.............................................453 Ensor and Populism....................................................................... 456 Symbolist Landscape Painting: Munch, Redon, Monet, and
Hodler......................................... 460 The Vienna Secession..................................................................... 471 Gauguin and Symbolism in Tahiti................................................ 473 21 The Failure and Success of Cézanne c. 1865-1906......................................................................... 482 Introduction....................................................................................482 Symbolism in Extremis..................................................................483 Cézanne: The Cultural Revolutionary...........................................483 Cezanne’s Development: The Quest for Totality......................... 484 Cezanne’s Artistic Maturity...........................................................488 Cézanne and the End of Nineteenth-Century Art..................... 490 Method in Cézanne ....................................................................... 491 Ш Chronology....................................................................................... 495 Glossary...............................................................................................504 Select Bibliography........................................................................... 509 Picture credits....................................................................................515 Index.................................................................................................. 519
|
| adam_txt |
E Contents Preface. 8 Introduction: Critical Art and History. 10 The Disasters of War. 100 The “Black Paintings”.103 The First Modem Century. 10 Art and Emancipation, Art and Reaction. 11 A Critical Survey of Nineteenth-Century Art. 14 4 Visionary History Painting: Blake and His Contemporaries c. 1780-1810. 106 BRIAN LUKACHER PARTI CLASSICISM AND ROMANTICISM Introduction.106 Blake’s Revolution. 107 Body Politics and Religious Mysticism. 108 Blake’s Public Art.112 Blake and Contemporary English Art of the Sublime. 114 Prophecy and Prehistory. 118 5 1 Patriotism and Virtue: David to the Young Ingres e. 1780-1810. 16 BRIAN LUKACHER THOMAS CROW
Introduction. 16 The Cult of Civic Virtue. 17 A Call to Order. 18 The Enterprise of Women. 21 The Circle of Men. 24 A Violent Patrimony. 25 Tragedy and the Republic of Equals. 28 Figures of Revolutionary Virtue. 31 Figures of Revolutionary Death. 33 Leaving Terror Behind. 37 The Sublime of Authoritarianism. 45 Dreams beyond History. 51 Introduction.124 Landscape Instincts and the Picturesque.125 Three Critical Thinkers: Marx, Ruskin, and Baudelaire. 128 Ruins and Cities. 129 Constable’s Rustic
Naturalism. 131 Constable and the Ruin of England. 133 Լ՜, I Art and the Industrial Revolution.136 Visionary Landscapes of Palmer and Martin. 138 Turner’s Meaningful Obscurity.142 Turner’s Later Work. 144 6 2 Classicism in Crisis: Gros to Delacroix c. 1800-1830. 55 Landscape Art and Romantic Nationalism in Germany and America C. 1800-1865. 149 BRIAN LUKACHER THOMAS CROW Introduction. Force of Arms. An Imperial Antiquity. The Artist Hero in the Face of Empire. Return from the Wreckage. Punishments of the Damned. Suicide of the Despot. Nature and History in English Romantic Landscape Painting C. 1790-1845.
124 55 56 58 64 67 73 77 3 The Tensions of Enlightenment: Goya c. 1775-1828 . 83 Introduction. 83 Reason and Madness: Conflicts of the Age. 84 Divided Allegiance, Rapid Success. 85 The Anti-Enlightenment. 88 The Image of the Pueblo: The Later Art of Goya. 92 □ Madness. 93 Los Caprichos.94 The Mythic Pueblo: The Second of May and Third of May.96 Introduction. 149 Runge’s New Age. 150 A Soulful Past: Lukasbund.153 Friedrich and the Mediation of Landscape.156 Progress and its Discontents: Thomas Cole and the American Landscape.159 To Silence or to Reveal Nature’s Allegory.165 7 Architecture Unshackled 1790-1851. 169 BRIAN LUKACHER
Introduction. 169 A Modern Enlightenment. 170 The New Architecture of Social Institutions. 173 Architecture and the Gothic Imagination.178 Changing Urban Landscapes. 180 Faith or Technology. 184
PART 2 NEW WORLD FRONTIERS p ~ Æ^JÈë 'ľ 1—11 Art and Revolution. 269 Courbet’s Trilogy of 1849֊50. 271 Art anc* p°Pular Culture.276 Courbet’s The Studio of the Painter.278 12 Photography, Modernity, and Art 8 Old World, New World: The Encounters ofCultures on the American Frontier 1790-1900.190 FRANCES K. POHL Introduction. 190 The Myth of the Frontier.191 The Stain on a Painter’s Palette: Charles Bird King and George Catiin. 196 Alternative Representations: Photography and Ledger Art. 202 9 Black and White in America 1810-1900. 211 FRANCES K. POHL Introduction. 211 The Abolitionist Movement and Challenges to Racial Stereotypes.212 Prelude to the Civil War.215 African Americans and the Civil
War. 217 Images of Reconstruction: Prisoners from the Front and A Visit from the Old Mistress.224 African American Artists at Home and Abroad: c. 1830-1917. 284 DAVID LLEWELLYN PHILLIPS Introduction.284 The Daguerreotype in France.285 Fox Talbot and Photography in Britain. 288 The Identity of Photography. 290 The Discourses of Photography.292 The Daguerreotype in America.294 Paper Photography in Europe.298 The Expansion of Photography.300 Disdéri and the Carte-de-Visite.300 Nadar and Portraiture. 302 Photography and Art.303 Art Photography in Britain. 305 Cameron and the Debate over Focus. 310 Emerson
and Scientific Vision.311 Kodak and Amateur Photography.313 Pictorialism and the Photo-Secession. 314 Stieglitz in New York.316 Strand and Modernism.317 Conclusion.318 Edmonia Lewis and Henry Osawa Tanner.228 13 The Decline of History Painting: Germany, Italy, France and Russia PART 3 REALISM AND NATURALISM c. 1855-1890.320 Introduction.320 Liberating Art from History. 321 The Rise of Naturalism in Germany. 321 The Italian Macchiaioli. 325 10 The Generation of1830 and the Crisis in tlíc Public Sphere 1830-1848.239 Introduction. 239 Romanticism and the Burden of Truth. 240 The July Monarchy and the
Art of the fuste Milieu. 241 Genre Historique.244 The Paradox of Patriotism: David d’Angers’s Pantheon Pediment. 247 Classicism and the Woman Question: Thomas Couture. 252 ! Ί Three Fundamental Concepts: Academic Art, the Avant-Garde, and Modernism.253 13 Race and Racism. 256 11 The Rhetoric ofRealism: Courbet and the Origins ofthe Avant-Garde c. 1840-1880. 260 Introduction. 260 Rhetorics of Realist Art and Politics. 261 The Pre-Raphaelite Brotherhood.263 Ford Madox Brown’s Work.268 í J Art and Animals.326 Individualism in French Salon Art. 329 The Salon and the Salon des Refusés. 330 Classicists at the Salon.333 Romanticists at the Salon. 334
Naturalists at the Salon. 336 Ш Ecology.338 Challenges to Academic Painting in Russia.340
1JJ— j h VI pi՜ Vi. I PART 4 MODERN ARTAND LIFE լ _ _ _ _ _ _ _ _ _ _ _ _ _ ,ι* л rsz. „՝ wwlv v. .v. ;.ւ՞ i 14 Architecture and Design in the Age of Industry C. 1850-1900. 343 Introduction. 343 Handcraft and Machine Production.344 Opposition to Mechanization. 347 William Morris. 348 EÜ2 Charles Darwin and the Evolution of Form. 350 Arts and Crafts Architecture and Town Planning. 353 The Garden City. 356 Reconciliation with the Machine. 358 Art Nouveau.358 Wright and the Emergence of an American Machine Esthetic. 361 The Architecture of World’s Fairs and Capitalist Commerce.362 The Crystal Palace.363 The Eiffel Tower. 364 Louis Sullivan: Form Follows Function. 366 15 Manet and
the Impressionists c. 1850-1882. 368 Introduction.368 Edouard Manet and Haussmannization. 369 The Flâneur. 370 Manet’s Olympia. 372 Impressionism and the Commodity.376 Impressionism Defined. 377 The “Mirror of Painting”. 385 16 Issues of Gender in Cassatt and Eakins 1860-1900.388 LINDA NOCHLIN Introduction.388 Gender and Difference. 389 The Portrait. 393 Cassatt and the Gaze.396 Eakins and the American Hero. 397 Women and Children.399 Cassatt, Eakins, and the Modern Allegory. 405 17 Mass Culture and Utopia:
Seurat and Ncoimpressionism c. 1880-1900 . 408 Introduction.408 The Antinomies of Georges Seurat.409 Seurat’s Drawings and Their Dispersion of Meaning. 409 A “Manifesto Painting”: A Sunday on La Grande Jatte. 411 Seurat’s Method: “Chromo-Luminarism”. 413 Q Utopianism.416 The Paradox of Pleasure: Le Chahut. 418 Mass Culture.421 18 The Appeal ofModern Art: Toulouse-Lautrec c. 1880-1900. 424 Introduction. 424 Novelty and Desire. 425 The Crowd.425 Toulouse-Lautrec and Urban Art. 426 Modern Form, Popular Content. 427 Poster Art. 430 The Metropolitan
Fetish.431 19 Abstraction and Populism: Van Gogli 1880-1890. 433 Introduction. 433 Seurat and Van Gogh Compared. 434 Two Myths about Van Gogh. 435 Van Gogh’s First Statements of Purpose.436 Early Art in The Hague and Neunen: The Potato Eaters. 436 Academic Training and Avant-Garde Education in Antwerp and Paris. 441 Van Gogh in Arles.443 Starry Night and Critical Modernism.447 20 Symbolism and the Dialectics of Retreat c. 1885-1910. 449 Introduction.449 Modernism versus Symbolism. 450 The Rhetoric of Symbolism.451 Gauguin and Symbolism in Brittany.453 Ensor and Populism. 456 Symbolist Landscape Painting: Munch, Redon, Monet, and
Hodler. 460 The Vienna Secession. 471 Gauguin and Symbolism in Tahiti. 473 21 The Failure and Success of Cézanne c. 1865-1906. 482 Introduction.482 Symbolism in Extremis.483 Cézanne: The Cultural Revolutionary.483 Cezanne’s Development: The Quest for Totality. 484 Cezanne’s Artistic Maturity.488 Cézanne and the End of Nineteenth-Century Art. 490 Method in Cézanne . 491 Ш Chronology. 495 Glossary.504 Select Bibliography. 509 Picture credits.515 Index. 519 |
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| author | Eisenman, Stephen 1956- Crow, Thomas E. 1948- Lukacher, Brian 1955- Nochlin, Linda 1931-2017 Phillips, David L. Pohl, Frances K. 1952- |
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| edition | Fifth edition |
| era | Geschichte 1800-1900 Geschichte 1780-1905 gnd Geschichte 1800-1900 gnd Geschichte 1801-1900 gnd |
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| id | DE-604.BV046771637 |
| illustrated | Illustrated |
| index_date | 2024-07-03T14:46:57Z |
| indexdate | 2024-07-10T08:53:22Z |
| institution | BVB |
| isbn | 9780500294895 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-032181029 |
| oclc_num | 1164647304 |
| open_access_boolean | |
| owner | DE-739 DE-11 DE-Y3 |
| owner_facet | DE-739 DE-11 DE-Y3 |
| physical | 528 Seiten Illustrationen |
| publishDate | 2020 |
| publishDateSearch | 2020 |
| publishDateSort | 2020 |
| publisher | Thames & Hudson |
| record_format | marc |
| spelling | Nineteenth-century art a critical history Stephen F. Eisenman, Thomas Crow, Brian Lukacher, Linda Nochlin, David L. Phillips, Frances K. Pohl Fifth edition London Thames & Hudson 2020 528 Seiten Illustrationen txt rdacontent sti rdacontent n rdamedia nc rdacarrier Geschichte 1800-1900 Geschichte 1780-1905 gnd rswk-swf Geschichte 1800-1900 gnd rswk-swf Geschichte 1801-1900 gnd rswk-swf Art - 19e siècle - Histoire Kunst Art, Modern 19th century Kunst (DE-588)4114333-4 gnd rswk-swf Malerei (DE-588)4037220-0 gnd rswk-swf Kunst (DE-588)4114333-4 s Geschichte 1801-1900 z DE-604 Geschichte 1780-1905 z 1\p DE-604 Malerei (DE-588)4037220-0 s 2\p DE-604 Geschichte 1800-1900 z 3\p DE-604 Eisenman, Stephen 1956- (DE-588)132569396 aut Crow, Thomas E. 1948- (DE-588)133810135 aut Lukacher, Brian 1955- (DE-588)1212544617 aut Nochlin, Linda 1931-2017 (DE-588)123060230 aut Phillips, David L. aut Pohl, Frances K. 1952- (DE-588)172310539 aut Digitalisierung UB Passau - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032181029&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk 2\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk 3\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Eisenman, Stephen 1956- Crow, Thomas E. 1948- Lukacher, Brian 1955- Nochlin, Linda 1931-2017 Phillips, David L. Pohl, Frances K. 1952- Nineteenth-century art a critical history Art - 19e siècle - Histoire Kunst Art, Modern 19th century Kunst (DE-588)4114333-4 gnd Malerei (DE-588)4037220-0 gnd |
| subject_GND | (DE-588)4114333-4 (DE-588)4037220-0 |
| title | Nineteenth-century art a critical history |
| title_auth | Nineteenth-century art a critical history |
| title_exact_search | Nineteenth-century art a critical history |
| title_exact_search_txtP | Nineteenth-century art a critical history |
| title_full | Nineteenth-century art a critical history Stephen F. Eisenman, Thomas Crow, Brian Lukacher, Linda Nochlin, David L. Phillips, Frances K. Pohl |
| title_fullStr | Nineteenth-century art a critical history Stephen F. Eisenman, Thomas Crow, Brian Lukacher, Linda Nochlin, David L. Phillips, Frances K. Pohl |
| title_full_unstemmed | Nineteenth-century art a critical history Stephen F. Eisenman, Thomas Crow, Brian Lukacher, Linda Nochlin, David L. Phillips, Frances K. Pohl |
| title_short | Nineteenth-century art |
| title_sort | nineteenth century art a critical history |
| title_sub | a critical history |
| topic | Art - 19e siècle - Histoire Kunst Art, Modern 19th century Kunst (DE-588)4114333-4 gnd Malerei (DE-588)4037220-0 gnd |
| topic_facet | Art - 19e siècle - Histoire Kunst Art, Modern 19th century Malerei |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032181029&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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