Art in an Age of Counterrevolution, 1815-1848
This volume focuses on the astonishing range of art forms currently understood to fall within the broad category of Romanticism. Drawing on visual media and popular imagery of the time, this generously illustrated work examines the art of Romanticism as a reaction to the social and political events surrounding it. Boime reinterprets canonical works by such politicized artists as Goya, Delacroix, Géricault, Friedrich, and Turner, framing their work not by personality but by its sociohistorical context. Boime's capacious approach and scope allows him to incorporate a wide range of perspectives into his analysis of Romantic art, including Marxism, social history, gender identity, ecology, structuralism, and psychoanalytic theory, a reach that parallels the work of contemporary cultural historians and theorists such as Edward Said, Pierre Bourdieu, Eric Hobsbawm, Frederic Jameson, and T. J. Clark.
Boime ultimately establishes that art serves the interests and aspirations of the cultural bourgeoisie. In grounding his arguments on their work and its scope and influence, he elucidates how all artists are inextricably linked to history. This book will be used widely in art history courses and exert enormous influence on cultural studies as well.
1. The Congress of Vienna: Conceptualizing Counterrevolution
2. Restoration Bliss: The Nazarenes
3. Restoration Horror: Part I
4. Restoration Horror: Part II
5. Charles X: French Absolutism's Last Stand
6. The Counterrevolution of the July Monarchy: An Umbrella Organization, 1830-1848
7. Fractures in the Juste Milieu
8. The Counterrevolutionary Origins of Photography and Modern Landscape Painting
9. The Counterrevolution in America: A Comparison
10. England and the Transition: Romanticism to Realism
"The volume is copiously illustrated and firmly rooted in observation and research. Boime does not shy away from dissecting unconscious motivations and assumptions. . . . Enlightening, thought-provoking, and skillfully presented."
"In company with the first two volumes, it is a tour de force in the broader historical and sociocultural analysis of art practice and the uses of art in visual representation. The text is closely researched and highly informative. . . . The approach steers a steady course between traditional, sociological, theoretical, and discursive strategies while presenting astute critical appreciation of individual works of art. . . . Reinforced by effective endnotes and an exhaustive index, this book brings much new insight to the current literature and will certainly interest researchers, as well as provide reliable sources for students."