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Type of bind: Paperback
Dewey Decimal Number: 940
EAN num: 9780192842244
ISBN number: 0192842242
Label: Oxford University Press, USA
Manufacturer: Oxford University Press, USA
Quantity: 1
Page Count: 272
Printing Date: February 12, 2007
Publishing house: Oxford University Press, USA
Sale Popularity Level: 1063093
Studio: Oxford University Press, USA
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Written by leading scholars at the forefront of new thinking, many of whom are rising stars in their fields, the Oxford History of Art series offers substantial and innovative texts that clarify, illuminate, and debate the critical issues at the heart of art history today. This groundbreaking series makes use of new research and methodologies, as well as newly accessible and non-canonical works, to offer comprehensive coverage of the art world. Lavishly illustrated and superbly designed, the Oxford History of Art brings new substance and verve to the exciting and ubiquitous world of art.
The latest addition to the series is a pioneering overview of the visual cultures of Eastern Europe in the modern age. Here, art historian Jeremy Howard challenges traditional definitions of what constitutes 'European' art and embraces the whole spectrum of art creation, including painting, sculpture, architecture, the applied arts, photography, and performance. Avoiding conventional art historical divisions, Howard focuses on the many hidden relationships between the different art forms and artistic cultures that flourished in the vast region known as Eastern Europe, and how these cultures inter-related with the wider world. In addition to the rise and fall of the two great art academies in Vienna and St. Petersburg, Howard examines the blending of migratory and sedentary cultures in the region, the role of women, and the political manipulation of the image. He brings to the fore many overlooked artists and concentrates on neglected elements of work by better-known figures. Throughout, he reveals how the Habsburg, Romanov, and Ottoman empires vied with one another through art and how individuals and nations strove to maintain and realize their voice through visual language.
Bringing light to a woefully neglected subject, Howard has produced a work that will prove essential reading for lovers of art history and Eastern European culture.
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Howard seeks to redress a longstanding underappreciation or neglect about eastern European art. Outsiders to this region often have little knowledge about its greatest artists and their accomplishments. In this account, some of our ignorance is dissipated.
One example is the Russian painter, Mikhail Tikhanov. Whose painting, "The Execution of Russian Patriots by the French in 1812" is rightly compared to the far better known "The Executions of the Third of May" by Goya. The resemblances are striking. But Tikhanov's predates the Goya work by a year. It is unclear from the text if Goya knew of Tikhanov's painting before commencing his. The Goya work is often shown, not just in art books, but also in history texts of the Napoleonic era. Yet, outside Russia, Tikhanov's painting rarely appears in those texts.
Other parts of Howard's account also tie in cited paintings and artists with the times that they lived in. Along with the political and social trends that often provide the context and a better appreciation of the works. Naturally, there is lengthy coverage of Soviet art. Which raises the question of a sequel, from 1950 to the present. It would be interesting to see Howard's remarks on changes in Russian art brought on by the end of the Soviet Union.
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