Rereading Jarves, Cook, Stillman, and the Narratives of Nineteenth-Century American Art
Publication Year: 2013
Published by: Penn State University Press
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...“Karen GeorGi’S Critical Shift argues that the Civil War was less a disruptive dividing line between radically different artistic eras than a blip on an aesthetic continuum from the antebellum decades to the Gilded Age. To make the case, Georgi closely examines the influential writings of prominent art critics James Jackson Jarves, Clarence Cook, and William ...
Title Page, Copyright, Dedication
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Table of Contents
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List of Illustrations
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I wish to acknowledge most gratefully Berklee College of Music for a year-long leave of absence in which to concentrate on this book before my allot-ted sabbatical year arrived. In particular, I thank former department chair Charles Combs and former division dean Lawrence McClellan, who very kindly facilitated this leave, lending personal as well as institutional encour-...
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Everything in a picture, it must be added, depends on the composition; if it be the sub-ject that makes the interest, it is the composition that makes, or that at any rate expresses, the subject. By that law, accordingly, our boxful of ghosts [the correspondence of W. W. Story] “compose,” hang together, consent to a mutual relation, confess, in fact, to a mutual dependence. If it is a question of living again, they can live but by each other’s ...
Chapter 1: Cereading James Jackson Jarves’s Art-Idea
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It could be argued that James Jackson Jarves entered modern art history in the 1930s, or perhaps it was at that moment when he assumed the dignifi ed and conspicuous place he now occupies in the historiography of American art and art criticism. In 1933, Theodore Sizer, then director of the Yale University Art Gallery, reintroduced this “forgotten New Englander” with ...
Chapter 2: Clarence Cook and Jarves: Fact, Feeling, and the Discourse of Truthfulness in Art
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The previous chapter concluded that the current historiographic role of writer and collector James Jackson Jarves might be reassessed on the basis of his texts. Looking closely at the patterns of his rhetorical structures and putative methodological principles in his work as a whole, we saw that his apparently modern rejection of verisimilitude in art—the literal, external, ...
Chapter 3: A Further Look at Clarence Cook and the “Revolution” in Art
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The study of Clarence Cook in the preceding chapter was limited to his early writing. The New-York Daily Tribune reviews discussed there repre-sented his thinking from roughly 1863 to 1865. They expressed his opinions to the broad readership of that paper. His philosophy and his tone were also integral to his other main publication at this time: Cook, as noted, was the ...
Chapter 4: William J. Stillman’s Ruskinian Criticism: Metaphor and Essential Meaning
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This chapter studies the critical writing of the book’s last central fi gure, Wil-liam J. Stillman. Stillman’s writing was well known in the antebellum Amer-ican art world, though today his name is less familiar than Jarves’s or Cook’s. In addition to his antebellum work, Stillman authored archeological studies and political reports in the latter half of the century that appeared regularly in ...
Chapter 5: Art Discourse after Ruskin: Time and History in Art
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William Stillman’s career from 1855 to 1868 shows that we have good rea-son to perceive that Ruskinian aesthetics and moralism went out of fashion. Stillman’s change of heart from his Crayon essays in 1855–56 to his numer-ous critiques of Ruskin beginning in 1868 might stand as proof of such. As argued, however, it was less the moralism that was troublesome to Stillman ...
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...“Karen GeorGi’s Critical Shift argues that the Civil War was less a disruptive dividing line between radically different artistic eras than a blip on an aesthetic continuum from the antebellum decades to the Gilded Age. To make the case, Georgi closely examines the influential writings of prominent art critics James Jackson Jarves, Clarence Cook, and William James Stillman and finds that the ...
Page Count: 152
Publication Year: 2013