1st Edition
Representing the Past in the Art of the Long Nineteenth Century Historicism, Postmodernism, and Internationalism
1 From the Abstract World of Ideas to the Truest Possible Representation of the Historical Event: An Introduction to Historical Art in the Long Nineteenth Century
Matthew C. Potter
2 Painting the ‘vie privée of Our Forefathers’: The Dutch and Flemish Schools as Models in the Formulation of New Visions of the Past in Early Nineteenth-Century Painting
Eveline Deneer
3 Delécluze’s Augustus And Cinna: Painting and Performing Rome at the End of the Napoleonic Empire
Tom Stammers
4 ‘The Exact Moment’: Representing History in Delaroche’s Assassination of the Duc de Guise
Stephen Bann
5 Spanish Painting: Recreating a Perceived ‘Golden Age’
Piers Baker-Bates
6 To Conjure Up the Spirits of the Past: German Romantic History Painting in America
Jochen Wierich
7 The Relativity of History: The Pre-Raphaelite Rhetoric of Time
Julie Codell
8 Beyond the ‘Ten Complete Military Victories’: Images of Battle in the Late-Qing Period
Nick Pearce
9 Jan Matejko and Polish Historical Painting
Monika Rutecka-Baynes
10 Representing the Finnish Past: Heritage and the World of the Ancient Finn
Charlotte Ashby
11 ‘A Lady So Long Deceased’: The Death of the Historical Muse in Australian Painting, 1880–1911
Matthew C. Potter
12 History as You Go: Mobility, Photography, and the Visibility of the Past in Late Ottoman Print Space
Ahmet A. Ersoy
Biography
Matthew C. Potter is Professor in Art and Design History at Northumbria University.
"...Seamless interface of history and art history, enhanced by the contributors. ... Adopting, as Stephen Bann’s foreword notes, 'a strictly historical point of view in tracking the development of historical representation in that century', highlighting 'the intersection of historical studies and artistic representations of the past' (p.xvii). The chapters usefully consolidate one another, yet introduce something new each time, thereby enriching knowledge and appreciation of that obsessively historicising century."
--The Burlington Magazine
"For anyone new to discourse about historical art, Potter’s introduction is sufficiently thorough and approachable to serve as a stand-alone reading … Another strength of the collection is the tendency toward interdisciplinarity. Potter draws on historical philosophy and historiography in the introduction to explain how artists may have understood the purposes and narratives of history differently, depending on their specific chronological and geographical contexts. … These interdisciplinary connections further support the collection’s argument that historical art is not about depicting past events with precision and accuracy but rather about conveying or complicating broader cultural narratives about history."
-- Early Popular Visual Culture
