280 pages | 8 Color Illus. | 38 B/W Illus.
Offering an examination of the paragone, meaning artistic rivalry, in nineteenth-century France and England, this book considers how artists were impacted by prevailing aesthetic theories, or institutional and cultural paradigms, to compete in the art world. The paragone has been considered primarily in the context of Renaissance art history, but in this book readers will see how the legacy of this humanistic competitive model survived into the late nineteenth century. Concentrating on artists such as Anne-Louis Girodet-Trioson, Gustave Moreau, Jean-Leon Gerome, Edward Burne-Jones, and Aubrey Beardsley, who were drawn to subjects that connoted rivalry, and to techniques that demonstrated artistic virtue, the book explores their individual tactics in staking a claim to artistic supremacy in painting, sculpture, and works on paper. Typically such artists were motivated to participate in the paragone debate during crises, changes to the hierarchy of the arts, shifting aesthetic theories, cultural and social changes to the artist’s status, or political activism and patriotic endeavours. Lastly, this study will touch upon why competition was still a relevant artistic concern in the Modern era.
Chapter 1: An Introduction to the Paragone; Chapter 2: The Archetype of Beauty: Narcissus and the Birth of the beau idéal; Chapter 3: Pygmalion and Galatea: The Battle between Iconophobes and Iconodules; Chapter 4: Salomé versus Medusa; Conclusion
Routledge Research in Art History is our home for the latest scholarship in the field of art history. The series publishes research monographs and edited collections, covering areas including art history, theory, and visual culture. These high-level books focus on art and artists from around the world and from a multitude of time periods. By making these studies available to the worldwide academic community, the series aims to promote quality art history research.