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This book examines a famous series of sculptures by the German
artist Franz Xaver Messerschmidt (1736-1783) known as his
"Character Heads." These are busts of human heads, highly
unconventional for their time, representing strange, often
inexplicable facial expressions. Scholars have struggled to explain
these works of art. Some have said that Messerschmidt was insane,
while others suggested that he tried to illustrate some sort of
intellectual system. Michael Yonan argues that these sculptures are
simultaneously explorations of art's power and also critiques of
the aesthetic limits that would be placed on that power.
This book examines a famous series of sculptures by the German
artist Franz Xaver Messerschmidt (1736-1783) known as his
"Character Heads." These are busts of human heads, highly
unconventional for their time, representing strange, often
inexplicable facial expressions. Scholars have struggled to explain
these works of art. Some have said that Messerschmidt was insane,
while others suggested that he tried to illustrate some sort of
intellectual system. Michael Yonan argues that these sculptures are
simultaneously explorations of art's power and also critiques of
the aesthetic limits that would be placed on that power.
While the connected, international character of today's art economy
is well known, the 18th century too had global systems of artistic
production and consumption. Eighteenth-Century Art Worlds is the
first book to create a global map of the art world of the 18th
century. Fourteen case studies from distinguished experts explore
both cross-cultural connections and local specificities of art
production and consumption in Africa, the Americas, Asia, and
Europe. The result is an account of a series of interconnected and
asymmetrical art worlds that were well developed in the 18th
century. Capturing the full material diversity of 18th-century art,
this book considers painting and sculpture alongside numerous
prints and decorative objects. Analyzing the role of place in the
history of 18th-century art, it bridges the disciplines of art
history and cultural geography, and draws attention away from any
one place as a privileged art-historical site, while highlighting
places such as Manila, Beijing, Mexico City, and London as
significant points on a global art map. Eighteenth-Century Art
Worlds combines a broad global perspective on the history of art
with careful attention to how global artistic concerns intersect
with local ones, offering a framework for studies in global art
history.
While the connected, international character of today's art world
is well known, the eighteenth century too had a global art world.
Eighteenth-Century Art Worlds is the first book to attempt a map of
the global art world of the eighteenth century. Fourteen essays
from a distinguished group of scholars explore both cross-cultural
connections and local specificities of art production and
consumption in Africa, the Americas, Asia, and Europe. The result
is an account of a series of interconnected and asymmetrical art
worlds that were well developed in the eighteenth century.
Capturing the full material diversity of eighteenth-century art,
this book considers painting and sculpture alongside far more
numerous prints and decorative objects. Analyzing the role of place
in the history of eighteenth-century art, it bridges the
disciplines of art history and cultural geography, and draws
attention away from any one place as a privileged art-historical
site, while highlighting places such as Manila, Beijing, Mexico
City, and London as significant points on globalized map of the
eighteenth-century art world. Eighteenth-Century Art Worlds
combines a broad global perspective on the history of art with
careful attention to how global artistic concerns intersect with
local ones, offering a framework for future studies in global art
history.
Between 1740 and 1780, Empress Maria Theresa governed the
Habsburg Empire, a multilingual conglomeration of states centered
on Austria. Although recent historical scholarship has addressed
Maria Theresa's legacy, she remains entirely absent from art
history despite her notable role in shaping eighteenth-century
European diplomatic, artistic, and cultural developments. In
Empress Maria Theresa and the Politics of Habsburg Imperial Art,
Michael Yonan explores the role that material culture--paintings,
architecture, porcelain, garden sculpture, and decorative
objects--played in forming the monarchical identity of this
historically prominent woman ruler.
Maria Theresa never obtained her power from men, but rather
inherited it directly through birthright. In the art and
architecture she commissioned, as well as the objects she
incorporated into court life, she redefined visually the idea of a
sovereign monarch to make strong claims for her divine right to
rule and for hereditary continuity, but also allowed for
flexibility among multiple and conflicting social roles. Through an
examination of Maria Theresa's patronage, Michael Yonan
demonstrates how women, art, and power interrelated in an unusual
historical situation in which power was legitimated in women's
terms.
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