Sammelbandbeitrag

Autorenliste: Hattendorff, C

Erschienen in: Handbuch Rhetorik der Bildenden Künste

Herausgeberliste: Brassat, W

Jahr der Veröffentlichung: 2017

Seiten: 729-748

ISBN: 978-3-11-033150-9

eISBN: 978-3-11-033149-3

DOI Link: https://doi.org/10.1515/9783110331493-036

Serientitel: Handbücher Rhetorik

Serienzählung: 2

Abstract: 

The following text focuses on the French painters Jacques-Louis David, Eugene Delacroix, and Gustave Courbet as well as on the Spaniard Francisco Goya, and attempts an overview of their relationship with politics. It discusses individual paintings that can be deemed ‘political’ because of their content and the contexts in which they were created and displayed, and compares them with both standard academic art and the art of rhetoric. Furthermore, it traces a development leading from the dissolution of genre categories and the deconstruction of the idea of historic exempla to an updated concept of allegory and the depiction of contemporary scenes in a realistic manner and with critical intent. The text finally links this development to the evolution of ‘autonomous’ art, and describes political art after 1800 as both an opportunity to raise social concerns and an attempt to close the widening gap between art and society.

Harvard-Zitierstil: Hattendorff, C. (2017) Malerei als politisches Medium: David, Goya, Delacroix, Courbet, in Brassat, W. (ed.) Handbuch Rhetorik der Bildenden Künste. Berlin / Boston: De Gruyter, pp. 729-748. https://doi.org/10.1515/9783110331493-036

APA-Zitierstil: Hattendorff, C. (2017). Malerei als politisches Medium: David, Goya, Delacroix, Courbet. In Brassat, W. (Ed.), Handbuch Rhetorik der Bildenden Künste (pp. 729-748). De Gruyter. https://doi.org/10.1515/9783110331493-036