Genre Painting Research Articles

Theodor Fontane. Ängstliche Moderne. Über das Imaginäre by Gerhard von Graevenitz

Reviewed by: Theodor Fontane. Ängstliche Moderne. Über das Imaginäre by Gerhard von Graevenitz Sean Franzel Theodor Fontane. Ängstliche Moderne. Über das Imaginäre. By Gerhard von Graevenitz. Constance: Konstanz University Press, 2014. Pp. 818. Cloth €29.90. ISBN 978-3862530502. This expansive monograph stands out among recent work that brings media historiography to bear on Fontane. Scholars have addressed how literary market conditions affect realist writing (Rudolph Helmstetter, Manuela Günter), how Fontane’s works register transformations in transportation and communication (Joseph Vogl) and recirculate representations of non-European places and peoples (Daniela Gretz), as well as how Fontane’s writing process depends on the collation of disparate medial sources (Petra McGillen). In this ongoing discussion about Fontane’s “medial realism,” Ängstliche Moderne stands out as an overarching, synthetic Entwurf, not least because of Graevenitz’s systematic investigation of visual culture and its fundamental role in the medialization of the literary imagination. Graevenitz’s basic suggestion is that Fontane responds to, contributes to, and critically diagnoses the unruly proliferation of images (Bilderflut) characteristic of modernity. The book thereby contextualizes Fontane against the backdrop of the nineteenth-century periodical landscape and brings his ballads and novels into dialogue with the visual arts, in particular with the work of Adolph Menzel. The book’s subtitle is likely intended as a provocation, stressing “the imaginary” rather than “the real”; Graevenitz is certainly concerned, though, with providing a structural account of the interplay between the two in Fontane’s realism. As [End Page 197] he describes it, the imaginary is a collective field of social, political, and cultural images that articulates itself in and through a variety of media ensembles. Drawing on Reinhart Koselleck and Aleida Assmann, Graevenitz argues that the imaginary emerged in the nineteenth century as a collective singular (“the imaginary,” rather than multiple “images” or “imaginations”) much in the same way as “history.” But in its singularity, the collective imaginary is paradoxically characterized by a plurality of images, by intersecting heterogeneous and divided parts, for the institutions and media that set it in motion are themselves mixed media ensembles. Paradigmatic for this mixture is the illustrated periodical—nineteenth-century modernity is a “Zeitungsmoderne” (345)—as well as museums, exhibitions, panoramas, and genre painting. This emphasis on visual culture is clearly evident in the book’s three parts: “Bilder und Helden,” “Bilder und Balladen,” and “Bilder und Romane.” Graevenitz calls Fontane’s novels “Bilderromane” (207), whose basic principle of representation is the “mixture of mixed media” (337). Additionally—and this goes to the first part of the book’s title—Graevenitz argues that the Angst, identified by Fontane’s contemporaries and historians alike, as characteristic of the nineteenth century is in part an effect of the endless recirculation of images. Anxious modernity is medialized modernity, a modernity that produces the feeling that the individual actor—and reader/viewer—cannot escape the collective imaginary. The scope of Theodor Fontane. Ängstliche Moderne is quite remarkable, ranging from discussions of social and aesthetic theorists contemporary with Fontane, studies of paintings and printed images from a variety of historical eras, and lengthy consideration of Fontane’s ballads, a topic that largely gets lost in most Fontane scholarship. The book’s first part begins with a literary-historiographical discussion about the relationship of biography and oeuvre, and it addresses Fontane’s conservatism and the social milieu in which he arose as a writer. It then moves to an extended discussion of Menzel and the “Doppelbild,” a key concept for Graevenitz. Menzel’s Jubiläumsblatt für die Heckmann-Werke, Atelierwand, and Eisenwalzwerk are each structured both by the drive toward self-evident unity and by the juxtaposition of heterogeneous elements, and each works with the tension between allegorical framing and quasi-naturalistic scenery. “Doppelbilder” bring multiple visual principles or visual worlds (Bildwelten) into resonance, thereby modeling the kind of plural Bilder at work in Fontane’s texts. This section links Fontane’s depiction of historical figures to other modes of memorialization, including Menzel’s images of Frederick the Great, the nineteenth-century boom in monuments, and Moritz Lazarus’s and Jacob Burckhardt’s theories of heroic individuality. In the book’s second part, Graevenitz situates Fontane...

Framing Majismo: Art and Royal Identity in Eighteenth-Century Spain by Tara Zanardi

Reviewed by: Framing Majismo: Art and Royal Identity in Eighteenth-Century Spain by Tara Zanardi Amy Freund Tara Zanardi, Framing Majismo: Art and Royal Identity in Eighteenth-Century Spain (University Park: The Pennsylvania State University Press, 2016). Pp. 264; 44 color + 35 b/w illus. $94.95. Framing Majismo: Art and Royal Identity in Eighteenth-Century Spain is a welcome addition to an unjustly small field: the history of the visual arts in eighteenth-century Spain. English-language studies of Spanish art of this period, including important scholarship by Janis Tomlinson and Andrew Schulz, can almost be counted on one hand, and tend to focus on the protean work of Francisco de Goya. In her analysis of the visual representation of majas and majos—working-class types who embodied a certain vision of Spanish national identity—Tara Zanardi has produced a particularly rich account of eighteenth-century Spanish visual culture, one that includes not only the familiar names of Goya, Francisco Bayeu, and Anton Raphael Mengs, but also the history of dress, theater productions, popular prints, and decorative painting. The book's broad thematic scope will appeal both to scholars of Spanish art and to readers interested in problems of national identity, European court culture and elites, representations of the working class, and the history of dress. The book's central claim is that majismo—the working-class aesthetic of majas and majos, and their depiction in the visual arts—was enthusiastically embraced by elite consumers in the second half of the eighteenth century as an embodiment of authentic Spanishness in the face of anxieties about outside influences on Spain (beginning with the Bourbon dynasty installed in 1700) and the reforms associated with Enlightenment thought. Zanardi argues that majismo was culturally effective because it accommodated social tensions in Spanish society surrounding gender roles, class hierarchies, and the conflict between tradition and modernity. Her study of majismo in the visual arts, as she clearly delineates in her introduction, focuses on noble and royal patronage and on Madrid; the book is organized thematically rather than chronologically or by medium. [End Page 345] The first chapter defines majismo as a visual style by tracing the representation of class and regional types back to the seventeenth century, and by identifying references to majos and majas in plays, prints of popular types, and genre painting. Zanardi argues here, and throughout the book, that majismo allowed artists to promote both popular customs and a modern national aesthetic. The following chapters map the relationship between majismo, gender norms, and class hierarchies. Chapter 2 analyzes how visual representations of the majo type defined Spanish masculinity for elite patrons. Using Judith Butler's theory of gender performativity, and analysis of works by Lorenzo Tiepolo and Goya, Zanardi argues that the majo was a complex, unstable social type that partook of traits understood as male and female. The third chapter builds on her argument about the performance of masculinity by examining how the visual arts participated in the fan culture surrounding the bullfight. Zanardi traces the transformation of bullfighting from an aristocratic pastime to a popular entertainment that made celebrities out of working-class fighters, and correlates this history with visual representations of the bullfighter's body, from print series by Goya and other artists to Goya's portrait of the matador Pedro Romero. In her final two chapters, Zanardi shifts her focus from masculinity to femininity. She argues that the persona of the maja, celebrated for her independence, mobility, and frank sexuality, was appropriated by elite women as a model of both Spanish tradition and modern femininity. Drawing on literary texts, political tracts, the history of dress, and works by Goya, Tiepolo, and Luis Paret y Alcázar, Zanardi argues that the maja's fluid identity allowed elite women to claim political and social agency but also crystalized cultural anxieties about Spanish women's increasing participation in cultural and political life. The last chapter takes as its case studies the famous Goya portraits of the Duchess of Alba and Queen María Luisa, juxtaposing these works with other portraits and fashion prints celebrating maja style. This chapter, despite the title of the book, is the only one that treats...

Can music be figurative? Exploring the possibility of crossmodal similarities between music and visual arts

According to both experimental research and common sense, classical music is a better fit for figurative art than jazz. We hypothesize that similar fits may reflect underlying crossmodal structural similarities between music and painting genres. We present two preliminary studies aimed at addressing our hypothesis. Experiment 1 tested the goodness of the fit between two music genres (classical and jazz) and two painting genres (figurative and abstract). Participants were presented with twenty sets of six paintings (three figurative, three abstract) viewed in combination with three sound conditions: 1) silence, 2) classical music, or 3) jazz. While figurative paintings scored higher aesthetic appreciation than abstract ones, a gender effect was also found: the aesthetic appreciation of paintings in male participants was modulated by music genre, whilst music genre did not affect the aesthetic appreciation in female participants. Our results support only in part the notion that classical music enhances the aesthetic appreciation of figurative art. Experiment 2 aimed at testing whether the conceptual categories ?figurative? and ?abstract? can be extended also to music. In session 1, participants were first asked to classify 30 paintings (10 abstract, 10 figurative, 10 ambiguous that could fit either category) as abstract or figurative and then to rate them for pleasantness; in session 2 participants were asked to classify 40 excerpts of music (20 classical, 20 jazz) as abstract or figurative and to rate them for pleasantness. Paintings which were clearly abstract or figurative were all classified accordingly, while the majority of ambiguous paintings were classified as abstract. Results also show a gender effect for painting?s pleasantness: female participants rated higher ambiguous and abstract paintings. More interestingly, results show an effect of music genre on classification, showing that it is possible to classify music as figurative or abstract, thus supporting the hypothesis of cross-modal similarities between the two sensory-different artistic expressions.

Art, Vision, and Nineteenth-Century Realist Drama: Acts of Seeing by Amy Holzapfel

Reviewed by: Art, Vision, and Nineteenth-Century Realist Drama: Acts of Seeingby Amy Holzapfel Andrew Gibb Art, Vision, and Nineteenth-Century Realist Drama: Acts of Seeing. By Amy Holzapfel. Routledge Advances in Theatre and Performance Studies. New York and London: Routledge, 2014. Cloth $148.00; Paper $45.95. Xvi + 227 pages. With this book, Amy Holzapfel achieves nothing less than the complete upending of our long-held assumptions about realism as a dramatic genre. As she correctly points out, theatre scholars have long accepted that realism "sought to produce an exact copy of life on the stage" (2). Not so, argues Holzapfel, who leads us through the stages of the genre's nineteenth-century development, from Eugène Scribe's well-made plays to Gerhart Hauptmann's naturalism. She convincingly demonstrates that realist playwrights, deeply engaged with the scientific and artistic discourses of their times, sought a balance between the desire for objective reproduction of the observable world and the subjective demands of artistry. Holzapfel's great innovation is to contextualize representative plays within period understandings of the philosophy and physiology of vision in order to highlight realism's simultaneous staging of objective and subjective reality. In the space of five chapters, Holzapfel expertly guides her reader through the stages of realism's development, from the middle to the end of the nineteenth century. Her progressive argument is supported by the uniform structure of the chapters: she begins each with a representative example of visual art, interprets that work as a translation of prevailing scientific understandings of human vision, then introduces us to the contemporaneous realist dramatists whose works responded to those ideas. In this way, the author makes a strong case for the development of realist drama as an artistic reaction to changing thought about human vision: its creators sought to rescue the ideal of individual creativity and subjectivity from the advance of scientific objectivity. Holzapfel begins her first chapter with references to the genre paintings of Jean-Baptiste-Siméon Chardin and Jean-Baptiste Greuze, much admired by philosopheand dramatic critic Denis Diderot. She usefully expands upon the theories of Art Historian Michael Fried to posit character absorption, rather than plot, as the operative factor of the well-made play, an assertion she proves through analyses of plays by Scribe, Sardou, and Dumas fils. Holzapfel effectively demonstrates that these scripts necessitated active stagings that constructed realism "out of actions of the gesturing—seeing and touching—body" (46). The discussion of Émile Zola's naturalism found in Chapter 2 is set up by the documentary photographs of Nadar (Gaspard-Félix Tournachon), and those made by his brother Adrien Tournachon to illustrate the experiments of neurologist Guillaume Duchenne de Boulogne. Holzapfel highlights an often overlooked fact about these pieces: in addition to their primary subjects, they prominently feature the presence of an observing expert. She successfully parlays that observation into the argument that the embodied vision of such scientific spectators mirrors Zola's [End Page 159]belief in "naturalism as an active, interpretive, and paradoxical negotiation between visual objectivity and subjectivity" (77). Chapter 3 opens with the last known image of Henrik Ibsen, an example of the popular photographic technique of stereography. Other artistic forms cited in the chapter include Pre-Raphaelite painting, spirit photography, and composition photography. These are read against the writings of philosophers J.W. von Goethe, Arthur Schopenhauer, and physiologist Hermann von Helmholtz. Holzapfel traces these influences on A Doll House, Ghosts, and The Wild Duck, forcefully arguing that Ibsen's oeuvre "discredits the notion that full disclosure of truth is either necessary or even plausible … through our own unreliable sense of vision" (114). With Chapter 4, Holzapfel returns to composite photography, highlighting the work of eugenicist Francis Galton, which she links to the photographic self-portraits of August Strindberg. The latter images, as well as Strindberg's plays, represent for Holzapfel "a process of layering sediments of the self upon one another to form a visual impression of a subject" (153), a point effectively made with analyses of The Father, Comrades, Miss Julie, and Creditors. The final tremor of Holzapfel's seismic argument is Chapter 5's treatment of Hauptmann's plays...

About Human Habitats.

Habitat is essentially a biological definition, “the natural environment characteristically occupied by a particular organism; an area distinguished by the set of organisms, which occupy it” and “one's dwelling place or usual surroundings” (1). In short, it is a synthesis of a place and its inhabitants. It follows that interaction between the inhabitants and their surroundings is a two-way process. Natural and/or architectural environments influence behaviors and create specific rituals, leading to the emergence of particular subcultures. Habitat is a major contributor to people's self-identities through geographical, linguistic, professional, or indeed national factors. Importantly, habitats also include history and tradition. Artists have shown different human habitats through portraits, architectural drawings, and landscapes. They created sophisticated depictions of habitats, not necessarily limited by geography. Take for instance, the 17th century genre paintings by the Le Nain brothers, Antoine (ca. 1599–1648), Louis (ca. 1593–1648), and Mathieu (1607–1677), that pictured the rural life of the period (2 …

Glimpse of Production of Brassware during the Era of Door Opening from Gisan Genre Paintings and Foreigners’Use of Brassware

Glimpse of Production of Brassware during the Era of Door Opening from Gisan Genre Paintings and Foreigners’Use of Brassware

Study on the Fashion & Hair Illustration Applying the Genre Painting of Shin Yoon-bok

Study on the Fashion & Hair Illustration Applying the Genre Painting of Shin Yoon-bok

Portraying Monks in Illuminated Service Books in the Fourteenth Century

생드니교회를 위해 제작된 14세기 중엽 채색 미사전서에 나타난 베네딕틴 수도승의 초상화는 중세 말기에 유행하는 수도원 구성원의 초상적 표현으로 이해할 수 있다. 같은 시기의 다른 채색 미사전서 혹은 찬송전서에도 주교, 대주교, 수녀원장, 수도원장을 비롯한 수도원 혹은 카톨릭 교회의 주요인물들이 이름과 함께 혹은 가문의 문장과 재현되어 종교인물의 초상적 표현도 세속군주 혹은 귀족 후원자들과 더불어 유행하였다고 볼 수 있다. 왕족 혹은 귀족의 초상과 다른 점은 본인의 개성보다는 본인이 속한 수도원의 집단정체성을 중시하여 초상화가 들어간 전례서가 교회 혹은 수도원에 다시 기증되어 다른 구성원들이 여러 세대에 걸쳐 사용할 수도 있다는 점이 주목할 만하다. 이런 점에서 개인의 추모를 목적으로 한 개인용 기도서와는 성격이 조금 다르다고 볼 수 있다.BR 14세기 채색 전례서에 나타나는 이러한 초상적 인물화는, 15세기 미술계에 중요한 장르로 대두하는 사실적인 초상화에 나타나는 유일무이한 개인적 재현은 아직 나타나지 않았기에 “초상화”라는 장르에 대입할 수는 없지만 이름 혹은 문장 등의 다른 기재를 통해 개인화를 시도하였다는 점은 중요하다. 15-16세기에 유화 혹은 조각 등에 자주 나타나는 사실적인 초상화 장르의 유행으로 나아가는 도입적인 단계라고 해석할 수 있다.

Chinese Export Genre Paintings in the 18th-20th Century : Focus on their connection with traditional iconographies

Chinese Export Genre Paintings in the 18th-20th Century : Focus on their connection with traditional iconographies

The Sociocultural Aspects of Merchant Class in the Light of Russian Painting Art

The merchant class, which contributed to the improvement of Russia, evolved due to politicial reforms. Especially in 1861 the emancipation reform of the Russian serfs caused social and culturel changes in the life of merchants. In 19th and early 20th century, the works of Russian genre painters P.A. Fedetov, A.P. Ryabushkin, V.G. Perov, F. Juravlev and B.M. Kustodiyev not only reflected the social situation and stereotypes of merchants, but also revealed cultural history of the mentioned class. In this paper it is aimed to disclose the evolution of merchant class in 19th and the early 20th century, observing and analysing the art of Russian painting in sociocultural perspective.

19세기말 풍속화가 기산 김준근이 그린 삽화 속 어린이 놀이문화와 복식에 관한 연구

This study surveys children's costumes and games from the 11 Genre paintings by Junkeun Kim in the book "Korean Games(Stewart Culin 1858-1929)". The character of the general dress-costumes, games and the culture of life from the late <TEX>$19^{th}$</TEX> century in genre painting of Junkeun Kim are as follows. The study results on the games are as follow. The boy's games are kite-flying, spinning tops, playing shuttlecock with the feet, blindman's buff, yut("Four-Stick Game"). Girl's games are seesaw with board, blindman's buff, marbles. Combined games are mount shoulder, sledge, tightrope walking for men with boy. The strengthen one's body type were seesaw with board, tightrope walking, the compete score type were playing shuttlecock with the feet, marbles and the multi complex type were yut("Four-Stick Game"), kite-flying. Through genre painting in the <TEX>$19^{th}$</TEX> century we know a boy's 'Jeogori 'and 'Ba-ji' were similar to a modern man's and boy's 'Hanbok' with a traditional method of wearing. We believe that the originality of a traditional costume was an unchangeable characteristic. Girl's 'Jeogori' and 'Chi-ma' changed in length and width, and method of wearing; however, the basic shape did not change. The analysis for artist's genre painting which was ordered by a foreigner and the late of <TEX>$19^{th}$</TEX> century's children's costume and game of life culture is useful to match the counters and show how to wear a modern Korean costume used to understand the 'Hanbok' and establish a costume of life.

A Man’s Breeches as the Object of Women’s Affections: A Unique Painting by the Antwerp Genre Painter Hiëronymus Janssens (1624–1693)

ABSTRACTThis article aims to list the possible associations that the painting depicting seven women fighting for a man’s trousers by the Antwerp genre painter Hiëronymus Janssens (1624–1692) may have raised in the minds of the seventeenth-century (Antwerp) audience, by pointing out noteworthy iconographic deviations in Janssens’ representations of the theme, and discussing the familiarity of his Antwerp audience with this theme. In view of the visual and the cultural-historical tradition of the topic, various interpretations and representations of the theme are linked to Janssens’ painting. It turns out that Janssens was not only inspired by the contemporary printing tradition, but also that he has mainly stressed the comical and erotic aspects of the topic. It is argued that Janssens’ choice to depict this amorous/erotic topic fits within the scope of his œuvre. In general, the case study provides us with a beautiful example of the exchange of visual imagery between French prints and Southern Netherlandish genre painting in the seventeenth century.

The Jutland Heath as a Literary Place of Inheritance: Hans Christian Andersen, St. St. Blicher, Jeppe Aakjær

For centuries, the Jutland peninsula in Denmark was covered by heathland. From the end of the eighteenth century, the heath and its few residents were described to the middle classes in Copenhagen as ’Denmark’s wilderness’. The heath was considered a picturesque contrast to the cities. This intensified as industrialisation gained a foothold in Copenhagen, Odense etc. Artists, genre painters and authors created the picture of an authentic and strange wilderness with immense wilds, strange inhabitants and magnificent nature. During the nineteenth century, writers like Hans Christian Andersen and Steen Steensen Blicher created the picture of the heath as an exotic, wonderful and wild place. Thus these artists created a literary place of inheritance, a special landscape that was considered by the Danes to mirror the soul of the people. From the mid-nineteenth century, the effective farming started cultivating the heath and from 1870, this was intensified by the Society for Heathland Reclamation. Consequently the image of the heath as an authentic and inalienable place crystallised, precisely because it was being lost. A number of poets and artists, for example Jeppe Aakjær, sided with the heath. They defended the remaining parts of the heath and made it what it is today. This article examines a number of texts that were central to the construction of the heath as literary place of inheritance.

5. Bessarabian in the Modern Engraving Constitution and Interference with its European Art

Abstract Runing the new century (XX) attests in Bessarabian art, the experience of several decades of professional artistic activity (the first Evening School of Drawing appears in Chisinau in 1887 and is due scholar Academy of Arts in St. Petersburg, Terinte Zubcu). Such short experience has not met any of the neighboring countries' national schools. In Bessarabia from the beginning of the twentieth century is established the main areas of professional art – painting- with remarkable portraits, landscapes, genre paintings; sculpture with respective genres; stampa as a kind of graphics. Marked by the period and by the influences of art schools, where Bessarabians have studied, it is clear that in painting and sculpture and graphics in the first round, have dominated peredvizhnik influences their color and monochrome theme. Guidelines of Bessarabian plastic artists in the development phase of modern art, is the decisive moment of establishment of the Bessarabian engraving as a kind of professional art, marked by tendencies that have appeared in European art and Russian at the limit of nineteenth and twentieth centuries, such as Expressionism in the works of Sneer Cogan, George Ceglocof and Art 1900 in the works of Theodor Kiriacoff, Elisabeth Ivanovsky or Moissey Kogan.

Rembrandt, Willem Duyster and the evolution of The Night Watch

The article compares a painting by the seventeenth-century Dutch genre painter Willem Duyster (1599–1635) depicting Soldiers Fighting over Booty (c. 1625, oil on panel, 37.6 × 57 cm, London, National Gallery), with Rembrandt’s famous The Night Watch (1642, oil on canvas, 363 × 438 cm, Amsterdam, Rijksmuseum). It begins by establishing the acquaintance between Duyster and Rembrandt in Amsterdam during the first half of the 1630s. It then reveals, through careful comparisons between numerous shared details, that Duyster’s Soldiers Fighting over Booty served as a source of influence upon The Night Watch by Rembrandt.

Uroscopy in early modern Europe

Contents: Introduction Uroscopy in everyday life The foundations of uroscopy Uroscopy and popular culture Revealing images: uroscopy in early modern genre painting The gradual decline of uroscopy Epilogue: uroscopy and the disappearance of the sick man Sources Index.

A Study of Figures in Genre Painting and Ukiyo-e during the 19th Century

A Study of Figures in Genre Painting and Ukiyo-e during the 19th Century

Understanding Korean food culture from Korean paintings

BackgroundIn Korea, there are many traditional foods that have developed along with the country's rich history. In addition, various food cultures have developed through agricultural traditions, ritual ceremonies, and the sharing of affection. Paintings, works of calligraphy, and music demonstrate some of these cultural characteristics of Korean foods. Further research and analysis of Korean food culture using these data sources is currently underway. MethodsThis paper focuses on the cultural characteristics of Korean food revealed in paintings from the Chosun dynasty. The 10 most renowned paintings, including the work of Kim Hong-Doh, a representative artist in the Chosun dynasty, will be discussed in relation to the cultural characteristics of Korean food. ResultsThe results of our analysis of the genre paintings show that the characteristics of Korean food are well portrayed in these paintings in the same manner as Pansori. For example, genre paintings show that food is a symbol of power, which can be used to control people. Food has also been regarded as health supplements and medicine, and people have shared their feelings and affections through food culture. In addition, food contains people's wishes and is used as a medium to communicate with Gods. ConclusionBeyond the basic value of food in maximizing nutrients and energy, Korean food culture has developed distinctive cultural characteristics through more than 5,000 years of agricultural history. Although the genre paintings analyzed in this paper are limited to a certain era, this paper will serve as a milestone in providing direction for future studies.

Ethnography and Empire through an Envoy’s Eye: The Manchu Official Akedun’s (1685-1756) Diplomatic Journeys to Chosǒn Korea

Akedun’s 1725 album Fengshi tu [Diplomatic Paintings] is an extraordinary example of the diplomatic painting genre popular during the High Qing era (1661-1796) that represents imperial delegations through the commissioners’ eye-witness experiences. Created after his four journeys to Chosǒn Korea, this album constructs a narrative in which Akedun carries out the role of an imperial ambassador while it captures ethnographic details of the lived places, curious customs, and courteous peoples of Korea. By rendering an imperial image of the Manchu Qing court, the album commemorates the amelioration of the Qing-Chosǒn relations after they had fraught confrontations during the Manchu’s post-conquest period. I argue that the Manchu ambassador Akedun keenly established his persona as an orthodox Confucian scholar in order to justify his position as a civil court-official whose missions were to negotiate for a mutual respect between the two regimes in the process of reaffirming an overarching Qing imperial order.

Композиции Поля Делароша из собрания Анатолия Демидова и их значениедля русских художников XIX века

The main achievement of Paul Delaroche was the creation of historical picture of a new type based on the principles of crossbreeding historical and genre painting. Although the authority of Delaroche in the international artistic circles of the 19th century was enormous, the question of his significance for Russian artists still remains unexplored. This article is intended to partially fill that gap. Contrary to the opinion of Alexander Benois, that Karl Bryullov was the “Russian Delaroche”, the author supports Vladimir Stasov’s idea that Delaroche’s greatest impact on Russian art was felt after Bryullov had passed away. The focus of the article is the remarkable case of mastering Delaroche’s artistic practice by Fyodor Bronnikov. The author demonstrates that the successful grasp of Delaroche’s artistic innovations is found not in Bronnikov’s paintings on historical subjects but in his scenes from the everyday life. Influenced by Delaroche, Bronnikov created a new type of genre painting that would not fit with the traditional system of genres.