An Outline of 19th Century European Painting: From David through Cézanne

An Outline of 19th Century European Painting: From David through Cézanne

An Outline of 19th Century European Painting: From David through Cézanne

An Outline of 19th Century European Painting: From David through Cézanne


This new, one-volume edition contains both text and plates and includes corrections in the text and bibliography made since the books publication in 1987. There are concise monographic chapters on the important artists and movements of the period, with material on each artist's life and work, characteristics of style, and the relationship of the artistic movements to historical and intellectual currents of the time. The author covers a wide range of material and his presentation is lucid and perceptive. Neoclassicism, Romanticism, Realism, Academics and Salon Painters, and Impressionism are covered, and the following artists are included: David, Gros, Girodet, Gérard, Guérin, Prud'hon, Goya, Fuseli, Blake, Runge, Friedrich, Turner, Constable, Igres, Géricault, Delacroix, Corot, Rousseau, Daumier, Millet, Courbet, Manet, Degas, Monet, Renoir, Sisley, Pissarro, and Cézanne.


This book owes its existence to a teaching problem which I encountered in attempting to introduce students to European art of the early and mid-nineteenth century: the lack of a general text covering that period. The broad surveys were insufficiently detailed for my purpose; the essential monographic literature, on the other hand, went far beyond what my students could manage in the time given them. To bridge this gap, I began to prepare syllabi that amounted to miniature monographs and that presented what I considered the essential information concisely, but in considerably greater depth than the available surveys, including Walter Friedlaender excellent David to Delacroix, my initial model. My book does not pretend to be a comprehensive history of the art of the period. It is, as I well know, limited by certain conventions of coverage and emphasis to which my teaching, in its time and place, was subject. It also reflects the attitudes, and perhaps prejudices, of its author. Its focus is on the individual artist, as the embodiment of the ideas and artistic movements current in a particular society and period. The brief bibliographies appended to its various sections are designed for practical use, by students within reach of a good library. They emphasize recent, well-illustrated, and reasonably accessible works, and are not meant to be comprehensive.

There are illustrations of most of the paintings discussed in the text. The relatively large number of plates that I considered necessary had to be accommodated within relatively few pages. It was therefore not possible to offer them as a feast for the eye. Their purpose, rather, had to be the modest one of providing a serviceable pictoral accompaniment to the text. The sequence of the illustrations closely follows that of the discussion of the corresponding paintings in the text. To make it as easy as possible to relate text and plates, references to the pertinent page numbers in the text have been included in all the plate captions. (In addition, the index identifies those works of art illustrated and gives the page numbers.)

I owe thanks to many colleagues and students, but most of all to Trudi Eitner for her help and affectionate understanding. In the amazingly laborious work of procuring the 418 pictures, I was greatly helped by Mrs. Elizabeth Martin of the Stanford University Department of Art--for this I give her my warmest thanks.

Lorenz Eitner

Stanford University . . .

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