Background
Boime, Albert Isaac was born on March 17, 1933 in St. Louis. Son of Max and Dorothy (Rubin) Boime.
(This is a pioneering, systematic study of the role of vio...)
This is a pioneering, systematic study of the role of violence in the structure of the political order, formulated in relation to what is characterized as the civil and fraternal orders. While the civil order is constituted upon an aversion to the risk of violent death and structure that guarantees the safety of its citizens, the fraternal order is constituted upon the willingness of the individual to risk one's life in violent confrontation. Boime shows that the necessity and attraction of fraternal affiliation is predicated and dependent upon the presence of equivocation and duplicity within the civil order. He argues that the ideal of peace, implicity inherent in conventional theorizing, involves the traffic of compromises and conciliations that give rise to as much distrust as trust. This book will be of interest to students and scholars of social theory, political science, social psychology, and urban sociology. Contents: Brotherly Interlude I; The White Negro and the Northern Liberal; Brotherly Interlude II; A Political Interpretation of Franz Kafka's The Trial; The Theater; Brotherly Interlude III; Does Political Discourse Have a Limit?; Brotherly Interlude IV; Violence and Myth: A Study of Georges Sorel; Brotherly Interlude V; Notes Towards an Understanding of Violence; Violence and Sociality; Allen Grossman's Poem "The Department"; Revision of Section II Violence and Myth: A Study of Georges Sorel; Second Revision Violence and Myth: A Study of George Sorel; Epilogue for my Brother; Index.
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(ABOUT THOMAS COUTURE -- "In his time, Thomas Couture (181...)
ABOUT THOMAS COUTURE -- "In his time, Thomas Couture (1815-79) was probably the most influential painter in Europe. His work was widely admired and discussed." His was a diverse art. Most heralded as a high-drama "history painter," he was also a masterful and sensitive portraitist and a genre painter. However, he was never fully embraced by the Academy. And he was never part of the avant-garde. Operating in this "middle ground," he tends to be overlooked in the history of 19th century art. ABOUT THIS BOOK -- Boime's original, incisive, and energetic monograph is a prodigious work. Boime studies Couture's "eclectic approach" both in detail and from wider perspectives. Thus, we get close studies of individual paintings as well as considerations ofCouture's social and political origins, his influences as a painter and teacher, and his placement in the history of European painting. BOOK DETAILS -- a large chunky hardback, cloth over boards, 5 pounds, 683 pp. Color frontispiece. B&w illustrations throughout. 45 pp of End Notes and a 15 page Bibliography. Indexed.
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( In A Social History of Modern Art, a sweeping multivolu...)
In A Social History of Modern Art, a sweeping multivolume social history of Western art from the French Revolution to World War I, Albert Boime moves beyond the concern with style and form that has traditionally characterized the study of art history and, in the tradition of Arnold Hauser, examines art in a broad historical context. Into his wide-ranging cultural inquiry Boime incorporates not only frequently studied mainstream artists and sculptors but also neglected and lesser known artists and unattributed popular imagery. He examines popular as well as official culture, the family as well as the state, and the conditions of the poor as well as of the affluent that affected cultural practice. This inaugural volume explores the artistic repercussions of the major political and economic events of the latter half of the eighteenth century: the Seven Years' War, the French Revolution, and the English industrial revolution. Boime examines the prerevolutionary popularity of the rococo style and the emergence of the cult of antiquity that followed the Seven Years' War. He shows how the continual experiments of Jacques-Louis David and others with neoclassical symbols and themes in the latter part of the century actively contributed to the transformation of French and English politics. Boime's analyses reveal the complex relationship of art with a wide range of contemporary attitudes and conditions—technological innovation, social and political tensions, commercial expansion, and the growth of capitalism. "Provocative and endlessly revealing."—Christopher Knight, Los Angeles Herald Examiner
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(Perfect for artists, illustrators, art and art history st...)
Perfect for artists, illustrators, art and art history students and art lovers! 330 pages, well illustrated. A must for every 19th century French, European, and Academic painting fan; and all aspiring painters! An ideal gift and great value for the Holidays, birthdays or graduation! See our complete inventory of art books by clicking on Srebnik Gallery at right.
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( In this second volume, Albert Boime continues his work ...)
In this second volume, Albert Boime continues his work on the social history of Western art in the Modern epoch. This volume offers a major critique and revisionist interpretation of Western European culture, history, and society from Napoleon's seizure of power to 1815. Boime argues that Napoleon manipulated the production of images, as well as information generally, in order to maintain his political hegemony. He examines the works of French painters such as Jacques-Louis David and Jean Auguste Dominique Ingres, to illustrate how the art of the time helped to further the emperor's propagandistic goals. He also explores the work of contemporaneous English genre painters, Spain's Francisco de Goya, the German Romantics Philipp Otto Runge and Caspar David Friedrich, and the emergence of a national Italian art. Heavily illustrated, this volume is an invaluable social history of modern art during the Napoleonic era. Stimulating and informative, this volume will become a valuable resource for faculty and undergraduates.—R. W. Liscombe, Choice
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(An examination of the relationships between sculptural pr...)
An examination of the relationships between sculptural production and the ideologies of those who commissioned it. The author argues that "aesthetics" counted for less in this production than the particular political and social orientation of the patron working closely with the sculptor. This integration of culture and political ideology is most strikingly revealed in 19th-century French sculpture, which played a major role in projecting the public face of the State and in announcing the rise of particular social groups in the shifting of power relationships. Private benefactors as well as the official or bureaucratic apparatus made sculpture an instrument of power and direction and carrier of social attitudes. The author traces the development of this activity through the successive regimes of empire, monarchy and republic.
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( Art for art's sake. Art created in pursuit of personal ...)
Art for art's sake. Art created in pursuit of personal expression. In Art in an Age of Counterrevolution, Albert Boime rejects these popular modern notions and suggests that history—not internal drive or expressive urge—as the dynamic force that shapes art. This volume focuses on the astonishing range of art forms currently understood to fall within the broad category of Romanticism. Drawing on visual media and popular imagery of the time, this generously illustrated work examines the art of Romanticism as a reaction to the social and political events surrounding it. Boime reinterprets canonical works by such politicized artists as Goya, Delacroix, Géricault, Friedrich, and Turner, framing their work not by personality but by its sociohistorical context. Boime's capacious approach and scope allows him to incorporate a wide range of perspectives into his analysis of Romantic art, including Marxism, social history, gender identity, ecology, structuralism, and psychoanalytic theory, a reach that parallels the work of contemporary cultural historians and theorists such as Edward Said, Pierre Bourdieu, Eric Hobsbawm, Frederic Jameson, and T. J. Clark. Boime ultimately establishes that art serves the interests and aspirations of the cultural bourgeoisie. In grounding his arguments on their work and its scope and influence, he elucidates how all artists are inextricably linked to history. This book will be used widely in art history courses and exert enormous influence on cultural studies as well.
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( From the European revolutions of 1848 through the Itali...)
From the European revolutions of 1848 through the Italian independence movement, the American Civil War, and the French Commune, the era Albert Boime explores in this fourth volume of his epic series was, in a word, transformative. The period, which gave rise to such luminaries as Karl Marx and Charles Darwin, was also characterized by civic upheaval, quantum leaps in science and technology, and the increasing secularization of intellectual pursuits and ordinary life. In a sweeping narrative that adds critical depth to a key epoch in modern art’s history, Art in an Age of Civil Struggle shows how this turbulent social environment served as an incubator for the mid-nineteenth century’s most important artists and writers. Tracing the various movements of realism through the major metropolitan centers of Europe and America, Boime strikingly evokes the milieus that shaped the lives and works of Gustave Courbet, Edouard Manet, Émile Zola, Honoré Daumier, Walt Whitman, Abraham Lincoln, and the earliest photographers, among countless others. In doing so, he spearheads a powerful new way of reassessing how art emerges from the welter of cultural and political events and the artist’s struggle to interpret his surroundings. Boime supports this multifaceted approach with a wealth of illustrations and written sources that demonstrate the intimate links between visual culture and social change. Culminating at the transition to impressionism, Art in an Age of Civil Struggle makes historical sense of a movement that paved the way for avant-garde aesthetics and, more broadly, of how a particular style emerges at a particular moment.
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( During the 1860s and '70s, more than a decade before th...)
During the 1860s and '70s, more than a decade before the development of French Impressionism, Italy produced a group of avant-garde artists whose fervently nationalist paintings anticipated some of Impressionism's theoretical concerns. These artists were called "Macchiaioli" because they based their technique on a quickly rendered macchia, or sketch. In the first extended sociopolitical interpretation in English of this important group, Albert Boime places the Macchiaioli in the cultural context of the Risorgimento—the political movement that unified Italy, freed from foreign rule, under a secular, constitutional government. Anglo-American art criticism has generally neglected these painters (probably because of their overt political affiliation and nationalist expression), but Boime shows that these artists, while deeply political, nevertheless created aesthetically superior work. Boime's study departs from previous research on the Macchiaioli by systematically investigating the group's writings, sources, and patronage in relation to the Risogimento. The book also examines both contemporary and later critical responses, revealing how French art criticism has obscured the achievements of Macchiaioli art. Richly illustrated, The Art of the Macchia and the Risorgimento will appeal to anyone interested in nineteenth-century European art or the history of Italy.
http://www.amazon.com/gp/product/0226063305/?tag=2022091-20
( In this bold exploration of the political forces that s...)
In this bold exploration of the political forces that shaped Impressionism, Albert Boime proposes that at the heart of the modern is a "guilty secret"--the need of the dominant, mainly bourgeois, classes in Paris to expunge from historical memory the haunting nightmare of the Commune and its socialist ideology. The Commune of 1871 emerged after the Prussian war when the Paris militia chased the central government to Versailles, enabling the working class and its allies to seize control of the capital. Eventually violence engulfed the city as traditional liberals and moderates joined forces with reactionaries to restore Paris to "order"--the bourgeois order. Here Boime examines the rise of Impressionism in relation to the efforts of the reinstated conservative government to "rebuild" Paris, to return it to its Haussmannian appearance and erase all reminders of socialist threat. Boime contends that an organized Impressionist movement owed its initiating impulse to its complicity with the state's program. The exuberant street scenes, spaces of leisure and entertainment, sunlit parks and gardens, the entire concourse of movement as filtered through an atmosphere of scintillating light and color all constitute an effort to reclaim Paris visually and symbolically for the bourgeoisie. Amply documented, richly illustrated, and compellingly argued, Boime's thesis serves as a challenge to all cultural historians interested in the rise of modernism.
http://www.amazon.com/gp/product/0691029628/?tag=2022091-20
Boime, Albert Isaac was born on March 17, 1933 in St. Louis. Son of Max and Dorothy (Rubin) Boime.
Bachelor of Arts, University of California at Los Angeles, 1961; Master of Arts, Columbia University, 1963; Doctor of Philosophy, Columbia University, 1968.
He earned a bachelor’s degree in art history from University of California, Los Angeles in 1961 after completing service in the United States Army. He followed up in the field with a master"s and a doctorate from Columbia University in 1963 and 1968 respectively. He was a professor at the State University of New York at Stony Brook from 1968 until 1972, when he left to teach at the State University of New York at Binghamton, remaining there until 1978.
He joined the faculty of University of California, Los Angeles in 1979.
A longtime resident of Los Angeles, Boime died at age 75 in his home there on October 18, 2008 of the bone marrow disorder myelofibrosis.
( In A Social History of Modern Art, a sweeping multivolu...)
( In this bold exploration of the political forces that s...)
( During the 1860s and '70s, more than a decade before th...)
( From the European revolutions of 1848 through the Itali...)
(This is a pioneering, systematic study of the role of vio...)
(ABOUT THOMAS COUTURE -- "In his time, Thomas Couture (181...)
(An examination of the relationships between sculptural pr...)
( In this second volume, Albert Boime continues his work ...)
(Perfect for artists, illustrators, art and art history st...)
(Book by Boime, Albert)
( Art for art's sake. Art created in pursuit of personal ...)
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The four-volume, 3,000-page series, published over a two-decade period by the University of Chicago Press, includes Art in an Age of Revolution, 1750–1800 (1987). Art in an Age of Bonapartism, 1800–1815 (1990). Art in an Age of Counterrevolution, 1815–1848 (2004).
And Art in an Age of Civil Struggle, 1848–1871 (2007).
Served with Army of the United States, 1955-1958. Member College Art Association, Society Fellows American Academy at Rome.
Married Myra Block, June 23, 1964. Children: Robert, Eric.