Brix’s introductory essay exposes the problematic rapport between neoclassicism and Romanticism in the aesthetic commentaries and creative work of early nineteenth-century Romantic writers on which this volume is based.
This article examines the thematic tension in Fromentin's Dominique between maturity (the conventional telos of the roman d'apprentissage) and modernity, as described by theorists from Benjamin to Moretti.
Pictorial and literary representations of sculpted columns by artist Hubert Robert and poets Chénier, Hugo, Gautier, and Baudelaire reveal, according to Metzidakis, the ambiguous nature of the line as both a sign of mobility and
David d'Angers's concept of the relationship between history and art, as it is reflected in the pediment of the Pantheon and the busts he made of Victor Hugo, and Hugo's own representations of history in his poetry and drawings
Joyce argues that the scandal caused in 1847 by the so-called "naturalism" of Auguste Clésinger's eroticized treatment of the reclining nude with his Femme piquée par un serpent owed as much to the sculptor's experimentation wit
Lloyd charts the ubiquity, fluidity, and dynamism of sculptural metaphors in the texts of an array of Romantic writers to reveal the paradoxes and anxieties underlying the growing perception that the statue is no longer represen
To understand the significance of Baudelaire's apparent diatribe against sculpture in his Salon of 1846, Hamrick reconstructs the contemporary discourse within which Baudelaire and other forwarding-looking critics were reassessi
Editor of a new, more complete edition of Delacroix's Journals, Hannoosh studies the Romantic artist's comments on sculpture from two recently discovered notebooks, showing an evolution in his view that sculpture and painting sh