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Painting, Modern --- Painting, Modern

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Painting, Modern --- -Garouste, Gérard,

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congres / 2000 --- History --- art theory --- Art --- anno 1600-1699 --- anno 1500-1599 --- Painting --- Aesthetics of art --- Architecture --- anno 1500-1799 --- Europe: North --- Art, Modern --- Architecture, Renaissance --- Architecture, Modern --- Painting, Modern --- Aesthetics --- Architecture de la Renaissance --- Peinture --- Esthétique --- Conferences - Meetings --- Esthétique

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Painting --- easel paintings [paintings by form] --- Beul, de, Bert --- De Beul, Bert --- Painting, Modern --- -Beul, Bert de, --- Beul, Bert de --- teksten Florent Bex, Yonah Foncé --- kunst --- België --- schilderkunst --- De Beul Bert --- 75.071 DE BEUL --- -750 --- Modern painting --- Paintings, Modern --- -Beul, Bert de --- Beul, Bert de, --- Exhibitions --- Painters --- Belgium --- 21st century --- Richter, Gerhard °1932 (°Dresden, Duitsland) --- Schilderkunst ; 20ste eeuw --- Tentoonstellingscatalogi ; Antwerpen ; Museum van Hedendaagse Kunst (MUHKA) --- Belgische kunstenaars --- 75.07 --- Schilderkunst ; schilders A-Z

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In this new study of art in fin-de-siecle Hamburg, Carolyn Kay examines the career of the city's art gallery director, Alfred Lichtwark, one of Imperial Germany's most influential museum directors and a renowned cultural critic. A champion of modern art, Lichtwark stirred controversy among the city's bourgeoisie by commissioning contemporary German paintings for the Kunsthalle by secession artists and supporting the formation of an independent art movement in Hamburg influenced by French impressionism. Drawing on an extensive amount of archival research, and combining both historical and art historical approaches, Kay examines Lichtwark's cultural politics, their effect on the Hamburg bourgeoisie, and the subsequent changes to the cultural scene in Hamburg. Kay focuses her study on two modern art scandals in Hamburg and shows that Lichtwark faced strong public resistance in the 1890s, winning significant support from the city's bourgeoisie only after 1900. Lichtwark's struggle to gain acceptance for impressionism highlights conflicts within the city's middle class as to what constituted acceptable styles and subjects of German art, with opposition groups demanding a traditional and 'pure' German culture. The author also considers who within the Hamburg bourgeoisie supported Lichtwark, and why. Kay's local study of the debate over cultural modernism in Imperial Germany makes a significant contribution both to the study of modernism and to the history of German culture.

Painting, German --- Art patronage --- Art and the middle class --- Middle class and art --- Middle class --- Arts patronage --- Business patronage of the arts --- Corporations --- Maecenatism --- Patronage of art --- Art and industry --- Neue Wilde (Group of artists) --- Painting, Modern --- Lichtwark, Alfred, --- Lichtwark, A. --- Influence. --- Hamburg --- Germany --- Großhamburg --- Hamburgischer Staat --- Groß-Hamburg --- Hampuri --- Hamborg --- Wolne i Hanzeatyckie Miasto Hamburg --- Hanbao --- Freistaat Hamburg --- FHH --- Gamburg --- Hamburgh --- Bundesstaat Hamburg --- Kayserliche Freye Reichs-Stadt Hamburg --- Kaiserliche Freie Reichsstadt Hamburg --- Hamburgisches Staatsgebiet --- HH --- Freie und Hansestadt Hamburg --- Hansestadt Hamburg --- Free and Hanseatic City of Hamburg --- Ville Libre et Hanséatique de Hambourg --- Hambourg --- Amburgo --- Hamburgo --- Freie Hansestadt Hamburg --- Hamburgum --- Hammonia --- Hammipolis --- Augusta Gambriviorum