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Painting by Numbers

Data-Driven Histories of Nineteenth-Century Art

Diana Seave Greenwald

ca. 33,99
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Geisteswissenschaften, Kunst, Musik / Kunst


A pathbreaking history of art that uses digital research and economic tools to reveal enduring inequities in the formation of the art historical canon

Painting by Numbers presents a groundbreaking blend of art historical and social scientific methods to chart, for the first time, the sheer scale of nineteenth-century artistic production. With new quantitative evidence for more than five hundred thousand works of art, Diana Seave Greenwald provides fresh insights into the nineteenth century, and the extent to which art historians have focused on a limited—and potentially biased—sample of artwork from that time. She addresses long-standing questions about the effects of industrialization, gender, and empire on the art world, and she models more expansive approaches for studying art history in the age of the digital humanities.

Examining art in France, the United States, and the United Kingdom, Greenwald features datasets created from indices and exhibition catalogs that—to date—have been used primarily as finding aids. From this body of information, she reveals the importance of access to the countryside for painters showing images of nature at the Paris Salon, the ways in which time-consuming domestic responsibilities pushed women artists in the United States to work in lower-prestige genres, and how images of empire were largely absent from the walls of London’s Royal Academy at the height of British imperial power. Ultimately, Greenwald considers how many works may have been excluded from art historical inquiry and shows how data can help reintegrate them into the history of art, even after such pieces have disappeared or faded into obscurity.

Upending traditional perspectives on the art historical canon, Painting by Numbers offers an innovative look at the nineteenth-century art world and its legacy.

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Feminism, Writing, American Art-Union, Social science, Art criticism, John Ruskin, Claudia Goldin, Economic history, Printmaking, Royal Academy Summer Exhibition, Visual culture, Gayatri Chakravorty Spivak, Work of art, Curator, French art, Freelancer, Tourism, Illustration, Institution, Private collection, Digital humanities, History painting, Art exhibition, Art dealer, Industrialisation, Why Nations Fail, Career, Contemporary art, Routledge, Archives of American Art, Spreadsheet, Percentage, Art world, Metropolitan Museum of Art, Picturesque, Oil painting, James Gillray, Sackler Library, T. J. Clark (art historian), Grosvenor Gallery, Griselda Pollock, Landscape painting, Women artists, Statistical significance, College Art Association, Jon Whiteley, Intellectual property, Art school, Visual arts, Textbook, Supervisor, Wealth, William-Adolphe Bouguereau, Leighton House Museum, Gustave Courbet, Lilly Martin Spencer, Slavery, Hierarchy of genres, Paul Durand-Ruel, John Trumbull, New-York Historical Society, Linda Nochlin, Publication, Romita Ray, Variable (mathematics), Historiography, Virginia Woolf, Art history, Author, Dummy variable (statistics), Mary Cassatt, Pennsylvania Academy of the Fine Arts, British Institution, Painting (Blue Star), Edition (book), Tourist attraction, British Empire, John Barrell, Identifier, Orientalism, Case study, Urbanization, Literature, Stata, Narrative, Ideology, Impressionism, Burial, Art critic, Culture and Imperialism, Smithsonian American Art Museum, St Martin's Lane Academy, Genre painting, Painting, Fine art, Jules Breton, Economist, Academician, Princeton University Press, Yale University Press