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首页> 外文学位 >The mapping of modernity: Impressionist landscapes, engineering, and transportation imagery in 19th-century France.
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The mapping of modernity: Impressionist landscapes, engineering, and transportation imagery in 19th-century France.

机译：现代性的映射：19世纪法国的印象派风景，工程和运输图像。

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Lauded as pioneers of modern art, the French Impressionists portrayed many contemporary subjects, including the rapid growth of transportation networks brought about by the Industrial Revolution. Camille Pissarro, Claude Monet, and Alfred Sisley were among the artists who depicted the impact of industrialization on the natural environment, painting landscapes that featured railroads and iron bridges, products of the nineteenth century's new expertise in engineering. In recent Impressionist literature, such canvases have been viewed mainly as depictions of leisure and celebrations of technology. I revise this interpretation, instead proposing that the painters' approach to transportation engineering was marked by ambivalence and ambiguity. The Impressionists neither praised nor overtly criticized progress; rather, they attempted to map modernity by surveying and recording the effects of constant technological, social, and cultural change.;Pissarro, Monet, and Sisley, the three artists discussed here, did not simply reproduce the scenes before them. The painters used a broad range of mass-produced visual imagery as a lens for examining the altered terrain, borrowing subjects, styles, and compositions from landscape prints, journalistic illustrations, engineering drawings and photographs, and even caricatures. I describe this process of synthesis in four chapters that focus on pairs or small groups of canvases from the early 1870s, a key period for the development of Impressionism. I argue that the resulting paintings of trains, railroad bridges, and suspension bridges question the rhetoric of progress embedded in the visual culture of the era. By adapting and altering the picturesque naivete of early train prints, the exactitude and geometrical precision of engineering drawings and diagrams, or the perfectly rendered perspective of documentary photographs, the artists challenged those images' idealistic renderings of contemporary life. Their paintings are bold experiments in tackling difficult topics for the first time.;This interdisciplinary study examines the complex relationships between nature and technology in the Impressionists' early transportation landscapes and reveals the innovative artistic techniques used to create those canvases. My analysis of the paintings in the context of nineteenth-century visual culture fills a gap in the literature on Impressionism and provides a fresh approach to both familiar and overlooked works of art.
机译：法国印象派画家被誉为现代艺术的开创者，描绘了许多当代主题，包括工业革命带来的交通网络的迅速发展。卡米尔·毕沙罗（Camille Pissarro），克劳德·莫奈（Claude Monet）和阿尔弗雷德·西斯利（Alfred Sisley）等艺术家描绘了工业化对自然环境的影响，绘画了具有铁路和铁桥特色的山水，十九世纪在工程学上新的专业知识的产品。在最近的印象派文学作品中，此类画布主要被视为休闲和技术庆祝的描绘。我修改了这种解释，转而建议画家在运输工程中的方法具有歧义性和歧义性。印象派既没有赞扬也没有公开批评进步。相反，他们试图通过调查和记录不断发生的技术，社会和文化变化的影响来绘制现代性地图。这里讨论的三位艺术家皮萨罗，莫奈和西斯利并没有简单地再现他们之前的场景。画家使用大量的大量视觉图像作为镜头，以检查变化的地形，借用风景印刷品，新闻插图，工程图纸和照片甚至漫画来改变主题，样式和构图。我在四个章节中描述了这一综合过程，这些章节集中于1870年代初期（印象派发展的关键时期）的成对或小组画布。我认为，由此产生的火车，铁路桥梁和悬索桥画对时代视觉文化中嵌入的进步言论提出了质疑。通过改编和更改早期火车打印的风景如画的天真，工程图纸和图表的精确性和几何精度，或文献照片的完美渲染视角，艺术家们挑战了这些图像的当代生活理想主义渲染。他们的画作是首次大胆尝试解决难题的大胆实验。这项跨学科研究考察了印象派早期运输景观中自然与技术之间的复杂关系，并揭示了用于创作这些画布的创新艺术技术。我对19世纪视觉文化背景下的绘画的分析填补了印象派文学中的空白，并为熟悉和被忽视的艺术作品提供了新的方法。

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