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By Simpson, Patricia Anne; Goethe, Johann Wolfgang von; Moore, Evelyn K

Poets, painters, philosophers, and scientists alike debated new methods of brooding about visible tradition within the "long eighteenth century". The essays in 'The Enlightened Eye: Goethe and visible tradition' display the level to which Goethe complicated this discourse in nearly all disciplines. the concept that of visuality turns into a constitutive second in a efficient courting among the verbal and visible arts with far-reaching implications for the formation of bourgeois id, pedagogy, and tradition. From numerous theoretical views, the participants to this quantity learn the interconnections among aesthetic and clinical fields of inquiry eager about Goethe's visible identification. through finding Goethe's place within the exam of visible tradition, either confirmed and rising students learn the measure to which visible aesthetics made up our minds the cultural creation of either the German-speaking international and the wider ecu context. The contributions research the construction, presentation, and intake of visible tradition outlined commonly as portray, sculpture, theater, and clinical perform. 'The Enlightened Eye' delivers to take a position new power and perception into the dialogue between literary students, artwork historians, and cultural theorists approximately many points of visible tradition within the Age of Goethe. desk of Contents Acknowledgements Abbreviations creation Patricia Anne SIMPSON and Evelyn okay. MOORE: The Enlightened Eye: visible tradition within the Age of Goethe I.Visions/Revisions of the Neoclassical Aesthetic Melissa DABAKIS: Angelika Kauffmann, Goethe, and the Arcadian Academy in Rome Catriona MACLEOD: Sweetmeats for the attention: Porcelain Miniatures in Classical Weimar Beate ALLERT: Goethe, Runge, Friedrich: On portray Margaretmary DALEY: The Gendered Eye of the Beholder: The Co-ed paintings historical past of the Jena Romantics Mary Helen DUPREE: Elise in Weimar: "Actress-Writers" and the Resistance to Classicism Patricia Anne SIMPSON: Visions of the country: Goethe, Karl

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For a reproduction of the Zoffany group portrait, located in The Royal Collection, Windsor Castle, New Windsor, England see: Marilyn Stokstad: Art History. Rev. ed. New York: Harry N. Abrams, Inc. 1999. P. 937. 9 30 neoclassical tradition in Rome. Located at the top of the Spanish Steps on Via Sistina, her studio stood in Rome’s favorite quarter for foreign artists. Rome’s cosmopolitan community heralded Kauffmann as among its most talented artist/ intellectuals. She was multi-lingual, speaking Italian like a native, French, English, and her native German.

New York: Warner 1999. Pp. 46–47. Gleeson cites as an example the English dramatist William Wycherley’s bawdy comedy of 1675 The Country Wife, in which a married woman demands “china” from a libertine (who lives in a “china house”) – he fobs her off with a promise of a “roll-wagon” at a later date. A “roll-wagon” was a tall, thin Chinese vase. In the late seventeenth century, according to Sarah Richards, the audience took special pleasure from the tension between the refined (porcelain) and the gross.

P. 50. For an illustration of the Hewetson bust, see Oscar Sandler: Angelika Kauffmann und Rom. P. 180. Figure 156. Catriona MacLeod Sweetmeats for the Eye: Porcelain Miniatures in Classical Weimar* Neoclassical sculpture tends to have weighty, even colossal aspirations. This paper examines an innovative line of sculptural porcelain produced by the Fürstenberg manufactory in Braunschweig between 1771–1808, and which participates in an opposing trend, towards miniaturization. These works, busts of classical sculptures, Roman emperors, German aristocrats, and a canon of contemporary artists and intellectuals, placed neoclassical taste on the dining table, thus posing questions about tactile and visual desires.

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