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By Evelyn K. Moore, Patricia Anne Simpson (Eds.)

Poets, painters, philosophers, and scientists alike debated new methods of puzzling over visible tradition within the "long eighteenth century". The essays in 'The Enlightened Eye: Goethe and visible tradition' exhibit the level to which Goethe complicated this discourse in nearly all disciplines. the idea that of visuality turns into a constitutive second in a efficient dating among the verbal and visible arts with far-reaching implications for the formation of bourgeois identification, pedagogy, and tradition. From a number of theoretical views, the participants to this quantity study the interconnections among aesthetic and medical fields of inquiry serious about Goethe's visible identification. via finding Goethe's place within the exam of visible tradition, either demonstrated and rising students examine 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 learn the creation, presentation, and intake of visible tradition outlined greatly as portray, sculpture, theater, and clinical perform. 'The Enlightened Eye' offers to take a position new power and perception into the dialogue between literary students, paintings historians, and cultural theorists approximately many elements of visible tradition within the Age of Goethe. desk of Contents Acknowledgements Abbreviations creation Patricia Anne SIMPSON and Evelyn ok. 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 artwork 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 state: Goethe, Karl

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Additional resources for The Enlightened Eye: Goethe and Visual Culture (Amsterdamer Beitraege zur neueren Germanistik 62) (Amsterdamer Beitrage zur Neueren Germanistik)

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Located in the Galleria Palatina, Florence. 42 Giuli: Tracing the Sisterhood. P. 274, fn 9. The painting is described by Lady Victoria Manners and Dr. G. C. Williamson: The Memorandum of Paintings. In: Angelica Kauffmann, R. , Her Life and Her Works. 1924 Rpt. New York: Hacker Books 1976. P. 165. 43 Charlotte Hogsett: Marguerite Yourcenar: Daughter of Corinne. In: The Novel’s Seduction. P. 247; Giuli: Tracing a Sisterhood. P. 166; Mary Jane Cowles: Speaking the (Absent) Mother: Corinne and La Langue Maternelle.

Figure 27. 38 Goethe: Italian Journey. (27 June 1787). P. 279; Boyle, Goethe: The Poet and the Age. P. 488. 39 Ibid. (18 August 1787). P. 307. 40 The antique cast and the seedling served as mementos of their friendship. Until her death in 1807, Goethe would regularly hear about the fledgling tree’s growth from Roman travelers. Kauffmann and the Arcadian Academy Angelika Kauffmann was inducted into the Arcadian Academy in 1789. Within the next few years, she completed several portraits of Arcadian poetesses and improvisers: Fortunata Sulgher Fantastici of 179141 and The Portrait of Signora Teresa Bandettini of Lucca, called “Amaryllis” of 1794 (now lost).

P. 72; Barroero and Susinno: Arcadian Rome, Universal Capital of the Arts. Pp. 47–48. 35 Figure 3. Self-Portrait in the Character of Painting Embraced by Poetry. Angelika Kauffmann. 1782. Oil on canvas. The Iveagh Bequest, Kenwood. Courtesy of the English Heritage Photo Library. Goethe in Rome Goethe accepted membership into the Arcadian Society on 4 January 1787. 24 He had, at first, resisted membership into the society, in hopes of living a quiet and anonymous life in Rome. Relenting, he 24 Boyle: Goethe: The Poet and the Age.

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