First published in 1965, Mannerism is the rediscovery and revaluation of Mannerism, that long misjudged artistic style which came into its own during the crisis of the Renaissance. Expressionism, Surrealism and Abstract Art prepared the ground for a new understanding of Mannerism, and Dr. Hauser shows how this revaluation signifies an even deeper caesura in intellectual history than the crisis of the Renaissance itself in which Mannerism arose. These propositions however, only touch on the problem which is exhaustively treated by Hauser in all its historical and thematical variations. The author does not confine himself to the observation of development from the point of view of the history of art. In Part One he considers the emergence of the scientific worldview during the Renaissance, the economic and social revolution, religious movements and political ideas, the problem of alienation, and narcissism as keys to the understanding of Mannerism. Part Two, which deals with the history of Mannerism both in Italy and abroad, gives not only remarkable analyses of works of art with the aid of 322 reproductions, but also considers leading representatives of the literature of the Mannerism in Italy, Spain, France, and England. Again, in Part Three, parallel and connecting lines are drawn between art and literature to make the rules of form and the contents clearly recognisable. The book will be of interest to students of art history and literature.

Defining Decadence The legacy of Gustav Klimt A century after his death, Viennese artist Gustav Klimt (1862-1918) still startles with his unabashed eroticism, dazzling surfaces, and artistic experimentation. This monograph gathers all of Klimt's major works alongside authoritative art historical commentary and privileged access to the artist's archive with some 179 letters, cards, writings, and other documents. With top quality illustration, including new photography of the celebrated Stoclet Frieze, the book follows Klimt through his prominent role in the Secessionist movement of 1897, his candid rendering of the female body, and his lustrous "golden phase" when gold leaf brought a shimmering tone and texture to such beloved works as The Kiss and Portrait of Adele Bloch-Bauer I, also known as The Woman in Gold. Through luminous spreads and carefully curated details, the monograph traces the repertoire of Japanese, Byzantine, and allegorical stimuli that informed Klimt's flattened perspectives, his symbolic vocabulary, and his mosaic-like textures. Drawing upon contemporary critics and voices, the book also examines the art world's polarized reception to Klimt's pictures as much as his own stylistic trajectory. From his landscape painting to erotic works to the controversial ceiling for the Great Hall of the University of Vienna, we see how Klimt's admixture of tradition and daring divided the press and public, becried by some as a pornographer, hailed by others as a modern maestro.

People all over the world have always used symbols to express and communicate the things that mean most to them. From a country's flag, which can signify more than patriotism, to a charm bracelet, with its 'portable memories', symbolism takes various forms. Familiarity with symbolism opens up levels of understanding most of us have probably never been aware of. Why, for instance, do we share a secret with the words 'a little bird told me'? What is it about a horseshoe that, in the right circumstances, brings luck? Why a horse's shoe? How old is the swastika, and where has it been used as a symbol (and what was Jung getting at when he said the Nazi's used it 'backwards')? In nearly 1500 entries, many of them strikingly and often surprisingly illustrated, J.C. Cooper has documented the history and evolution of symbols from prehistory to our own day. Lively, informative and often ironic, she discusses and explains an enormous variety of symbols extending from the Arctic to Dahomey, from the Iroquios to Oceania, and coming from systems as diverse as Tao, Christianity, Judaism, Buddhism, Islam, Tantra, the cult of Cybele and the Great Goddess, the Pre-Columbian religions of the Western Hemisphere and the Voodoo cults of Brazil and West Africa.

Ceramics and Modernity in Japan offers a set of critical perspectives on the creation, patronage, circulation, and preservation of ceramics during Japan's most dramatic period of modernization, the 1860s to 1960s. As in other parts of the world, ceramics in modern Japan developed along the three ontological trajectories of art, craft, and design. Yet, it is widely believed that no other modern nation was engaged with ceramics as much as Japan-a "potter's paradise"-in terms of creation, exhibition, and discourse. This book explores how Japanese ceramics came to achieve such a status and why they were such significant forms of cultural production. Its medium-specific focus encourages examination of issues regarding materials and practices unique to ceramics, including their distinct role throughout Japanese cultural history. Going beyond descriptive historical treatments of ceramics as the products of individuals or particular styles, the closely intertwined chapters also probe the relationship between ceramics and modernity, including the ways in which ceramics in Japan were related to their counterparts in Asia and Europe. Featuring contributions by leading international specialists, this book will be useful to students and scholars of art history, design, and Japanese studies.

Claude Monet spent most of his life painting his own spontaneous impressions of nature and the world that was closest to him. His works provoked the description 'Impressionist', the name given to the style of art that he created together with Camille Pissarro and Alfred Sisley.

Following on from her textile hit Slow Stitch, author Claire Wellesley-Smith considers the importance of connection and ideas around wellbeing when using textiles for individuals and communities, including practical ideas around 'thinking-through-making', using 'resonant' materials and extending the life of pieces using traditional and non-traditional methods. Contemporary textile artists using these themes in their work feature alongside personal work from Claire and examples from community-based textile projects. The book features some of the very best textile artists around, esteemed American fiber artists and the doyenne of textiles, Alice Kettle.Resilient fabrics that can be manipulated, stressed, withstand tension and be made anew are recommended throughout the book, as well as techniques such as layering, patching, reinforcing, re-stitching and mending, plus ideas for the inclusion of everyday materials in your work. There's an exploration of ways to link your emotional health with your textile practice, and 'Community' suggests ways to make connections with others in your regular textile work. 'Landscape' has a range of suggestions and examples of immersing your work in the local landscape, a terrific way to find meaning in your work and a sense of place. Finally, there is a moving account of one textile community's creative response to the 2020 coronavirus pandemic.The connection between wellbeing and the creation of textiles has never been stronger, and, as a leading exponent of this campaign, Claire is the perfect author to help you find more than just a finished textile at the end of a project.

The Victorian Era represents the cradle of our modern society - a time when social change and new technology heralded an industrialised economy. By the time of Queen Victoria's Diamond Jubilee in 1897, claims were proudly made of the progress since her accession to the throne. Steam ships had replaced sail, the railway system had superseded the stage coach, and the motor car had just begun to replace the horse. Not only did mass production create a new wealth of household products, ceramics, toys and games, but the arrival of cheaper printing and colour lithography made possible a profusion of printed material. The music sheets, colourful scraps, advertisements, greetings cards and children's book illustrations that fill The Victorian Scrapbook - with such vigour - all give us an insight into the life and times of our forebears. Fortunately the thousand items gathered here have survived in remarkable condition, some by chance, others by having themselves been pasted down into contemporary scrapbooks. They all combine to celebrate a time when British ruled an Empire 'on which the sun never sets'. AUTHOR: Since the 1960s, Robert Opie has amassed an unrivalled collection of packaging. He is the author of numerous publications and has given many talks to schools, as well as on radio and television. 10000 colour illustrations

Where, how, by whom and for what were the first museums of contemporary art created? These are the key questions addressed by J. Pedro Lorente in this new book. In it he explores the concept and history of museums of contemporary art, and the shifting ways in which they have been imagined and presented. Following an introduction that sets out the historiography and considering questions of terminology, the first part of the book then examines the paradigm of the Musee des Artistes Vivants in Paris and its equivalents in the rest of Europe during the nineteenth century. The second part takes the story forward from 1930 to the present, presenting New York's Museum of Modern Art as a new universal role model that found emulators or 'contramodels' in the rest of the Western world during the twentieth century. An epilogue, reviews recent museum developments in the last decades. Through its adoption of a long-term, worldwide perspective, the book not only provides a narrative of the development of museums of contemporary art, but also sets this into its international perspective. By assessing the extent to which the great museum-capitals - Paris, London and New York in particular - created their own models of museum provision, as well as acknowledging the influence of such models elsewhere, the book uncovers fascinating perspectives on the practice of museum provision, and reveals how present cultural planning initiatives have often been shaped by historical uses.

In recent years, there has been increasing scholarly interest in the history of museums, academies and major exhibitions. There has been, however, little to no sustained interest in the histories of alternative exhibitions (single artwork, solo artist, artist-mounted, entrepreneurial, privately funded, ephemeral, etc.) with the notable exception of those publications that deal with situations involving major artists or those who would become so - for example J.L. David's exhibition of Intervention of the Sabine Women (1799) and The First Impressionist Exhibition of 1874 - despite the fact that these sorts of exhibitions and critical scholarship about them have become commonplace (and no less important) in the contemporary art world. The present volume uses and contextualizes eleven case studies to advance some overarching themes and commonalities among alternative exhibitions in the long modern period from the late-eighteenth to the late-twentieth centuries and beyond. These include the issue of control in the interrelation and elision of the roles of artist and curator, and the relationship of such alternative exhibitions to the dominant modes, structures of display and cultural ideology.

A fun and fact-filled introduction to the dismissed Black art masters and models who shook up the world. Elegant. Refined. Exclusionary. Interrupted. The foundations of the fine art world are shaking. Beyonce and Jay-Z break the internet by blending modern Black culture with fine art in their iconic music video filmed in the Louvre. Kehinde Wiley powerfully subverts European masterworks. Calls resonate for diversity in museums and the resignations of leaders of the old guard. It's clear that modern day museums can no longer exist without change-and without recognizing that Black people have been a part of the Western art world since its beginnings. Quietly held within museum and private collections around the world are hundreds of faces of Black men and women, many of their stories unknown. From paintings of majestic kings to a portrait of a young girl named Isabella in Amsterdam, these models lived diverse lives while helping shape the art world along the way. Then, after hundreds of years of Black faces cast as only the subject of the white gaze, a small group of trailblazing Black American painters and sculptors reached national and international fame, setting the stage for the flourishing of Black art in the 1920s and beyond. Captivating and informative, BLK ART is an essential work that elevates a globally dismissed legacy to its proper place in the mainstream art canon. From the hushed corridors of royal palaces to the bustling streets of 1920s Paris-this is Black history like never seen before.

Part of a series of exciting and luxurious Flame Tree Sketch Books Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed, then foil stamped. The thick paper stock makes them perfect for sketching and drawing. These are perfect for personal use and make a dazzling gift. This example features Claude Monet: Bridge over a Pond for Water Lilies. 'All of a sudden,' Monet would one day recall, 'I had the revelation of the enchantment of my pond. I took up my palette...' And the rest is art-history. Again and again - well over 200 times, and often working on an enormous scale - Claude Monet would return to water lilies as his subject.

Photography, both in the form of contemporary practice and that of historical material, now occupies a significant place in the citadels of Western art culture. It has an institutional network of its own, embedded within the broader art world, with its own specialists including academics, critics, curators, collectors, dealers and conservators. All of this cultural activity consolidates an artistic practice and critical discourse of photography that distinguishes what is increasingly termed ‘art photography’ from its commercial, scientific and amateur guises. But this long-awaited recognition of photography as high art brings new challenges. How will photography’s newly privileged place in the art world affect how the history of creative photography is written? Modernist claims for the medium as having an aesthetic often turned on precedents from painting. Postmodernism challenged a cultural hierarchy organized around painting. Nineteenth-century photographs move between the symbolic spaces of the gallery wall and the archive: de-contextualised for art and re-contextualised for history. But what of the contemporary writings, images, and practices that negotiated an aesthetic status for ‘the photographic’? Photography and the Arts revisits practices both celebrated and elided by the modernist and postmodernist grand narratives of art and photographic history in order to open up new critical spaces. Written by leading scholars in the fields of photography, art and literature, the essays examine the metaphorical as well as the material exchanges between photography and the fine, graphic, reproductive and sculptural arts.

In this little book for children, first made in 1793, William Blake charted the course of human life and experience in eighteen enigmatic emblems. Twenty-five years later, he revisited the book, adding three plates of explication and some captions. It remains one of his most accessible, yet disconcerting works.

This collection uncovers connections and coincidences that challenge the old stories of pioneering performers who crossed the Atlantic and Pacific oceans from the mid-nineteenth to the mid-twentieth century. It investigates songlines, drama, opera, music theatre, dance, and circus-removing traditional boundaries that separate studies of performance, and celebrating difference and transformation in style, intention, and delivery. Well known, or obscure, travelling performers faced dangers at sea and hazardous journeys across land. Their tracks, made in pursuit of fortune and fame, intersected with those made by earlier storytellers in search for food. Touring Performance and Global Exchange takes a fresh look at such tracks-the material remains-demonstrating that moving performance does far more than transfer repertoires and people; it transforms them. Touring performance has too often beenconceived in diasporic terms, as a fixed product radiating out from a cultural centre. This collection maps different patterns-ones that comprise reversed flows, cross currents, and continually proliferating centres of meaning in complex networks of global exchange. This collection will be of great interest to scholars and students in theatre, music, drama studies, and cultural history.

"A woman once rang me up and said, 'Mr. Escher, I am absolutely crazy about your work. In your print Reptiles, you have given such a striking illustration of reincarnation.' I replied, 'Madame, if that's the way you see it, so be it.'" A fittingly sly comment from renowned Dutch graphic artist Maurits Cornelis Escher (1898-1972), whose complex and ambiguous drawings continue to leave hasty interpretations far behind. Long before the first computer-generated 3-D images, Escher was a master of the third dimension. His lithograph Magic Mirror dates as far back as 1946. By taking such a title for the book, mathematician Bruno Ernst stressed the enrapturing spell Escher's work invariably casts on those who see it. Ernst visited Escher every week for a year, systematically talking through his entire oeuvre with him. Their discussions resulted in a friendship that gave Ernst intimate access to the life and conceptual world of Escher. Ernst's account was meticulously scrutinized and made accurate by the artist himself. Escher's work refuses to be pigeonholed. Scientific, psychological, or aesthetic criteria alone cannot do it justice. The questions remain: Why did he create the pictures? How did he construct them? What preliminary studies were necessary before achieving the final version? And how are his various creations interrelated? This updated and redesigned edition of a true classic-complete with biographical data, 250 illustrations, and a thorough breaking-down of each mathematical problem-offers answers to these and many other lingering mysteries, and is an authentic source text of the first order.

First Published in 2002, Visual Words provides a unique and interdisciplinary evaluation of the relationship between images and words in this period.Victorian England witnessed a remarkable growth in literacy culminating in the new literary nationalism that emerged at the beginning of the twentieth century. Each chapter explores a different aspect of this relationship: the role of Dickens as the heroic author, the book as an iconic object, the growing graphic presence of the text, the role of the graphic trace, the 'Sister Arts/ pen and pencil' tradition, and the competition between image and word as systems of communication. Examining the impact of such diverse areas as advertising, graphic illustration, narrative painting, frontispiece portraits, bibliomania, and the merchandising of literary culture, Visual Words shows that the influence of the 'Sister Arts' tradition was more widespread and complex than has previously been considered. Whether discussing portraits of authors, the uses of iconography in Ford Madox Brown's painting Work, or examining why the British Library was equipped with false bookcases for doors, Gerard Curtis looks at artistic and literary culture from an art historical and 'object' perspective to gain a better understanding of why some Victorians called their culture 'hieroglyphic'.

Nineteenth-century Iran was an ocularcentered society predicated on visuality and what was seen and unseen, and photographs became liminal sites of desire that maneuvered "betwixt and between" various social spaces-public, private, seen, unseen, accessible, and forbidden-thus mapping, graphing, and even transgressing those spaces, especially in light of increasing modernization and global contact during the nineteenth and early twentieth centuries. Of primary interest is how photographs negotiated and coded gender, sexuality, and desire, becoming strategies of empowerment, of domination, of expression, and of being seen. Hence, the photograph became a vehicle to traverse multiple locations that various gendered physical bodies could not, and it was also the social and political relations that had preceded the photograph that determined those ideological spaces of (im)mobility. In identifying these notions in photographs, one may glean information about how modern Iran metamorphosed throughout its own long duree or resisted those societal transformations as a result of modernization.

Ernst Haeckel (1834-1919) was a German-born biologist, naturalist, evolutionist, artist, philosopher, and doctor who spent his life researching flora and fauna from the highest mountaintops to the deepest ocean. A vociferous supporter and developer of Darwin's theories of evolution, he denounced religious dogma, authored philosophical treatises, gained a doctorate in zoology, and coined scientific terms which have passed into common usage, including ecology, phylum, and stem cell. At the heart of Haeckel's colossal legacy was the motivation not only to discover but also to explain. To do this, he created hundreds of detailed drawings, watercolors, and sketches of his findings which he published in successive volumes, including several marine organism collections and the majestic Kunstformen der Natur (Art Forms in Nature), which could serve as the cornerstone of Haeckel's entire life project. Like a meticulous visual encyclopedia of living things, Haeckel's work was as remarkable for its graphic precision and meticulous shading as for its understanding of organic evolution. From bats to the box jellyfish, lizards to lichen, and spider legs to sea anemones, Haeckel emphasized the essential symmetries and order of nature, and found biological beauty in even the most unlikely of creatures. In this book, we celebrate the scientific, artistic, and environmental importance of Haeckel's work, with a collection of 300 of his finest prints from several of his most important tomes, including Die Radiolarien, Monographie der Medusen, Die Kalkschwamme, and Kunstformen der Natur. At a time when biodiversity is increasingly threatened by human activities, the book is at once a visual masterwork, an underwater exploration, and a vivid reminder of the precious variety of life. About the series TASCHEN is 40! Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible publishing, helping bookworms around the world curate their own library of art, anthropology, and aphrodisia at an unbeatable price. Today we celebrate 40 years of incredible books by staying true to our company credo. The 40 series presents new editions of some of the stars of our program-now more compact, friendly in price, and still realized with the same commitment to impeccable production.

Focusing on W.B. Yeats's ideal of mutual support between the arts, Karen Brown sheds new light on how collaborations and differences between members of the Yeats family circle contributed to the metamorphosis of the Irish Cultural Revival into Irish Modernism. Making use of primary materials and fresh archival evidence, Brown delves into a variety of media including embroidery, print, illustration, theatre, costume design, poetry, and painting. Tracing the artistic relationships and outcome of W.B. Yeats's vision through five case studies, Brown explores the poet's early engagement with artistic tradition, contributions to the Dun Emer and Cuala Industries, collaboration between W.B. Yeats and Norah McGuinness, analysis of Thomas MacGreevy's pictorial poetry, and a study of literary influence and debt between Jack Yeats and Samuel Beckett. Having undertaken extensive archival research relating to word and image studies, Brown considers her findings in historical context, with particular emphasis on questions of art and gender and art and national identity. Interdisciplinary, this volume is one of the first full-length studies of the fraternite des arts surrounding W.B. Yeats. It represents an important contribution to word and image studies and to debates surrounding Irish Cultural Revival and the formation of Irish Modernism.

Loving: A Photographic History of Men in Love, 1850-1950 portrays the history of romantic love between men in hundreds of moving and tender vernacular photographs taken between the years 1850 and 1950. This visual narrative of astonishing sensitivity brings to light an until-now-unpublished collection of hundreds of snapshots, portraits, and group photos taken in the most varied of contexts, both private and public. Taken when male partnerships were often illegal, the photos here were found at flea markets, in shoe boxes, family archives, old suitcases, and later online and at auctions. The collection now includes photos from all over the world: Australia, Bulgaria, Canada, Croatia, France, Germany, Japan, Greece, Latvia, the United States, the United Kingdom, Russia, and Serbia. The subjects were identified as couples by that unmistakable look in the eyes of two people in love - impossible to manufacture or hide. They were also recognised by body language - evidence as subtle as one hand barely grazing another - and by inscriptions, often coded. Included here are ambrotypes, daguerreotypes, glass negatives, tin types, cabinet cards, photo postcards, photo strips, photomatics, and snapshots - over 100 years of social history and the development of photography. Loving will be produced to the highest standards in illustrated book publishing, The photographs - many fragile from age or handling - have been digitised using a technology derived from that used on surveillance satellites and available in only five places around the world. Paper and other materials are among the best available. And Loving will be manufactured at one of the world's elite printers. Loving, the book, will be up to the measure of its message in every way. In these delight-filled pages, couples in love tell their own story for the first time at a time when joy and hope - indeed human connectivity - are crucial lifelines to our better selves. Universal in reach and overwhelming in impact, Loving speaks to our spirit and resilience, our capacity for bliss, and our longing for the shared truths of love.

Mary Crovatt Hambidge (1885-1973) was an aspiring actress and a professional whistler on Broadway when she met Canadian-born Jay Hambidge (1867-1924), an artist, illustrator, and scholar. Their relationship would prove to be both a romantic and an artistic partnership. Jay Hambidge formulated his own artistic concept, known as Dynamic Symmetry, which stipulated that the compositional rules found in nature's symmetry should be applied to the creation of art. Mary Hambidge pioneered new techniques of weaving and dyeing fabric that merged Greek methods with Appalachian weaving and spinning traditions. The Hambidge Center for Creative Arts and Sciences, formed during the mid-1930s, provides an artists' community situated on six hundred rural acres in the north Georgia mountains where hundreds of visual artists, writers, potters, composers, dancers, and other artists have pursued their crafts. Dynamic Design details Jay Hambidge and Mary Crovatt Hambidge's cross-cultural and cross-historical explorations and examines their lasting contributions to twentieth-century art and cultural history. Virginia Gardner Troy illustrates how Jay and Mary were important independently and collectively, providing a wider understanding of their lives within the larger context of late nineteenth- and early twentieth-century art and design. They were from two different worlds, nearly a generation apart in age, and only together for ten years, but their lives intertwined at a pivotal moment in their development. They shared parallel goals to establish a place where they could integrate the arts and crafts around the principles of Dynamic Symmetry. Troy explores how this dynamic duo's ideas and artistic expressions have resonated with admirers throughout the decades and reflect the trends and complexities of American culture through various waves of cosmopolitanism, utopianism, nationalism, and isolationism. The Hambidges' prolific partnership and forward-thinking vision continue to aid and inspire generations of aspiring artists and artisans.

Fanny Cornforth was a Victorian supermodel whose face epitomised the vision and life of the Pre-Raphaelite artist Dante Gabriel Rossetti. In their twenty-five years together, she played many parts from muse, medium and lover to housekeeper and nurse. Due to her care of the artist, he was able to create some of the best known and celebrated art works of the nineteenth century, however at his death Fanny became an outcast, accused of stealing, lying and even murder. Her journey from rural poverty to celebrated beauty gave her a life she could never have dreamed of, but her choice of love above security saw her end her days in an asylum. Her afterlife, in the imagination of those who knew her and those that followed saw her cast as a villainess; Rossetti's folly, an illiterate prostitute who could crack walnut shells in her teeth. It's finally time that the truth is separated from the swirl of lies and that the life of one of the most infamous women of Bohemian London is told, from canvas to asylum.

'To critics who said that the full-lipped so-called 'Beardsley mouth', which adorned many of his women, was 'inexpressive and ugly', the artist countered, 'Well, let them criticise. It's my mouth and not theirs. I like big mouths. People like the little mouth - the "Dolly Varden" mouth, if that describes it better. A big mouth is the sign of character and strength. Look at Ellen Terry with her great, strong mouth. In fact, I haven't any patience with small-mouthed people.' 'The popular idea of a picture is something told in oil or writ in water to be hung on a room's wall or in a picture gallery to perplex an artless public.' 'To my mind, there is nothing so depressing as a Gothic cathedral. I hate to have the sun shut out by the saints.' 'What a nice ample creature George Sand is: like a wonderful old cow with all her calves.' And other witty, urbane insights on life, art, and culture, illustrated with selected drawings from his Grotesques series.

During the Victorian period there developed a new anxiety about male-female relations and roles in modern society, as described by a member of the Athenaeum in 1858, 'the distinction of man and woman, their separate as well as their joint rights, begins to occupy the attention of our whole community, and with no small effect'. These essays examine Victorian painting in the light of this 'woman question' by analysing the change in representation of the family, romance, social issues such as emigration and colonialism, the use of the female nude and the traditions of portraiture, history-painting and still life. The art and artists are considered in a socio-political context, and the connections between Victorian sexism, racism and classism are examined. These essays bring to light much previously unknown work (especially by women) and reappraise many well-known paintings.

Blake's only wood engravings, made near the end of his life for a school edition of Virgil, are among his most lyrical and enduringly influential creations. This is their first publication as a stand-alone book, with the original text of Ambrose Philips' version of the first Eclogue of Virgil.