Art historian Henry M. Sayre traces the origins of the term "value" in art criticism, revealing the politics that define Manet's art. How did art critics come to speak of light and dark as, respectively, "high in value" and "low in value"? Henry M. Sayre traces the origin of this usage to one of art history's most famous and racially charged paintings, Edouard Manet's Olympia. Art critics once described light and dark in painting in terms of musical metaphor-higher and lower tones, notes, and scales. Sayre shows that it was Emile Zola who introduced the new "law of values" in an 1867 essay on Manet. Unpacking the intricate contexts of Zola's essay and of several related paintings by Manet, Sayre argues that Zola's usage of value was intentionally double coded-an economic metaphor for the political economy of slavery. In Manet's painting, Olympia and her maid represent objects of exchange, a commentary on the French Empire's complicity in the ongoing slave trade in the Americas. Expertly researched and argued, this bold study reveals the extraordinary weight of history and politics that Manet's painting bears. Locating the presence of slavery at modernism's roots, Value in Art is a surprising and necessary intervention in our understanding of art history.

Rich selection of 170 boldly executed black-and-white illustrations ranging from illustrations for Laclos' Les Liaisons Dangereuses and Balzac's La Comedie Humaine to magazine cover designs, book plates, title-page ornaments for books, silhouettes and delightful mini-portraits of major composers.

The art academy failed to recognise his talent; he rejected the contemporary art scene in Vienna; and his visionary work was largely neglected during his lifetime: the painter Richard Gerstl (1883-1908), whose creative period lasted for just four intensive years, is regarded today as one of the most important representatives of Austrian Expressionism for his portraits and landscapes. With his early pictures Self-Portrait against a Blue Background and The Sisters Karoline and Pauline Frey Richard Gerstl began to create an oeuvre which was well ahead of his times and which made him one of the pioneers of Abstract Expressionism. In 1906 Gerstl met the musician Arnold Schoenberg. He embarked upon an affair with the latter's wife Mathilde, who briefly left her husband but then returned to him in 1908. Gerstl not only lost his lover but was also socially isolated; he committed suicide during that same year. His work sank into oblivion

Philip Webb was a British architect known as a founder of the Arts and Crafts movement and also a key member of the Pre-Raphaelite circle. He had a long association with William Morris and was responsible for the design of the hugely influential Red House, Morris's first home. Webb's letters will be of interest to art and architecture historians.

Giovanni Segantini's (1858-99) three paintings La Vita-La Natura-La Morte (Becoming-Being-Passing) of 1898/99 do not reveal at first glance anything about their equally complex and interesting background. Originally planned for the 1900 Paris Exposition of 1900 as a gigantic, multimedia "Alpine symphony" panorama 722 ft long and 66 ft high, Segantini was forced to reduce his work to three purely pictorial main paintings, owing to a lack of financial means. When he died in 1899, whilst still working on it, he left behind an incomplete triptych that was intended to embody "the spirit of nature, of life, and of death." In this book, Swiss art historian and Segantini-expert Juerg Albrecht traces this monumental landmark piece in the artist's oeuvre as one of the last programmatic works of fin de siecle art. Apart from its genesis, the book explains, as well the cycle of life and death that the three paintings visualise, whose origins Segantini sought both privately and creatively in the mountains of the upper Engadine valley during his lifetime. Text in English and German.

Japonisme, the 19th-century fascination for Japanese art, has generated an enormous body of scholarship since the beginning of the 21st-first century, but most of it neglects the women who acquired objects from the Far East and sold them to clients or displayed them in their homes before bequeathing them to museums. The stories of women shopkeepers, collectors, and artists rarely appear in memoirs left by those associated with the japoniste movement. This volume brings to light the culturally important, yet largely forgotten activities of women such as Clemence d'Ennery (1823-98), who began collecting Japanese and Chinese chimeras in the 1840s, built and decorated a house for them in the 1870s, and bequeathed the "Musee d'Ennery" to the state as a free public museum in 1893. A friend of the Goncourt brothers and a 50-year patron of Parisian dealers of Asian art, d'Ennery's struggles to gain recognition as a collector and curator serve as a lens through which to examine the collecting and display practices of other women of her day. Travelers to Japan such as the Duchesse de Persigny, Isabella Stewart Gardner, and Laure Durand-Fardel returned with souvenirs that they shared with friends and family. Salon hostesses including Juliette Adam, Louise Cahen d'Anvers, Princesse Mathilde, and Marguerite Charpentier provided venues for the discussion and examination of Japanese art objects, as did well-known art dealers Madame Desoye, Madame Malinet, Madame Hatty, and Madame Langweil. Writers, actresses, and artists-Judith Gautier, Therese Bentzon, Sarah Bernhardt, and Mary Cassatt, to name just a few- took inspiration from the Japanese material in circulation to create their own unique works of art. Largely absent from the history of Japonisme, these women-and many others-actively collected Japanese art, interacted with auction houses and art dealers, and formed collections now at the heart of museums such as the Louvre, the Musee Guimet, the Musee Cernuschi, the Musee Unterlinden, and the Metropolitan Museum of Art.

The Great age of ocean travel has long since passed, but ocean liners remain one of the most powerful and admired symbols of modernity. No form of transport was as romantic, remarkable, or contested, and ocean liner design became a matter of national prestige as well as an arena in which the larger dynamics of global competition were played out. This beautifully illustrated book considers over a century of liner design: from the striking graphics created to promote liners to the triumphs of engineering, and from luxurious interiors to on board fashion and activities. Ocean Liners explores the design of Victorian and Art Deco 'floating palaces', sleek post-war liners as well as these ships' impact on avant-garde artists and architects such as Le Corbusier.

The wood engravers' self-portrait tells the story of the image-making firm Dalziel Brothers, investigating and interpreting a unique archive from the British Museum. The study takes a creative-critical approach to illustration, alongside detailed investigation of print techniques and history. Five siblings ran the wood engraving firm Dalziel Brothers: George, Edward, Margaret, John and Thomas Dalziel. Prospering through five decades of work, Dalziel became the major capitalist image makers of Victorian Britain. This book, based on AHRC-funded research, outlines the achievements of these remarkable siblings and uncovers the histories of some of the 36 unknown artisan employees that worked alongside them. Dalziel Brothers made works of global importance: illustrations to Lewis Carroll's Alice books, novels by Charles Dickens, and landmark Pre-Raphaelite prints, as well as other, brilliant works that are published here for the first time since their initial creation. -- .

Black Milk is the first in-depth analysis of the visual archives that effloresced around slavery in Brazil and North America in the eighteenth and nineteenth centuries. In its latter stages the book also explores the ways in which the museum cultures of North America and Brazil have constructed slavery over the last hundred years. These institutional legacies emerge as startlingly different from each other at almost every level.
Working through comparative close readings of a myriad art objects - including prints, photographs, oil paintings, watercolours, sculptures, ceramics, and a host of ephemera -- Black Milk celebrates just how radically alternative Brazilian artistic responses to Atlantic slavery were. Despite its longevity and vastness, Brazilian slavery as a cultural phenomenon has remained hugely neglected, in both academic and popular studies, particularly when compared to North American slavery. Consequently much of Black Milk is devoted to uncovering, celebrating, and explaining the hidden treasury of visual material generated by artists working in Brazil when they came to record and imaginatively reconstruct their slave inheritance. There are painters of genius (most significantly Jean Baptiste Debret), printmakers (discussion is focused on Angelo Agostini the "Brazilian Daumier") and some of the greatest photographers of the nineteenth century, led by Augusto Stahl. The radical alterity of the Brazilian materials is revealed by comparing them at every stage with a series of related but fascinatingly and often shockingly dissimilar North American works of art. Black Milk is a mold-breaking study, a bold comparative analysis of the visual arts and archives generated by slavery within the two biggest and most important slave holding nations of the Atlantic Diaspora.

Biography of three artists closely associated with the Pre-Raphaelites whose letters give a vivid insight into the dramas of their personal life. Joanna, George and Henry tells the story of the intertwined lives of three young artists in the 1850s. When the transcript of the material on which this group portrait is based came to light ten years ago, no one could haveimagined the drama within. They were family letters: letters from a young woman to her brother and later to her suitor - of interest chiefly because all three were painters, and all were active participants in the youthful Pre-Raphaelite revolution that swept England in the 1850s. They turned out to be a revelation - giving not only a comprehensive picture of what it was like to be an artist in the mid-19th century, but containing within them a powerful family drama and a most unusual love story. It is a love story, moreover, told largely from a woman's point of view. Joanna Boyce's dedication to her art was absolute: she studied in Paris under Thomas Couture and had her first painting exhibited at the Academy when she was only 24. She was headstrong, self-critical, opinionated and teasing - "an artist with her pen as well as her brush". She died tragically young. Between them, Joanna, her brother George and suitor Henry Wells knew all the artistic luminaries of the day, among them Ruskin, Millais and Rossetti (with whom George shared a great deal, including mistresses). They wrote to each other not just about art, butabout their friends, their favourite books, their travels, their illnesses, their passions and their quarrels. In this book, they tell their story in their own vivid words - a story which portrays the age in which they lived andthe powerful drama of their emotional and professional lives.

Claude Monet (French, 1840-1926) was one of the best-known and most influential painters of the seminal Modern art movement, Impressionism, which sought to capture the fleeting moments in nature and the subtle passage of time with flickering light effects and hurried brush strokes of soft color on canvas. This Mini Sticky Book is a portable hardcover containing a full-colour sticky notepad for easy note and list-taking at home or on the road. durable, pocket-sized, hardcover book cardstock and fabric inside pocket for business cards, cash, receipts, stamps, etc. 130 full-colour illustrated note sheets book measures 89 x 127mm. We choose the best images from well-known classic and contemporary fine artists, plus talented emerging illustrators and designers from around the globe.

Across almost 50 years, Winston Churchill produced more than 500 paintings. His subjects included his family homes at Blenheim and Chartwell, evocative coastal scenes on the French Riviera, and many sun-drenched depictions of Marrakesh in Morocco, as well as still life pictures and an extraordinarily revealing self-portrait, painted during a particularly troubled time in his life. In war and peace, Churchill came to enjoy painting as his primary means of relaxation from the strain of public affairs.

In his introduction to Churchill: The Statesman as Artist, David Cannadine provides the most important account yet of Churchill's life in art, which was not just a private hobby, but also, from 1945 onwards, an essential element of his public fame. The first part of this book brings together for the first time all of Churchill's writings and speeches on art, not only Painting as a Pastime, but his addresses to the Royal Academy, his reviews of two of the Academy's summer exhibitions, and an important speech he delivered about art and freedom in 1937.

The second part of the book provides previously uncollected critical accounts of his work by some of Churchill's contemporaries: Augustus John's hitherto unpublished introduction to the Royal Academy exhibition of Churchill's paintings in 1959, and essays and reviews by Churchill s acquaintances Sir John Rothenstein, Professor Thomas Bodkin and the art critic Eric Newton. The book is lavishly illustrated with reproductions of many of Churchill's paintings, some of them appearing for the first time. Here is Churchill the artist more fully revealed than ever before.

Using the tools of the "new" art history (feminism, Marxism, social context, etc.) An Introduction to Nineteenth-Century Art offers a richly textured, yet clear and logical, introduction to nineteenth-century art and culture. This textbook will provide readers with a basic historical framework of the period and the critical tools for interpreting and situating new and unfamiliar works of art.

Michelle Facos goes beyond existing histories of nineteenth-century art, which often focus solely on France, Britain, and the United States, to incorporate artists and artworks from Scandinavia, Germany, and Eastern Europe.

The book expertly balances its coverage of trends and individual artworks: where the salient trends are clear, trend-setting works are highlighted, and the complexity of the period is respected by situating all works in their proper social and historical context. In this way, the student reader achieves a more nuanced understanding of the way in which the story of nineteenth-century art is the story of the ways in which artists and society grappled with the problem of modernity.

Key pedagogical features include:

• Data boxes provide statistics, timelines, charts, and historical information about the period to further situate artworks.
• Text boxes highlight extracts from original sources, citing the ideas of artists and their contemporaries, including historians, philosophers, critics, and theorists, to place artists and works in the broader context of aesthetic, cultural, intellectual, social, and political conditions in which artists were working.
• Beautifully illustrated with over 250 color images.
• Margin notes and glossary definitions.
• Online resources at www.routledge.com/textbooks/facos with access to a wealth of information, including original documents pertaining to artworks discussed in the textbook, contemporary criticism, timelines and maps to enrich your understanding of the period and allow for further comparison and exploration.

Chapters take a thematic approach combined within an overarching chronology and more detailed discussions of individual works are always put in the context of the broader social picture, thus providing students with a sense of art history as a controversial and alive arena of study.

Michelle Facos teaches art history at Indiana University, Bloomington. Her research explores the changing relationship between artists and society since the Enlightenment and issues of identity. Prior publications include Nationalism and the Nordic Imagination: Swedish Painting of the 1890s (1998), Art, Culture and National Identity in Fin-de-Siecle Europe, co-edited with Sharon Hirsh (2003), and Symbolist Art in Context (2009).

Art Nouveau presents a new overview of the international Art Nouveau movement. Art Nouveau represented the search for a new style for a new age, a sense that the conditions of modernity called for fundamentally new means of expression. Art Nouveau emerged in a world transformed by industrialisation, urbanisation and increasingly rapid means of transnational exchange, bringing about new ways of living, working and creating. This book is structured around key themes for understanding the contexts behind Art Nouveau, including new materials and technologies, colonialism and imperialism, the rise of the 'modern woman', the rise of the professional designer and the role of the patron-collector. It also explores the new ideas that inspired Art Nouveau: nature and the natural sciences, world arts and world religions, psychology and new visions for the modern self. Ashby explores the movement through 41 case studies of artists and designers, buildings, interiors, paintings, graphic arts, glass, ceramics and jewellery, drawn from a wide range of countries.

At the turn of the 20th century, Art Nouveau design blossomed with undulating patterns of luxurious swirls, curves, and highly stylized images. This collection of 203 Vector-based illustrations beautifully captures the period in an amazing assortment of functional forms. Includes a gallery of design ideas and a complete tutorial section.

Available for the first time in paperback, Robert O’Byrne’s landmark biography of Hugh Lane remains the essential work on this enigmatic art dealer and patron. From his birth in Cork in 1875, to London, South Africa and Dublin, Hugh Lane is primarily remembered for establishing Dublin’s Municipal Gallery of Modern Art, the first known public gallery of modern art in the world. He never married and, though rumoured to have been homosexual, never had a documented relationship with a man. He was also a person of great social energy who befriended and sometimes crossed swords with the leading cultural figures of his day: Yeats, Gregory, Orpen, Augustus John, Rodin, Beerbohm, and many others. Robert O’Byrne writes with clarity and insight about a man who, since his untimely death on R.M.S. Lusitania in 1915, has been something of a mystery.

Celebrates one of the giants of French Impressionism with luxurious, large-format images Pierre-Auguste Renoir (1841-1919) was one of the founders of Impressionism and a friend of Monet, Pissarro and Sisley. He worked side-by-side with Monet on the banks of the Seine, sharing his concern with light and colour, but landscape painting never displaced his enduring love of figure painting. Delighting in the ample curves of the nudes he painted increasingly frequently in his later years, Renoir was also a master at capturing the spirit of Parisian life. His art is filled with optimism - his lifelong philosophy was that he painted because it gave him pleasure, and he shares that pleasure with those who see his work. It is almost always summer in his pictures, and in paintings like Moulin de la Galette, The Dance at Bougival and The Luncheon of the Boating Party he gives us an enduring record of contemporaries relaxing and enjoying their leisure.

Demonstrates, through an investigation of material culture, the complexity of the relationship between rulers and ruled in early nineteenth-century British India. This book explores ambivalence in the domestic building activities of a group of East India Company officials in Delhi in the fifty years following British occupation in 1803. Arguing that houses, their location and their contentsdirectly or subliminally reveal the values and beliefs of the individuals who commissioned and lived in them, it uses houses to examine the changing ways the British manipulated power, both relating to and resisting the pre-existing spatial layout of the city. The re-use of palaces and of monumental religious structures as dwellings, as well as new houses that appeared formally classical but concealed adaptations to local ways of living, show that despitean apparent desire to maintain cultural separation, there was both complexity and contradiction in the interrelationship of the British authority and the failing Mughal polity. The book also shows how room sequencing and functiondemonstrate a lack of rigid distinction between the official and individual roles played by Company officials. Household objects have multiple meanings depending on their use and context. As the taste and choices made in these houses were primarily those of men, the book also contributes to our understanding of competing models of manhood in British India. SYLVIA SHORTO, an independent scholar, was Associate Professor in the Department of Architecture and Design at the American University of Beirut until the end of 2017. She writes on architecture as material culture in colonial contexts, crossing scales from urban environments to individual objects contained in domesticsettings.

Isobel Armstrong's startlingly original and beautifully illustrated book tells the stories that spring from the mass-production of glass in nineteenth-century England. Moving across technology, industry, local history, architecture, literature, print culture, the visual arts, optics, and philosophy, it will transform our understanding of the Victorian period.
The mass production of glass in the nineteenth century transformed an ancient material into a modern one, at the same time transforming the environment and the nineteenth-century imagination. It created a new glass culture hitherto inconceivable. Glass culture constituted Victorian modernity. It was made from infinite variations of the prefabricated glass panel, and the lens. The mirror and the window became its formative elements, both the texts and constituents of glass culture. The glassworlds of the century are heterogeneous. They manifest themselves in the technologies of the factory furnace, in the myths of Cinderella and her glass slipper circulated in print media, in the ideologies of the conservatory as building type, in the fantasia of the shopfront, in the production of chandeliers, in the Crystal Palace, and the lens-made images of the magic lantern and microscope. But they were nevertheless governed by two inescapable conditions.
First, to look through glass was to look through the residues of the breath of an unknown artisan, because glass was mass produced by incorporating glassblowing into the division of labour. Second, literally a new medium, glass brought the ambiguity of transparency and the problems of mediation into the everyday. It intervened between seer and seen, incorporating a modernphilosophical problem into bodily experience. Thus for poets and novelists glass took on material and ontological, political, and aesthetic meanings.
Reading glass forwards into Bauhaus modernism, Walter Benjamin overlooked an early phase of glass culture where the languages of glass are different. The book charts this phase in three parts. Factory archives, trade union records, and periodicals document the individual manufacturers and artisans who founded glass culture, the industrial tourists who described it, and the systematic politics of window-breaking. Part Two, culminating in glass under glass at the Crystal Palace, reads the glassing of the environment, including the mirror, the window, and controversy round the conservatory, and their inscription in poems and novels. Part Three explores the lens, from optical toys to 'philosophical' instruments as the telescope and microscope were known.
A meditation on its history and phenomenology, Victorian Glassworlds is a poetics of glass for nineteenth-century modernity.

Bibliophiles in Europe at the end of the nineteenth century began to take a serious interest in the manuscripts of the Middle East and the paper on which they were written. Perhaps the most important of these men were C.-M. Briquet working in Geneva, and J. Wiesner and J. von Karabacek working in Vienna. All three were concerned with the burning topic of the moment: Was oriental paper made of cotton? Within the space of two years these three writers published seminal articles for the European study of Arab paper. Das Arabische Papier is one of those articles. The late Don Baker's inspiration to set about the translation and interpretation of this work was 'simply the desire to know the contents of this much quoted article'. Students, historians, curators, collectors, conservators and all those interested in the historical development and spread of papermaking will realise why Don Baker wished to make this important text available to English readers. This Archetype edition is a revised edition of the volume, which Don Baker produced in 1991.