Elegant representations of nature and the four seasons populate a wide range of Japanese genres and media-from poetry and screen painting to tea ceremonies, flower arrangements, and annual observances. In Japan and the Culture of the Four Seasons, Haruo Shirane shows how, when, and why this practice developed and explicates the richly encoded social, religious, and political meanings of this imagery. Refuting the belief that this tradition reflects Japan's agrarian origins and supposedly mild climate, Shirane traces the establishment of seasonal topics to the poetry composed by the urban nobility in the eighth century. After becoming highly codified and influencing visual arts in the tenth and eleventh centuries, the seasonal topics and their cultural associations evolved and spread to other genres, eventually settling in the popular culture of the early modern period. Contrasted with the elegant images of nature derived from court poetry was the agrarian view of nature based on rural life. The two landscapes began to intersect in the medieval period, creating a complex, layered web of competing associations. Shirane discusses a wide array of representations of nature and the four seasons in many genres, originating in both the urban and rural perspective: textual (poetry, chronicles, tales), cultivated (gardens, flower arrangement), material (kimonos, screens), performative (noh, festivals), and gastronomic (tea ceremony, food rituals). He reveals how this kind of "secondary nature," which flourished in Japan's urban architecture and gardens, fostered and idealized a sense of harmony with the natural world just at the moment it was disappearing. Illuminating the deeper meaning behind Japanese aesthetics and artifacts, Shirane clarifies the use of natural images and seasonal topics and the changes in their cultural associations and function across history, genre, and community over more than a millennium. In this fascinating book, the four seasons are revealed to be as much a cultural construction as a reflection of the physical world.

Philadelphia on Stone is the first work in over fifty years to examine the history of nineteenth-century commercial lithography in Philadelphia. The capstone to the Library Company of Philadelphia's multifaceted Philadelphia on Stone project, this heavily illustrated volume of thematic essays provides an analysis of the social, economic, and technological changes in the local trade from 1828 to 1878; biographies of premier lithographers P. S. Duval and James Queen; and new insights about genres of lithographs pertaining to book illustration, advertising, sensational news, and landscape imagery.

Illustrated with more than 130 full-color images, the text will appeal to local historians, scholars of printing history, and those studying visual and popular culture, advertising, and economic history. The depicted advertisements, cityscape and bird's-eye views, disaster prints, and zoological illustrations document Philadelphia while showcasing the skilled work of the city's lithographers. Philadelphia on Stone highlights the finesse and allure of the lithographic process, which radically altered the visual landscape of Philadelphia and the country.

The late nineteenth century saw a re-examination of artistic creativity in response to questions surrounding the relation between human beings and automata. These questions arose from findings in the 'new psychology', physiological research that diminished the primacy of mind and viewed human action as neurological and systemic. Concentrating on British and continental culture from 1870 to 1911, this unique study explores ways in which the idea of automatism helped shape ballet, art photography, literature, and professional writing. Drawing on documents including novels and travel essays, Linda M. Austin finds a link between efforts to establish standards of artistic practice and challenges to the idea of human exceptionalism. Austin presents each artistic discipline as an example of the same process: creation that should be intended, but involving actions that evade mental control. This study considers how late nineteenth-century literature and arts tackled the scientific question, 'Are we automata?'

This is a guide to the Thyssen-Bornemisza Foundation of Villa Favorita in Lugano. The Foundation's collection includes masterpieces of 19th- and 20th-century American painting and European and Soviet Avantgardes. Works range from the Hudson River School (Bierstadt, Church, Cole) to the major American Expressionists (Hawthorne, Hassam, Wadsworth, Thomson), to the periods of Cubism (Leger), German Expressionism (Nolde, Schmidt-Rortluff, Schiele), the Russian avant-garde (Larionov, Malevich), the Dada and Surrealist movements (Man Ray, Ernst), up to Action Painting (Pollock) and Hyper-realism (Estes). This brief guidebook displays the new installation of the Foundation and features a section devoted to the sculpture and old master paintings belonging to this collection, as well as an essay on the history of the Villa Favorita and its gardens on the shores of Lake Lugano.

Few American artists have captured painters imaginations with the gripping force of Albert Pinkham Ryder (1847-1917). The brooding spirituality of his works, coupled with formal innovation decades ahead of its time, have long made Ryder a favorite of innovators like Jackson Pollock, Marsden Hartley, and Robert Rauschenberg. And yet, the artist s biography and practices remain elusive. A Wild Note of Longing whose title is taken from a Ryder poem--takes up the challenge, bringing a new generation of scholarship to the most comprehensive collection of Ryder masterworks assembled to date. Ryder is considered a seminal artist for both the late-nineteenth-century Gilded Age and for the emerging modernism of the early twentieth century. This publication presents research from the last ten years including William Agee s recent work on Ryder s influence and context within modernism. New evidence has also debunked some of the historical myths around Ryder, such as the degree of his elusiveness and social eccentricities and the lack of deliberateness with which he experimented with color and luminosity. New perspectives include a deep focus on Ryder from the perspective of his hometown of New Bedford, Massachusetts. This monumental project will represent multiple voices from leaders in the field on the continuing and ever evolving relevance of Albert Pinkham Ryder on modern art.

A fresh approach to nineteenth-century European painting; lusciously illustrated, it offers a comprehensive overview of the century's artistic innovation This extensive survey also includes biographies for each of the artists Nineteenth-Century European Painting: From Barbizon to Belle Epoque represents a comprehensive guide to the range of stylistically diverse genres of nineteenth-century European painting. Accessible and insightful, this exquisitely illustrated volume presents the historical context behind the century's essential artistic movements including Romantic Painting, The Pre-Raphaelite Brotherhood, Realist Painting, Academic Painting, and Impressionist Painting. Influenced by an overwhelming wave of political, military and social change, nineteenth-century Europe represented an era more diverse in painterly subjects and styles than any before it. Indeed, it was a period that saw many European painters moving away from the strictures of the academy system, choosing instead to use their training to develop new techniques and traditions. A collection of independent stories, this book also outlines the unique progression between the different movements, exciting and enlightening the reader about the most magnificent period of art the world has ever known. Contents: Foreword; Dr. Vern G. Swanson; Introduction; Author's Note; STYLES: The Barbizon School; Romantic Painting; Orientalist Painting; The Pre-Raphaelite Brotherhood; Realist Painting; Academic Painting; Impressionist Painting; The Newlyn School; Post-Impressionist Painting; SUBJECTS: Landscape Painting; Venetian View Painting; Maritime Painting; Sporting Painting; Animal Painting; Genre Painting; Cardinal Painting; Costume Painting; British Neoclassical Revival Painting; Belle Epoque Painting; Conclusion; Endnotes; Bibliography. Considered one of the world's foremost experts on 18th- and 19th-century European and American antiques, fine art and jewelry, Bill Rau has worked in his family-owned gallery, M.S Rau Antiques, for over 30 years. An avid collector and authority in his field, Bill has helped place several items in museums around the world. In addition to being a prominent member of many local business organizations, he was the youngest senior member ever accepted to the American Society of Appraisers. In addition to writing numerous articles published in a wide variety of national magazines and antique journals.

In Black Bodies, White Gold Anna Arabindan-Kesson uses cotton, a commodity central to the slave trade and colonialism, as a focus for new interpretations of the way art, commerce, and colonialism were intertwined in the nineteenth-century Atlantic world. In doing so, Arabindan-Kesson models an art historical approach that makes the histories of the Black diaspora central to nineteenth-century cultural production. She traces the emergence of a speculative vision that informs perceptions of Blackness in which artistic renderings of cotton-as both commodity and material-became inexorably tied to the monetary value of Black bodies. From the production and representation of "negro cloth"-the textile worn by enslaved plantation workers-to depictions of Black sharecroppers in photographs and paintings, Arabindan-Kesson demonstrates that visuality was the mechanism through which Blackness and cotton became equated as resources for extraction. In addition to interrogating the work of nineteenth-century artists, she engages with contemporary artists such as Hank Willis Thomas, Lubaina Himid, and Yinka Shonibare CBE RA, who contend with the commercial and imperial processes shaping constructions of Blackness and meanings of labor.

Could the self-interested pursuit of beauty actually help to establish the moral and political norms that enable democratic society to flourish? In this book, Lucy Hartley identifies a new language for speaking about beauty, which begins to be articulated from the 1830s in a climate of political reform and becomes linked to emerging ideals of equality, liberty, and individuality. Examining British art and art writing by Charles Lock Eastlake, John Ruskin, Walter Pater, Edward Poynter, William Morris, and John Addington Symonds, Hartley traces a debate about what it means to be interested in beauty and whether this preoccupation is necessary to public political life. Drawing together political history, art history, and theories of society, and supplemented by numerous illustrations, Democratising Beauty in Nineteenth-Century Britain offers a fresh interdisciplinary understanding of the relation of art to its publics.

Founded in the 1880s as a response to the art world's elitist obsession with painted and sculptural arts, 'New Art' quickly found ethusiastic support. Art Nouveau combined a desire for the complete reflection of art through craft and design, with the flowing lines of nature and Japonisme. It remains hugely popular, with the ever-present work of Mucha, Klimt, Toulouse-Lautrec and Mackintosh.

David Octavius Hill (1802-70) was a pioneer photographer, painter, and lithographer. In 1843, he entered into partnership with the young photographer Robert Adamson, and in the next four years they produced an extraordinary body of original and inventive work. This book analyzes the photographic partnership, explains its remarkable success, and places it in the context of Hill's life and times. Published for the Paul Mellon Centre for Studies in British Art

Original compilation of 41 full-page and six half-page drawings-some finished sketches; others, studies for future works-depict dancers on stage, in the classroom, and at rehearsals. Charming, spirited views of dancers pirouetting, executing grand battements and ports de bras, practicing at the barre, adjusting their costumes in moments of repose, and more. Delightful drawings to be enjoyed by lovers of art or the dance.

A landmark retrospective that examines William Merritt Chase and his lasting contribution to the history of modern art The history of modern art owes a great debt to William Merritt Chase (1849-1916), one of America's influential artists and educators. Chase was a leading member of the international artistic avant-garde and was best known for his mastery of a wide range of subjects in oil and pastel, including figures, landscapes, urban park scenes, interiors, and portraits. As a teacher and founder of the Shinnecock Summer School of Art and the New York School of Art, Chase mentored a new generation of modernists, including Edward Hopper, Georgia O'Keeffe, and Joseph Stella. A century after his death, the breadth and richness of Chase's career are celebrated in this beautifully illustrated publication. Five essays by prominent scholars of American art offer new insights into Chase's multi-faceted artistic practice and his position in the international cultural climate at the turn of the 20th century. Published in association with The Phillips Collection Exhibition Schedule: The Phillips Collection, Washington, D.C. (06/04/16-09/11/16) Museum of Fine Arts, Boston (10/09/16-01/16/17) Ca'Pesaro-Galleria Internazionale d'Arte Moderna, Venice (02/11/17-05/28/17)

Two Literary Critics Romancing the Archive at London's National Portrait Gallery. Part biography, part detective novel, part love story, and part meditation on archival research, Love Among the Archives is an experiment in writing a life. This is the story of two literary critics' attempts to track down Sir George Scharf, the founding director of the National Portrait Gallery in London, famous in his day and strangely obscure in our own. After discovering Scharf's scrapbook of menus and invitations from England's most stately homes, the authors began their adventures in the archives of London, searching Scharf's diaries, sketchbooks, and letters for traces of the man who so loved dining out. Addicted to Victorian novels, the authors looked for a marriage plot, but found Scharf's passionate attachment to a younger man who had hidden from him a secret engagement; they looked for a Bildungsroman, but found that Scharf never left his beloved mother. Always short of money, self-educated, talented, irascible, gregarious, prolific, and snobbish, this son of a poor immigrant artist was to become the right-hand man of an earl he called "my best friend." The written record of his nightmares, debts, gifts, and dinner parties comes together to produce a rich Victorian character whose personal and professional lives challenge what we think we know about sex, class, and profession in his time. Helena Michie is Agnes Cullen Arnold Professor in Humanities and Professor of English at Rice University. She is the author of Victorian Honeymoons: Journeys to the Conjugal (2006), Sororophobia: Differences Among Women in Literature and Culture (1991) and The Flesh Made Word: Female Figures and Women's Bodies (1987) and co-editor with Ronald Thomas of Nineteenth-Century Geographies: From the Victorian Age to the American Century (2002). Robyn Warhol is Arts and Humanities Distinguished Professor of English at the Ohio State University, where she is a core faculty member of Project Narrative. She is the author of Having a Good Cry: Effeminate Feelings and Pop Culture Forms (2003) and Gendered Interventions: Narrative Discourse in the Victorian Novel (1989) and co-editor with Susan S. Lanser of Narrative Theory Unbound: Queer and Feminist Interventions (2015).

The political and social turmoil of the twentieth century took Magda Nachman from a privileged childhood in St. Petersburg at the close of the nineteenth century, artistic studies with Leon Bakst and Kuzma Petrov-Vodkin at the Zvantseva Art Academy, and participation in the dynamic symbolist/modernist artistic ferment in pre-Revolutionary Russia to a refugee existence in the Russian countryside during the Russian Civil War followed by marriage to a prominent Indian nationalist, then with her husband to the hardships of emigre Berlin in the 1920s and 1930s, and finally to Bombay, where she established herself as an important artist and a mentor to a new generation of modern Indian artists.

Comprehensive compilation of elegant, imaginative two-letter monograms-ideal for enhancing scrolls, certificates, awards and other graphic projects in need of calligraphic excitement. Easily reproduced, copyright-free letters are also perfect for use in art, needlework, crafts and other decorative projects.

A rich vein of the artist's mature work, depicting the foundations of landscape and place From the mid-1860s until shortly before his death, Paul Cezanne (1839-1906) created 27 canvases that take rock formations as their principal subjects. This is the first publication to focus exclusively on these extraordinary works. It illustrates all of Cezanne's mature paintings of rock formations, including scenes of the terrain of the forest of Fontainebleau, the Mediterranean coastal village of L'Estaque, and the area around Aix-en-Provence, alongside examples of his watercolors of these subjects. An introductory essay by John Elderfield assesses these paintings in terms of their character, development, and relationship to Cezanne's other works; their critical interpretations; and their geological and corporeal associations. Faya Causey's essay examines the Provencal context of Cezanne's rock and quarry paintings, as well as the status of geology in France during the second half of the 19th century. The catalogue section, introduced by Anna Swinbourne, chronicles the sites, presenting details of where specifically the paintings were made and of the features that they represent, together with technical aspects of particular works. Distributed for the Princeton University Art Museum Exhibition Schedule: Princeton University Art Museum

Exploring the relationship between visual art and literature in the Romantic period, this book makes a claim for a sister-arts 'moment' when the relationship between painting, sculpture, pottery and poetry held special potential for visual artists, engravers and artisans. Elaborating these cultural tensions and associations through a number of case studies, Thora Brylowe sheds light on often untold narratives of English labouring craftsmen and artists as they translated the literary into the visual. Brylowe investigates examples from across the visual spectrum including artefacts, such as Wedgwood's Portland Vase, antiquarianism through the work of William Blake, the career of engraver John Landseer, and the growing influence of libraries and galleries in the period, particularly Boydell's Shakespeare Gallery. Brylowe artfully traces the shifting cultural connections between the imaginative word and the image in a period that saw new print technologies deluge Britain with its first mass media.

Elegant representations of nature and the four seasons populate a wide range of Japanese genres and media -- from poetry and screen painting to tea ceremonies, flower arrangements, and annual observances. In Japan and the "Culture of the Four Seasons," Haruo Shirane shows how, when, and why this practice developed and explicates the richly encoded social, religious, and political meanings of this imagery.

Refuting the belief that this tradition reflects Japan's agrarian origins and supposedly mild climate, Shirane traces the establishment of seasonal topics to the poetry composed by the urban nobility in the eighth century. After becoming highly codified and influencing visual arts in the tenth and eleventh centuries, the seasonal topics and their cultural associations evolved and spread to other genres, eventually settling in the popular culture of the early modern period. Contrasted with the elegant images of nature derived from court poetry was the agrarian view of nature based on rural life. The two landscapes began to intersect in the medieval period, creating a complex, layered web of competing associations. Shirane discusses a wide array of representations of nature and the four seasons in many genres, originating in both the urban and rural perspective: textual (poetry, chronicles, tales), cultivated (gardens, flower arrangement), material (kimonos, screens), performative (noh, festivals), and gastronomic (tea ceremony, food rituals). He reveals how this kind of "secondary nature," which flourished in Japan's urban architecture and gardens, fostered and idealized a sense of harmony with the natural world just at the moment it was disappearing.

Illuminating the deeper meaning behind Japanese aesthetics and artifacts, Shirane clarifies the use of natural images and seasonal topics and the changes in their cultural associations and function across history, genre, and community over more than a millennium. In this fascinating book, the four seasons are revealed to be as much a cultural construction as a reflection of the physical world.

"This year, the Fondation Vuitton strikes again with an exhibition of the Morozov Collection, about 200 French and Russian works bought by two other textile magnates, the brothers Mikhail and Ivan Morozov, who also made multiple Paris shopping trips" - New York Times The Morozov brothers, wealthy Moscow textile merchants Mikhail (1870-1903) and Ivan (1871-1921), played a key role in bringing Impressionist and Post-Impressionist art to Russia in the first decades of the 20th century. Along with Sergei Shchukin, a fellow industrialist and art collector, they created an international audience for French art and had a transformative effect on Russian cultural life. Between the years 1903 and 1914, Ivan Morozov spent more money than any other collector of his time, amassing a stunning collection of works by Matisse, Monet, Picasso, Bonnard, Sisley, Renoir, Signac, Vuillard, Gauguin, Van Gogh, Degas, Pissarro, and, most especially, Cezanne (17 paintings, all of which will be on display). On his bi-annual trips to Paris, he bought from the most discerning dealers, including Paul Durand-Ruel, Ambroise Vollard, and Daniel-Henri Kahnweiler, as well as directly from the artists themselves. His collection comprises 278 paintings, not including 300 paintings by Russian artists (Chagall, Malevich, Serov, Vrubel, Levitan, Larionov, Goncharova) and 28 sculptures. The Morozov collection was nationalised after the October 1917 Revolution, and after World War II it was divided among the Hermitage Museum, the Pushkin State Museum of Fine Arts, and the Tretyakov State Museum. This stunning catalogue has been published for a show of 100 highlights from the Morozov Collection that will run from 22 September 2021 - 22 February 2022 at the Louis Vuitton Foundation in Paris. It is the first time that works from the collection will travel abroad since they were acquired. This landmark exhibition will be the only stop for the show outside of Russia.

"Art is not what you see, but what you make others see." Edgar Degas Covering every era and over 650 artists, this comprehensive, illustrated guide offers an accessible yet expansive view of art history, featuring everything from iconic works and lesser-known gems to techniques and themes. Offering a comprehensive overview of Western artists, themes, paintings, techniques, and stories, Art: A Visual History is packed full of large, full-colour images of iconic works and lesser-known gems. Exploring every era, from 30,000BCE to the present, it includes features on the major schools and movements, as well as close-up critical appraisals of 22 masterpieces - from Botticelli's Primavera to J. M. W. Turner's The Fighting Temeraire. With detailed referencing, crisp reproductions and a fresh design, this beautiful book is a must-have for anyone with an interest in art history - from first-time gallery goers to knowledgeable art enthusiasts. What makes great art? Discover the answer now, with Art: A Visual History.

Germany developed a large colonial empire over the last thirty years of the 19th century, spanning regions of the west coast of Africa to its east coast and beyond. Largely forgotten for many years, recent intense debates about Africa's cultural heritage in European museums have brought this period of African and German history back into the spotlight. German Colonialism in Africa and its Legacies brings much-needed context to these debates, exploring perspectives on the architecture, art, urbanism, and visual culture of German colonialism in Africa, and its legacies in postcolonial and present-day Namibia, Cameroon, and Germany. The first in-depth exploration of the designed and visual aspects of German colonialism, the book presents a series of essays combining formal analyses of painting, photography, performance art, buildings, and space with the discourse analysis approach associated with postcolonial theory. Covering the entire period from the build-up to colonialism in the early-19th century to the present, subjects covered range from late-19th-century German colonial paintings of African landscapes and people to German land appropriation through planning and architectural mechanisms, and from indigenous African responses to colonial architecture, to explorations of the legacies of German colonialism by contemporary artists today. This powerful and revealing collection of essays will encourage new research on this under-explored topic, and demonstrate the importance of historical research to the present, especially with regards to ongoing debates about the presence of material legacies of colonialism in Western culture, museum collections, and immigration policies.

In Odd Man Out, Carol Armstrong offers an important study of Edgar Degas's work and reputation. Armstrong grapples with contradictory portrayals of Degas as "odd man out" within the modernist canon: he was a realist whom realists rejected; a storyteller in pictures who did not satisfy novelist-critics; a painter of modern life who was not a modernist; a member of the impressionist group who was no impressionist. Armstrong confronts these and other paradoxes by analyzing the critical vocabularies used to describe Degas's work. By reading several groups of the artist's images through the lens of a sequence of critical texts, Armstrong shows how our critical and popular expectations of Degas are overturned and subverted.
This is a reprint of the book first published by the University of Chicago Press in 1991.

Within a few years of the invention of the first commercially successful photography process in 1839, American slaveholders had already begun commissioning photographic portraits of their slaves. Ex-slaves-turned-abolitionists such as Frederick Douglass also came to see how sitting for a portrait could help them project humanity and dignity amidst northern racism. In the first decade of the medium, enslaved people had begun entering southern daguerreotype saloons of their own volition, posing for cameras, and leaving with visual treasures they could keep in their pockets. And, as the Civil War raged, Union soldiers would orchestrate pictures with fugitive slaves that envisioned racial hierarchy as slavery fell. In these ways and others, from the earliest days of the medium to the first moments of emancipation, photography powerfully influenced how bondage and freedom were documented, imagined, and contested. By 1865, it would be difficult for many Americans to look back upon slavery and its fall without thinking of a photograph. This book explores how photography altered, and was in turn shaped by, conflicts over bondage. Drawing upon an original source base that includes hundreds of unpublished and little-studied photographs of slaves, ex-slaves, and abolitionists as well as written archival materials, it puts visual culture at the center of understanding the experience of late slavery. It assesses how photography helped southerners to defend slavery, slaves to shape their social ties, abolitionists to strengthen their movement, and soldiers to imagine and pictorially enact an interracial society during the Civil War. With diverse goals, these peoples transformed photography from a scientific curiosity (in the early 1840s) into a political tool (by the 1860s). While this project sheds new light on conflicts over late American slavery, it also reveals a key moment in the much broader historical relationship between modern visual culture and racialized forms of power and resistance.

The Swiss-born artist Albert von Keller (1844-1920) was a founding member of the Munich Secession, one of Europe's most influential artists' associations. Highly regarded as an artist in both Europe and America at the turn of the last century, Keller was a flamboyant figure known for his fascination with the occult.

Jo-Anne Birnie Danzker places Keller's modern treatment of enigmatic subjects within the cultural mileau of "fin de siecle" Germany, particularly the investigation of the occult undertaken by scientists, artists andintellectuals. She also documents for the first time the critical reception to Keller's work in America, tracing the artist's participation in exhibitions in Boston, Chicago, Indianapolis, New york, and Saint Louis and his presence in important private collections of German art in America. Swiss art historian Gian Casper Bott examines each painting by Keller in depth and places the artist's works in the art-historical context of the era. The book includes magnificent color reproductions of Keller's paintings from the collection of the Kunsthaus Zurich. It includes key works by Keller from the late 1870s to the beginning of the First World War, a period that coincided with the scandal of his elopement with the beautiful banker's daughter Irene von Eichthal, the tragic death of his only child, and the death of his wife only months later in a state of profound grief.