Latin Blackness in Parisian Visual Culture, 1852-1932 examines an understudied visual language used to portray Latin Americans in mid-19th to early 20th-century Parisian popular visual media. It charts how the term "Latinize" was introduced to connect France’s early 19th-century endeavors to create Latin America—an expansion of the French empire into the Latin-language speaking Spanish and Portuguese Americas—to its perception of the people who lived there. Elites who traveled to Paris from their newly independent nations in the 1840s were denigrated in visual media, rather than depicted as equals in a developing global economy. Darkened skin, brushed onto images of Latin Americans of European descent, mitigated their ability to claim the privileges of their ancestral heritage; whitened skin, among other codes, imposed on depictions of Black Latin Americans denied their Blackness and rendered them relatively assimilatable compared to colonial Africans, Black people from the Caribbean, and African Americans. In addition to identifying 19th-century Latinizing codes, this book focuses on shifts in latinizing visuality between 1890 and 1933 through three case studies: the depictions of popular Cuban circus entertainer Chocolat; representations of Panamanian World Bantamweight Champion boxer Alfonso Teofilo Brown; and paintings of Black Uruguayans created by Pedro Figari, a Uruguayan artist, during his residence in Paris between 1925 and 1933.

In 1967, sex between consenting men in England and Wales was finally decriminalised - an entire century after the death penalty was abolished for sodomy in Britain in 1861. Between these legal landmarks lies a century of seismic shifts in gender and sexuality which found expression across the arts as artists, collectors and consumers explored transgressive identities, experiences and perspectives. Some of the resulting artworks were intensely personal, celebrating lovers or expressing private desires. Others addressed a wider public, helping to forge a sense of community at a time when the modern categories of gay, lesbian, bisexual and transgender were largely unrecognised. Ranging from the playful to the political, the explicit to the domestic, these works reveal the rich diversity of queer British art. This beautiful book explores coded desires in aestheticism; the impact of the new science of sexology; queer domesticities; eroticism in the artist's studio; intersections of gender and sexuality; seedy dives and visions of Arcadia; and love and lust in sixties Soho. Featuring works by major artists such as Simeon Solomon, Clare Atwood, Ethel Sands, Duncan Grant, Francis Bacon and David Hockney among others, Queer British Art pays homage to the wealth of queer creativity in Britain between the 1860s and the 1960s.

Originally published in 1940, this book charts the origins and evolution of academies of art from the sixteenth century to the first half of the twentieth century. Pevsner expertly explains the political, religious and mercantile forces affecting the education of artists in various countries in Western Europe, and the growing 'academisation' of artistic training that he saw is his own day. This book will be of value to anyone with an interest in the various historical schools of art instruction and the history of art more generally.

Throughout the silent-feature era, American artists and intellectuals routinely described cinema as a force of global communion, a universal language promoting mutual understanding and harmonious coexistence amongst disparate groups of people. In the early 1920s, film-industry leaders began to espouse this utopian view, in order to claim for motion pictures an essentially uplifting social function. The Movies as a World Force examines the body of writing in which this understanding of cinema emerged and explores how it shaped particular silent films and their marketing campaigns. The utopian and universalist view of cinema, the book shows, represents a synthesis of New Age spirituality and the new liberalism. It provided a framework for the first official, written histories of American cinema and persisted as an advertising trope, even after the transition to sound made movies reliant on specific national languages.

Rake's Progress, Harlot's Progress, Ilustrations for Hudibras, Before and After, Beer Street and Gin Lane, 96 more; commentary by Sean Shesgreen.

In one of the most remarkable artistic pilgrimages in history, the nineteenth century saw scores of Western artists heading to the Middle East. Inspired by the allure of the exotic Orient, they went in search of subjects for their paintings. Orientalist Lives looks at what led this surprisingly diverse and idiosyncratic group of men-and some women-to often remote and potentially dangerous locations, from Morocco to Egypt, the Levant, and Turkey. There they lived, worked, and traveled for weeks or months on end, gathering material with which to create art for their clients back in the drawing rooms of Boston, London, and Paris. Based on his research in museums, libraries, archives, galleries, and private collections across the world, James Parry traces these journeys of cultural and artistic discovery. From the early pioneer David Roberts through the heyday of leading stars such as Jean-Leon Gerome and Frederick Arthur Bridgman, to Orientalism's post-1900 decline, he describes how these traveling artists prepared for their expeditions, coped with working in unfamiliar and challenging surroundings, engaged with local people, and then took home to their studios the memories, sketches, and collections of artifacts necessary to create the works for which their audiences clamored. Excerpts from letters and diaries, including little-known accounts and previously unpublished material, as well as photographs, sketches, and other original illustrations, bring alive the impressions, experiences, and careers of the Orientalists and shed light on how they created what are now once again recognized as masterpieces of art.

Empire to Nation offers a new consideration of the image of the sea in British visual culture during a critical period for both the rise of the visual arts in Britain and the expansion of the nation's imperial power. It argues that maritime imagery was central to cultivating a sense of nationhood in relation to rapidly expanding geographical knowledge and burgeoning imperial ambition. At the same time, the growth of the maritime empire presented new opportunities for artistic enterprise. Taking as its starting point the year 1768, which marks the foundation of the Royal Academy and the launch of Captain Cook's first circumnavigation, it asserts that this was not just an interesting coincidence but symptomatic of the relationship between art and empire. This relationship was officially sanctioned in the establishment of the Naval Gallery at Greenwich Hospital and the installation there of J. M. W. Turner's great Battle of Trafalgar in 1829, the year that closes this study. Between these two poles, the book traces a changing historical discourse that informed visual representation of maritime subjects Published for the Paul Mellon Centre for Studies in British Art

Synonymous with finely crafted wood engravings of the natural world, Thomas Bewick (1753-1828) perfected an instantly recognisable style which was to influence book illustration well into the nineteenth century. Begun in November 1822, at the behest of his daughter Jane, and completed in 1828, Bewick's autobiography was first published in 1862. The opening chapters recall vividly his early life on Tyneside, his interest in the natural world, his passion for drawing, and his apprenticeship with engraver Ralph Beilby in Newcastle, where he would learn his trade and then work in fruitful partnership for twenty years. Later passages in the work reveal Bewick's strongly held views on religion, politics and nature. The work also features illustrations for a proposed work on British fish. Bewick's General History of Quadrupeds (1790) and History of British Birds (1797-1804), the works which secured his high reputation, are also reissued in this series.

Laugh Lines: Caricaturing Painting in Nineteenth-Century France is the first major study of Salon caricature, a kind of graphic art criticism in which press artists drew comic versions of contemporary painting and sculpture for publication in widely consumed journals and albums. Salon caricature began with a few tentative lithographs in the 1840s and within a few decades, no Parisian exhibition could open without appearing in warped, incisive, and hilarious miniature in the pages of the illustrated press. This broad survey of Salon caricature examines little-known graphic artists and unpublished amateurs alongside major figures like Edouard Manet, puts anonymous jokesters in dialogue with the essays of Baudelaire, and holds up the material qualities of a 10-centime album to the most ambitious painting of the 19th century. This archival study unearths colorful caricatures that have not been reproduced until now, drawing back the curtain on a robust culture of comedy around fine art and its reception in nineteenth-century France.

The man behind the paintings: the extraordinary life of J. M. W Turner, one of Britain's most admired, misunderstood and celebrated artists J. M. W. Turner is Britain's most famous landscape painter. Yet beyond his artistic achievements, little is known of the man himself and the events of his life: the tragic committal of his mother to a lunatic asylum, the personal sacrifices he made to effect his stratospheric rise, and the bizarre double life he chose to lead in the last years of his life. A near mythical figure in his own lifetime, Franny Moyle tells the story of the man who was considered visionary at best and ludicrous at worst. A resolute adventurer, he found new ways of revealing Britain to the British, astounding his audience with his invention and intelligence. Set against the backdrop of the finest homes in Britain, the French Revolution and the Industrial Revolution, this is an astonishing portrait of one of the most important figures in Western art and a vivid evocation of Britain and Europe in flux.

This volume explores the characteristics of the art and literature of the Second Empire in France; it examines the attitudes and positioning of artists and writers of the period in relation to a regime of dubious legitimacy, and the ways in which that regime exploited to its advantage the artistic capital available to it. -- .

Originally published in 1903, and delivered as a lecture the previous year, this book by Charles Waldstein, former director of the Fitzwilliam Museum, suggests that the nineteenth century was an age of artistic expansion, both in terms of subject matter and of method. Waldstein addresses painting, literature, architecture, music and decorative art in his comprehensive study. This book will be of value to anyone with an interest in continuity and change in artistic expression in the nineteenth century.

The novelist and mystic William Sharp (1855 1905) wrote or edited around fifty books, both in his own name and under the pseudonym of Fiona MacLeod. An introduction to Dante Gabriel Rossetti in 1881 led to his publishing a study of the poet and artist in the following year. Appointed as London art critic of the Glasgow Herald in 1883, he went on to make many more distinguished acquaintances. Originally published in 1892, this work concerns another keeper of illustrious contacts: Joseph Severn (1793 1879), painter and British consul at Rome, who is best remembered for his close friendship with John Keats. As biographer, Sharp utilises Severn's vast though occasionally inconsistent correspondence, tracing his life from his youth, through his years of intimacy with Keats, to his death and eventual burial at the great poet's side.

The remarkable popularity of political likenesses in the Victorian period is the central theme of this book, which explores how politicians and publishers exploited new visual technology to appeal to a broad public. The first study of the role of commercial imagery in nineteenth-century politics, Politics personified shows how visual images projected a favourable public image of politics and politicians. Drawing on a vast and diverse range of sources, this book highlights how and why politics was visualised. Beginning with an examination of the visual culture of reform, the book goes on to study how Liberals, Conservatives and Radicals used portraiture to connect with supporters, the role of group portraiture, and representations of Victorian MPs. The final part of the book examines how major politicians, including Palmerston, Gladstone and Disraeli, interacted with mass commercial imagery. The book will appeal to a broad range of scholars and students across political, social and cultural history, art history and visual studies, cultural and media studies and literature. -- .

In "The Roots of Romanticism," one of the twentieth century's most influential philosophers dissects and assesses a movement that changed the course of history. Brilliant, fresh, immediate, and eloquent, these celebrated Mellon Lectures are a bravura intellectual performance. Isaiah Berlin surveys the many attempts to define romanticism, distills its essence, traces its developments from its first stirrings to its apotheosis, and shows how it still permeates our outlook. He ranges over a cast of some of the greatest thinkers and artists of the eighteenth and nineteenth centuries, including Kant, Rousseau, Diderot, Schiller, the Schlegels, Novalis, Goethe, Blake, Byron, and Beethoven. The ideas and attitudes of these and other figures, Berlin argues, helped to shape twentieth-century nationalism, existentialism, democracy, totalitarianism, and our ideas about heroic individuals, self-fulfillment, and the exalted place of art.

This new edition, illustrated for the first time, also features a new foreword by philosopher John Gray, in which he discusses Berlin's belief that the influence of romanticism has been unpredictable and contradictory in the extreme, fuelling anti-liberal political movements but also reinvigorating liberalism; a revised text; and a new appendix that includes some of Berlin's correspondence about the lectures and the reactions to them.

Herschel B. Chipp's Theories of Modern Art: A Source Book By Artists and Critics is a collection of texts from letters, manifestos, notes and interviews. Sources include, as the title says, artists and critics-some expected, like van Gogh, Gauguin, Apollinaire, Mondrian, Greenberg, just to name a few-and some less so: Trotsky and Hitler, in the section on Art and Politics. The book is a wonderful resource and insight into the way artists think and work.

Sir Edward Coley Burne-Jones (1833 98) emerged from a solitary, motherless childhood to form close friendships with William Morris and such other luminaries of the Victorian art world as Dante Gabriel Rossetti and John Ruskin. A second generation Pre-Raphaelite and founder member of the Morris firm, he was influential in many areas, from painting, stained glass and tapestry design to book illustration. His later work, including such iconic paintings as The Wheel of Fortune, The Golden Stairs (which caused a sensation when exhibited at the Grosvenor Gallery) and The Sleep of Arthur in Avalon, influenced and exemplified the Aesthetic Movement, and inspired the European Symbolists. His wife, Georgiana Burne-Jones (1840 1920), published this engaging two-volume biography in 1904. Volume 1 describes his formative years, important early relationships, projects such as the murals for the Oxford Union debating chamber, and his arrival at full maturity with the St George series of 1865 7.

Sir Edward Coley Burne-Jones (1833 98) emerged from a solitary, motherless childhood to form close friendships with William Morris and such other luminaries of the Victorian art world as Dante Gabriel Rossetti and John Ruskin. A second generation Pre-Raphaelite and founder member of the Morris firm, he was influential in many areas, from painting, stained glass and tapestry design to book illustration. His later work, including such iconic paintings as The Wheel of Fortune, The Golden Stairs (which caused a sensation when exhibited at the Grosvenor Gallery) and The Sleep of Arthur in Avalon, influenced and exemplified the Aesthetic Movement, and inspired the European Symbolists. His wife, Georgiana Burne-Jones (1840 1920), published this engaging two-volume biography in 1904. Volume 2 hints at the emotional turmoil behind paintings like Love Among the Ruins, reveals the impact of his visits to Italy, and usefully contextualises the haunting masterpieces of his later years.

The celebrated Victorian narrative painter William Powell Frith (1819-1909) was a born raconteur. His two-volume autobiography of 1887 ran to three editions in the same year. The third edition is reissued here, together with its supplementary volume of 1888. Frith was an ideal commentator on his age. He never lost his early interest in literary and historical subjects, and moved in the highest artistic and literary circles. Yet he also saw himself as a man of the people. His most famous works were his 'modern-life' panoramas, Ramsgate Sands (1854), Derby Day (1858) and The Railway Station (1862). Discussing such projects, he reflects on everything from costume to portraiture, art dealers to female artists, and even picture frames. In Volume, 2 Frith discusses his Hogarthian subjects, 'Dickens and his Beard' (the story behind the famous portrait), and his last great crowd scene, A Private View at the Royal Academy (1883).

The Victorian Artist, first published in 2003, examines the origins, development, and explosion of biographical literature on artists in Britain between 1870 and 1910. Analyzing a variety of narrative modes, including gossip, anecdotes, and serialization, as well as the differences among genres - autobiographies, family biographies, biographical histories, and dictionaries - Julie Codell discerns and articulates the multiple, often conflicting identities that were ascribed to artists collectively and as individuals. Her study demonstrates how this body of literature, combined with images of artists' bodies, their works and their studios, reflected anxiety over economic exchanges in the art world, aestheticism, and the desire to tame artists in order to fit them into an emerging national identity as a way of socializing new audiences of readers and spectators. Her book provides a sociological and cultural overview of the art world in Britain in the decades before World War I.

A wide-ranging collection of essays written for the William Morris Society exploring the various intersections between the life, work and achievements of William Morris (1834-1896) and that of John Ruskin (1819-1900). Subjects covered include Ruskin's connection with the Pre-Raphaelite movement, the promotion of craft skills and meaningful work, Morris and the division of labour, Ruskin's engagement with education and the environment, Ruskin and the art and architecture of Red House, the parallels between Ruskin's support for Laxey Mill and Morris's Merton Abbey Works, the illustrated manuscript and the contrasts between Ruskin's Tory paternalism and Morris's revolutionary socialism. The book includes articles first published in The Journal of William Morris Studies between 1977 and 2012 and new pieces written especially for this volume. Ruskin's beliefs had a profound and lasting impact on Morris who wrote, upon first reading Ruskin whilst at Oxford University, that his views offered a "new road on which the world should travel" - a road that led Morris to social and political change.

The group of young painters and writers who coalesced into the Pre-Raphaelite movement in the middle years of the nineteenth century became hugely influential in the development not only of literature and painting, but also more generally of art and design. Though their reputation has fluctuated over the years, their achievements are now recognised and their style enjoyed and studied widely. This volume explores the lives and works of the central figures in the group: among others, the Rossettis, William Holman Hunt, John Everett Millais, Ford Madox Brown, William Morris and Edward Burne-Jones. This is the first book to provide a general introduction to the Pre-Raphaelite movement that integrates its literary and visual art forms. The Companion explains what made the Pre-Raphaelite style unique in painting, poetry, drawing and prose.