With this widely acclaimed work, Fried revised the way in which eighteenth-century French painting and criticism were viewed and understood.
"A reinterpretation supported by immense learning and by a series of brilliantly perceptive readings of paintings and criticism alike. . . . An exhilarating book."— John Barrell, "London Review of Books"

Bradford Collins has assembled here a collection of twelve essays that demonstrates, through the interpretation of a single work of art, the abundance and complexity of methodological approaches now available to art historians. Focusing on Manet's "A Bar at the Folies-Bergere, " each contributor applies to it a different methodology, ranging from the more traditional to the newer, including feminism, Marxism, Lacanian psychoanalysis, and semiotics. By demonstrating the ways that individual practitioners actually apply the various methodological insights that inform their research, "Twelve Views of Manet's "Bar"" serves as an excellent introduction to critical methodology as well as a provocative overview for those already familiar with the current discourse of art history. In the process of gaining new insight into Manet's work, and into the discourse of methodology, one discovers that it is not only the individual painting but art history itself that is under investigation. An introduction by Richard Shiff sets the background with a brief history of Manet scholarship and suggestions as to why today's accounts have taken certain distinct directions. The contributors, selected to provide a broad and balanced range of methodological approaches, include: Carol Armstrong, Albert Boime, David Carrier, Kermit Champa, Bradford R. Collins, Michael Paul Driskel, Jack Flam, Tag Gronberg, James D. Herbert, John House, Steven Z. Levine, and Griselda Pollock."

Art of the United States is a landmark volume that presents three centuries of US art through a broad array of historical texts, including writings by artists, critics, patrons, literary figures, and other commentators. Combining a wide-ranging selection of texts with high-quality reproductions of artworks, it offers a resource for the study and understanding of the visual arts of the United States. With contextual essays, explanatory headnotes, a chronology of US historical landmarks, maps, and full-color illustrations of key artworks, the volume will appeal to national and international audiences ranging from undergraduates and museum visitors to art historians and other scholars. Texts by a range of artists and cultural figures-including John Adams, Thomas Cole, Frederick Douglass, Mary Cassatt, Edward Hopper, Clement Greenberg, and Cindy Sherman-are grouped according to historical era alongside additional featured artists. A sourcebook of unprecedented breadth and depth, Art of the United States brings together multiple voices throughout the ages to provide a framework for learning and critical thinking on US art.

The Arts and Crafts Movement espoused values of simplicity, craftsmanship and beauty quite counter to Victorian and Edwardian industrialism. Though most famous for its architecture, furniture and ornamental work, between the 1890s and the 1930s the movement also produced gardens all over Britain whose designs, redolent of a lost golden era, had worldwide influence. These designs, by luminaries such as Gertrude Jekyll and Sir Edwin Lutyens, were engaging and romantic combinations of manor-house garden formalism and the naive charms of the cottage garden - but from formally clipped topiary to rugged wild borders, nothing was left to chance. Sarah Rutherford here explores the winding paths and meticulously shaped hedges, the gazebos and gateways, the formal terraces and the billowing border plantings that characterised the Arts and Crafts garden, and directs readers and gardeners to where they can visit and be inspired by these beautiful works of art.

"Asian American Art: A History, 1850-1970" is the first comprehensive study of the lives and artistic production of artists of Asian ancestry active in the United States before 1970. The publication features original essays by ten leading scholars, biographies of more than 150 artists, and over 400 reproductions of artwork, ephemera, and images of the artists.
Aside from a few artists such as Dong Kingman, Yasuo Kuniyoshi, Isamu Noguchi, and Yun Gee, artists of Asian ancestry have received inadequate historical attention, even though many of them received wide critical acclaim during their productive years. This pioneering work recovers the extraordinarily impressive artistic production of numerous Asian Americans, and offers richly informed interpretations of a long-neglected art history. To unravel the complexity of Asian American art expression and its vital place in American art, the texts consider aesthetics, the social structures of art production and criticism, and national and international historical contexts.
Without a doubt, "Asian American Art" will profoundly influence our understanding of the history of art in America and the Asian American experience for years to come.

The Grosvenor Gallery was the most progressive exhibition space of the Victorian age. The paintings and works of art shown there - by Burne-Jones, Watts, Whistler and a host of other figures associated with the aesthetic movement - challenged artistic convention and were the cause of virulent debate about the means and purpose of modern art, while the very existence of a gallery which attracted so much fashionable attention and which lent such great prestige to the artists who exhibited there served to overthrow the stultifying influence of the contemporary Royal Academy. Christopher Newall's book tells the story of the rise and fall of the Grosvenor Gallery, and his invaluable index of exhibitors, compiled from the now very rare original catalogues, allows the reader to discover which artists showed which works and what they were during the fourteen years of the Grosvenor's summer exhibitions.

Cezanne's painting The Eternal Feminine, painted in 1878, has been given considerable attention in the literature on this artist, though it has generally embarrassed scholars because it suggests aspects of the artist's personality that many connoisseurs in the past would rather have repressed. The painting has been known by a variety of titles and, as Wayne Andersen has discovered, has also been altered. He traced these alterations to an art dealer who made them in an effort to render the painting more marketable. This volume is the first to interrogate the original state of The Eternal Feminine and to resolve its mysterious importance to Cezanne and, more broadly, the history of art. Devoting a separate chapter to each of the titles by which the picture has been known, Andersen resolves its hidden meaning while providing a fresh look at Cezanne's artistic process.

In Fashioning Spaces, Heidi Brevik-Zender argues that in the years between 1870 and 1900 the chroniclers of Parisian modernity depicted the urban landscape not just in public settings such as boulevards and parks but also in "dislocations," spaces where the public and the intimate overlapped in provocative and subversive ways. Stairwells, theatre foyers, dressmakers' studios, and dressing rooms were in-between places that have long been overlooked but were actually marked as indisputably modern through their connections with high fashion. Fashioning Spaces engages with and thinks beyond the work of critics Charles Baudelaire and Walter Benjamin to arrive at new readings of the French capital.

Examining literature by Zola, Maupassant, Rachilde, and others, as well as paintings, architecture, and the fashionable garments worn by both men and women, Brevik-Zender crafts a compelling and innovative account of how fashion was appropriated as a way of writing about the complexities of modernity in fin-de-siecle Paris.

This study examines the forces that made the nude a contentious image in the early Third Republic. Analyzing the evolving relationship between the fine art nude, print culture, and censorship, Heather Dawkins explores how artists, art critics, politicians, bureaucrats, lawyers, and judges evaluated the nude. She reveals how spectatorship of the nude was refracted through the ideals of art, femininity, republican liberty, and public decency. Dawkins also investigates how women reshaped private perception of the nude to accommodate their own experience and subjectivity.

Art Nouveau thrived from the late 1890s through the First World War. The international design movement reveled in curvilinear forms and both playful and macabre visions and had a deep impact on cinematic art direction, costuming, gender representation, genre, and theme. Though historians have long dismissed Art Nouveau as a decadent cultural mode, its tremendous afterlife in cinema proves otherwise. In Cinema by Design, Lucy Fischer traces Art Nouveau's long history in films from various decades and global locales, appreciating the movement's enduring avant-garde aesthetics and dynamic ideology. Fischer begins with the portrayal of women and nature in the magical "trick films" of the Spanish director Segundo de Chomon; the elite dress and decor design choices in Cecil B. DeMille's The Affairs of Anatol (1921); and the mise-en-scene of fantasy in Raoul Walsh's The Thief of Bagdad (1924). Reading Salome (1923), Fischer shows how the cinema offered an engaging frame for adapting the risque works of Oscar Wilde and Aubrey Beardsley. Moving to the modern era, Fischer focuses on a series of dramatic films, including Michelangelo Antonioni's The Passenger (1975), that make creative use of the architecture of Antoni Gaudi; and several European works of horror-The Abominable Dr. Phibes (1971), Deep Red (1975), and The Strange Color of Your Body's Tears (2013)-in which Art Nouveau architecture and narrative supply unique resonances in scenes of terror. In later chapters, she examines films like Klimt (2006) that portray the style in relation to the art world and ends by discussing the Art Nouveau revival in 1960s cinema. Fischer's analysis brings into focus the partnership between Art Nouveau's fascination with the illogical and the unconventional and filmmakers' desire to upend viewers' perception of the world. Her work explains why an art movement embedded in modernist sensibilities can flourish in contemporary film through its visions of nature, gender, sexuality, and the exotic.

This study of the Victorian fascination with fairies reveals their significance in Victorian art and literature. Nicola Bown explores what the fairy meant to the Victorians, and why they were so captivated by a figure which nowadays seems trivial and childish. She argues that fairies were a fantasy that allowed the Victorians to escape from their worries about science, technology and the effects of progress. The fairyland they dreamed about was a reconfiguration of their own world, and the fairies who inhabited it were like themselves.

The parlor was the center of the Victorian home and, as Thad Logan shows, the place where contemporary conflicts about domesticity and gender relations were frequently played out. In The Victorian Parlour: A Cultural Study, Logan uses an interdisciplinary approach that combines the perspectives of art history, social history, and literary theory to describe and analyze the parlor as a highly significant cultural space. The book concludes with a discussion of how representations of the parlor in literature and art reveal the pleasures and anxieties associated with Victorian domestic life.

Light was central to the visual politics and imaginative geographies of empire, even beyond its role as a symbol of knowledge and progress in post-Enlightenment narratives. This book describes how imperial mappings of geographical space in terms of 'cities of light' and 'hearts of darkness' coincided with the industrialisation of light (in homes, streets, theatres) and its instrumentalisation through new representative forms (photography, film, magic lanterns, theatrical lighting). Cataloguing the imperial vision in its engagement with colonial India, the book evaluates responses by the celebrated Indian painter Ravi Varma (1848-1906) to reveal the centrality of light in technologies of vision, not merely as an ideological effect but as a material presence that produces spaces and inscribes bodies. -- .

Inspired by the Charles Darwin bicentennial, The Art of Evolution presents a collection of essays by international scholars renowned for their groundbreaking work on Darwin. The book not only includes a discussion of the popular imagery that immediately followed the publication of On the Origin of Species, but it also traces the impact of Darwin's ideas on visual culture over time and throughout the Western world. The contributors analyze the visual expression of a broad range of Darwin-inspired subjects, including eugenics, aesthetics and sexual selection, monera and protoplasm theories, social Darwinism and colonialism, the Taylorized body, and the natural history of surrealism. The visual imagery responding to Darwin and Darwinism ranges from popular caricature to state propaganda to major trends within Modern Art and Modernism. This rarely addressed subject will enrich our understanding of Darwin's impact across disciplines and reveal how transformations in science were manifested visually in so many enticingly unexpected ways. Contributors: Sara Barnes, Robert Michael Brain, Fae Brauer, Janet Browne, James Krasner, Barbara Larson, Marsha Morton, Gavin Parkinson, Andrew Patrizio, Phillip Prodger, Pat Simpson

Originally published in 1999, Visualizing Labor in American Sculpture focuses on representations of work in American sculpture, from the decade in which the American Federation of Labor was formed, to the inauguration of the federal works project that subsidized American artists during the Great Depression. Monumental in form and commemorative in function, these sculptural works provide a public record of attitudes toward labor in a transitional moment in the history of relations between labor and management. Melissa Dabakis argues that sculptural imagery of industrial labor shaped attitudes towards work and the role of the worker in modern society. Restoring a group of important monuments to the history of labor, gender studies and American art history, her book focuses on key monuments and small-scale works in which labor was often constituted as 'manly' and where the work ethic mediated both production and reception.

This book investigates how identities have been constructed in Australian art from 1788 onwards. Ian McLean shows that Australian art, and the writing of its history, has, since settlement, been in a dialogue (although often submerged) with Aboriginal art and culture; and that this dialogue is inextricably interwoven with the struggle to find an identity in the antipodes. Beginning with a discussion of how Australia was imagined by Europeans before colonisation, McLean traces the representation of indigeneity through the history of Australian art, and the concomitant invention of an Australian subjectivity. He argues that the colonising culture invested far more in indigenous aspects of the country and its inhabitants than it has been willing to admit. McLean considers artists and their work within a cultural context, and also provides a contemporary theoretical and critical context for his claims.

The last work of Burne-Jones: a series of woodcut illustrations to the first chapters of Genesis, making a perfect epitome of his art. Reprinted from the original edition of 1902.

Edouard Manet's controversial painting "Le Déjeuner sur l'herbe" is one of the best known images in French art. The subject of critical analysis for more than a century, it still defies singular interpretations. These essays, written specially for this volume by the leading scholars of French modern art, therefore offer six different readings of the painting, incorporating close examinations of its radical style and novel subject, relevant historical developments and archival material, as well as biographical evidence that prompts psychological inquiries.

A radical, lively departure from received notions about art of the Romantic period For many, the term "neoclassicism" has come to imply discipline, order, restraint, and a certain myopia. Leaving the term behind, this book radically challenges enduring assumptions about the art produced from the late 18th century to the early Victorian period, casting new light on appropriations of the classical body by British artists. It is the first to foreground the intersections of gender, race, and class in discussions of British visual classicism, laying bare artists' alternately politicizing and emphatically sensual engagements with Greco-Roman art. Rather than rely exclusively on subsequent scholarship, the book takes up the poet John Keats (1795-1821) as a theoretical framework. Eschewing the "Golden Age" narrative, which sees J. M. W. Turner (1775-1851) as the pinnacle of the period's artistic achievement, the book examines overlooked artists, such as Henry Howard (1769-1847) and John Graham Lough (1798-1876). The result is a fresh account of underappreciated works of British painting and sculpture.

This title offers an original survey on Colonial artists' materials and techniques. This is the first comprehensive study of an important but largely anonymous part of the history of American art: the materials and techniques used by American painters. Based on extensive research including artists' recipe books, letters, journals, and painting manuals, much previously unpublished, the authors have also drawn on their many years as conservators of paintings for museums and collectors. Information is provided on the methods of painters such as Benjamin West, Gilbert Stuart, Washington Allston, Thomas Sully, Thomas Cole, and William Sidney Mount. It includes topics such as the quest for the 'secrets' of the Old Masters; how artists saw their paintings changing over time; the application of 'toning' layers; and, the evolving self-confidence of American experimenters and innovators.

As the East India Company extended its sway across India in the late eighteenth century, many remarkable artworks were commissioned by Company officials from Indian painters who had previously worked for the Mughals. Published to coincide with the first UK exhibition of these masterworks at The Wallace Collection, this book celebrates the work of a series of extraordinary Indian artists, each with their own style and tastes and agency, all of whom worked for British patrons between the 1770s and the bloody end of the Mughal rule in 1857. Edited by writer and historian William Dalrymple, these hybrid paintings explore both the beauty of the Indian natural world and the social realities of the time in one hundred masterpieces, often of astonishing brilliance and originality. They shed light on a forgotten moment in Anglo-Indian history during which Indian artists responded to European influences while keeping intact their own artistic visions and styles. These artists represent the last phase of Indian artistic genius before the onset of the twin assaults - photography and the influence of western colonial art schools - ended an unbroken tradition of painting going back two thousand years. As these masterworks show, the greatest of these painters deserve to be remembered as among the most remarkable Indian artists of all time.

William Morris-the great 19th century craftsman, architect, designer, poet and writer-remains a monumental figure whose influence resonates powerfully today. As an intellectual (and author of the seminal utopian News From Nowhere), his concern with artistic and human values led him to cross what he called the 'river of fire' and become a committed socialist-committed not to some theoretical formula but to the day by day struggle of working women and men in Britain and to the evolution of his ideas about art, about work and about how life should be lived. Many of his ideas accorded none too well with the reforming tendencies dominant in the Labour movement, nor with those of 'orthodox' Marxism, which has looked elsewhere for inspiration. Both sides have been inclined to venerate Morris rather than to pay attention to what he said. Originally written less than a decade before his groundbreaking The Making of the English Working Class, E.P. Thompson brought to this biography his now trademark historical mastery, passion, wit, and essential sympathy. It remains unsurpassed as the definitive work on this remarkable figure, by the major British historian of the 20th century.

The End of the Salon examines the cultural forces that contributed to the demise of an important exhibition centre for art in Europe and America in the late 19th century. Tracing the history of the salon from the French Revolution, when it was taken away from the Academy and opened to all artists, to the 1880s, Patricia Mainardi shows that its contradictory purposes, as didactic exhibition venue and art marketplace resulted in its collapse. She also situates the salon within the shifting currents of art movements, from modern to traditional, and the evolving politics of the Third Republic, when France definitively chose a republican over a monarchic form of government. An overview of the spectrum of art production at the end of the 19th century, government attitudes toward the arts in the early Third Republic, and the institution of exhibitions as they were redefined by free-market economics in the 19th century, are also provided. The book demonstrates how all artists were forced to function within the framework of the social, economic, and cultural changes then taking place and how art and social history are inextricably linked.

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.

Explores Samuel Beckett's relation to painting and the visual imagination that informs his theatrical work Beckett was deeply engaged with the visual arts and individual painters, including Jack B. Yeats, Bram van Velde, and Avigdor Arikha. In this monograph, David Lloyd explores what Beckett saw in their paintings. He explains what visual resources Beckett found in these particular painters rather than in the surrealism of Masson or the abstraction of Kandinsky or Mondrian. The analysis of Beckett's visual imagination is based on his criticism and on close analysis of the paintings he viewed. Lloyd shows how Beckett's fascination with these painters illuminates the 'painterly' qualities of his theatre and the philosophical, political and aesthetic implications of Beckett's highly visual dramatic work. Key Features Discusses Beckett's relationship with three painters crucial to his life-long dialogue with the visual arts The first book to examine the paintings that Beckett would have known and on which he based his critical remarks Accounts for the increasing visuality of Beckett's theatre in relation to his evolving appreciation of painting and the formal questions posed by that medium Explores Beckett's anticipation of European phenomenology and psychoanalysis in relation to Heidegger and Lacan