Few artists have exerted such an influence on modern art as Paul Cezanne. Picasso, Braque and Matisse all acknowledged a profound debt to his painting, and many historians regard him as the father of modernism. This new biography reexamines Cezanne's life and art, discussing the central events and people who shaped his work and placing his oeuvre in the context of nineteenth- and early twentieth-century art and culture.Jon Kear examines Cezanne's youth in Provence, a formative period which left a deep and abiding impression on the artist's painting, as well as exploring his turbulent time in Paris and the larger-than-life artistic persona he created for himself during these years. His initial style, characterized by violent and explicit subject-matter and a rugged manner of painting, gave rise to an enduring mythology of the artist. Paul Cezanne explores the personal and artistic relationships that influenced Cezanne: from his close friendship with Emile Zola to his artistic dialogue with Manet, collaboration with Camille Pissarro and association with the Impressionists. Above all, Paul Cezanne tells the story of his life as a part of the pivotal shift towards the twentieth century, illuminating how much his work and ideas helped to usher it in.

Doceuments work of the most important names associated with 19th century cameo glass.

Published in conjunction with the exhibition Gauguin: Metamorphoses at The Museum of Modern Art, this volume explores the remarkable relationship between Paul Gauguin's rare and extraordinary prints and transfer drawings, and his better-known paintings and sculptures in wood and ceramic. Created in several discreet bursts of activity from 1889 until his death in 1903, these remarkable works on paper reflect Gauguin's experiments with a range of mediums, from radically 'primitive' woodcuts that extend from the sculptural gouging of his carved wood reliefs, to jewel-like watercolour monotypes and large, mysterious transfer drawings. Richly illustrated with approximately 190 works in a range of mediums, Gauguin: Metamorphoses explores the artist's radically experimental approach to techniques and his pivotal place in the history of art. An introductory essay by Starr Figura considers the significance of Gauguin's innovative printmaking and the relationship between his prints and works in painting and sculpture. Elizabeth Childs writes on Gauguin's radical wood sculptures, using them as a touchstone from which to further investigate his peripatetic practice. An essay by Hal Foster addresses Gauguin's 'primitivism' and its aesthetic and cultural implications. An essay by Erika Mosier offers a conservator's insights into Gauguin's unusual printmaking techniques.

A lively thematic survey of eighteenth and nineteenth-century architecture and its extreme diversity within the context of tremendous social, economic and political upheaval. Bergdoll traces key themes the role of changing theories of history in architecture, the impact of scientific methods, and the response to broadening audiences through examples taken from across European architecture. Key developments in architectural history and urban design are related to the most experimental forms that architecture took from Neoclassicism to the Art Nouveau.

She is famous throughout the world, but how many know her name? You can admire her figure in Washington, Paris, London, New York, Dresden or Copenhagen but where is her grave? She danced as a 'petit rat' at the Paris Opera. She was also a model, she posed for painters and sculptors - among them Edgar Degas. Taking us through the underbelly of the Belle Epoque, Laurens casts a light on those who have traditionally been overlooked in the study of art, and opens a space for essential questions. She paints a compelling portrait of Marie van Goethem and the world she inhabited, in the 1880s; a time when art unsettled the hypocrisy of society.

Lucien Pissarro, the eldest son of Impressionist painter Camille Pissarro, lived in England in 1883, then in Paris until 1890 when he finally settled in England. These travels gave rise to a substantial exchange of letters, most of which have survived. Camille Pissarro's letters are well known, but Lucien's replies, which describe the world of post-William Morris London, have hitherto lacked a full edition. Lucien, also a painter, exhibited only in the last of the Impressionist exhibitions in Paris; both he and his father were by then members of the neo-Impressionist group. To earn a living, Lucien turned to wood engraving, which led to his printing of rare books, illustrated and printed by him on his Eragny Press in London. He even ceased to paint for a period. The technical discussion of the translation of drawings to woodblocks engraved by Lucien gives a unique insight into the methods employed, while intimate views are expressed on the work of the Pissarros' now famous friends - mainly painters, writers or anarchist theoreticians in Paris, or contemporary painters reacting to the Pre-Raphaelites and the Private Press movement inspired by William Morris in England. Advice on painting methods mingle with views on current art trends, family matters, and the Pissarros' struggles for recognition and enough money even to post their letters.

Sculptors Against the State considers the relation of anarchist ideology to avant-garde sculpture through an examination of three iconic artists whose work transformed European modernism: Umberto Boccioni, Jacob Epstein, and Henri Gaudier-Brzeska. Addressing such complex subjects as sexual liberation, homosexuality, the history of emotions, the ethics of violence, and tactics of nonviolent resistance, Mark Antliff demonstrates how sculptural processes were shaped by forms of anarchism calculated to foster a radical community. The anarchist view that the State is a state of mind and a set of social relationships is a central theme Antliff uses to explore not only the art of Boccioni, Epstein, and Gaudier-Brzeska but the associated aesthetics of radical luminaries such as Oscar Wilde, F. T. Marinetti, and Ezra Pound. Taking Boccioni’s Unique Forms of Continuity in Space, Epstein’s Tomb of Oscar Wilde, and Gaudier-Brzeska’s Hieratic Head of Ezra Pound as a starting point, Antliff argues that these sculptors saw the arts as a radical catalyst for an entirely new constellation of interpersonal relations and psychological dispositions—ones antithetical to those propagated by the State. Powerfully argued and informed by extensive archival research, Sculptors Against the State provides a new understanding of these artists, even as it sheds light on why contemporary anarchist theory is necessary for understanding the profound cultural impact modernism had during the twentieth century. Antliff’s work will be of interest to students and scholars of modernist art and literature, and particularly those who study the intersections between artistic practice and politics.

This revelatory book traces how the Pre-Raphaelite Brotherhood and their close associates put scientific principles into practice across their painting, poetry, sculpture, and architecture. In their manifesto, The Germ, the Pre-Raphaelites committed themselves to creating a new kind of art modeled on science, in which precise observation could lead to discoveries about nature and humanity. In Oxford and London, Victorian scientists and Pre-Raphaelite artists worked together to design and decorate natural history museums as temples to God's creation. At the same time, journals like Nature and the Fortnightly Review combined natural science with Pre-Raphaelite art theory and poetry to find meaning and coherence within a worldview turned upside down by Darwin's theory of evolution. Offering reinterpretations of well-known works by John Everett Millais, William Holman Hunt, Dante Gabriel Rossetti, Ford Madox Brown, and William Morris, this major revaluation of the popular Victorian movement also considers less-familiar artists who were no less central to the Pre-Raphaelite project. These include William Michael Rossetti, Walter Deverell, James Collinson, John and Rosa Brett, John Lucas Tupper, and the O'Shea brothers, along with the architects Benjamin Woodward and Alfred Waterhouse. Published in association with the Paul Mellon Centre for Studies in British Art

Stitch will offer contemporary designs and creative projects for the modern maker with a discernible eye for aesthetics, with a focus on customisable makes, stunning fabric inspiration, easy-to-follow instructions and beautifully graphic photography. The book will cover the basic techniques of sewing with all projects achievable either by using a sewing machine or by hand (and a little more time!), and with no overly complicated techniques. Each project will be photographed and some will be accompanied by step-by-step images to help guide you through more intricate instructions. With makes including reusable fabric bowl covers, pretty pot holders and scrunchies made from off cuts, as well as projects to up-cycle old bed linen or use up scraps of fabric left from other designs in the book, anyone from beginner to intermediate will find projects to love in this modern makers handbook. Explore modern sewing and learn to perfect your stitch.

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.

Charles Reiffel (1862-1942) is widely regarded today as one of the foremost figures of the California plein air school of landscape painting. This book, accompanying an exhibition of the same name at The San Diego Museum of Art and San Diego History Center, aims to reevaluate Reiffel as a leading practitioner of Post-Impressionism in the United States.

Charles Reiffel trained as a lithographer and traveled, worked, and studied in Europe before establishing himself as an independent artist in Silvermine, Connecticut. He finally settled in San Diego in 1925. There, he immersed himself for the remainder of his life in the landscape of Southern California, its coast and rolling hills, discovering in its unique contours new motifs for his striking mix of Post-Impressionist and Expressionist brushwork.

"Charles Reiffel: An American Post-Impressionist" proposes a fresh assessment of the artist, firmly reestablishing his place as a national figure in the canon of American painting and shedding light on a splendid page in the history of American Post-Impressionism and Expressionism.

Ariel Plotek is assistant curator at the San Diego Museum of Art. Other contributors include Bram Dijkstra and Keith Colestock.

Erika Szivos places the fine arts and their practitioners in the political, cultural, and social context of the Austro-Hungarian monarchy. She investigates the influence of European patterns on the public role of the arts and the changing status of the artist in fin-de-si?cle Hungary.

Delacroix's Journal is one of the great documents in art history, a magnificent work of literature as well as vital documentary source for scholars and students. In it the artist discusses his own paintings, his life, his sorrow and hopes; the paintings and sculptures of Rubens, Michelangelo, Constable, Bonington and others: old and new literature and the music of Mozart, Rossini and Chopin, the events of his time.

Part of a series of exciting and luxurious Flame Tree Notebooks. Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed, then foil stamped. And they're powerfully practical: a pocket at the back for receipts and scraps, two bookmarks and a solid magnetic side flap. These are perfect for personal use and make a dazzling gift. This example features Vincent van Gogh's 'Bedroom at Arles'. Vincent van Gogh sought refuge from Paris in February 1888. He set off for Arles to satisfy his yearning to experience the colours of the South. Initially, he took up lodgings at a local hotel but shortly after, he rented the famous Yellow House on Place Lamartine, nestled in between the rail tracks and river on the north side of town. This famous painting depicts his bedroom in the house.

One of 19th-century Berlin's premier artists, Menzel exhibited tremendous powers of observation and technical perfection. This volume contains approximately 115 plates of his work, with 16 pages of colour.

Paul Cezanne, whom Pablo Picasso called `the father of us all', is widely considered to be 20th-century modernism's presiding genius. Cezanne's pioneering synthesis of a theory of form with the visual immediacy of Impressionism in the late 19th century inspired Henri Matisse and the Fauves and led to the development of Cubism by Picasso and Georges Braque. This latest volume in the MoMA Artist Series guides readers through ten of Cezanne's most memorable achievements, selected fromThe Museum of Modern Art's substantial collection of his work. His iconic figure paintings The Bather and Boy in a Red Vest are featured, along with emblematic still lifes and landscapes from earlier and later years. A lively essay by Carolyn Lanchner accompanies each work, illuminating its significance and placing it in its historical moment in the development of modern art.

"This important book will instantly claim a place among the standard works on Courbet. Petra Chu has done an admirable job of tying together art, literature, and history to put Courbet in context in a way that has not been done before. She reveals a Courbet who is ambitious to succeed and who realizes that the new media of nineteenth-century France can be harnessed to his ambition. With this book, Chu brings to fruition a lifetime of studying Courbet and nineteenth-century French art."--Patricia Mainardi, City University of New York

"Petra Chu has worked on Courbet throughout her long and productive career and this book is a capstone of her work, the product of considerable thought, insight, perception, and interpretation. Covering all phases of his evolution, from his earliest self-portraits to his late landscapes, she contextualizes Courbet in new ways and ties him to celebrity and media culture so that we can see how he thought as well as why he reacted in his work as he did. This is no small achievement."--Gabriel P. Weisberg, University of Minnesota

""The Most Arrogant Man in France" is an original study of Courbet's entrepreneurial methods, and as such distinguishes itself from the rest of the voluminous recent writing on the artist. Petra Chu carefully sifts through Courbet's contacts with the press, newly investigates his patronage, and speculates about his appeal to the wider public. The book will interest not just art historians but also general readers since it dissects the intelligence and entrepreneurial flair of a canonical artistic personality who anticipates artists such as Dali and Warhol."--Albert Boime, UCLA

A fascinating look at the genesis and meaning of Van Gogh's famed paintings of his bedroom Vincent van Gogh's The Bedroom, a painting of his room in Arles, is arguably the most famous depiction of a bedroom in the history of art. The artist made three versions of the work, now in the collections of the Van Gogh Museum, the Art Institute of Chicago, and the Musee d'Orsay. This book is the first in-depth study of their making and their meaning to the artist. In Van Gogh's Bedrooms, an international team of art historians, scientists, and conservators investigates the psychological and emotional significance of the bedroom in Van Gogh's oeuvre, surveying dwellings as a motif that appears throughout his work. Essays address the context in which the bedroom was first conceived, the uniqueness of the subject, and the similarities and differences among the three works both on and below the painted surface. The publication reproduces more than 50 paintings, drawings, and illustrated letters by the artist, along with other objects that evoke his peripatetic life and relentless quest for "home." Distributed for the Art Institute of Chicago Exhibition Schedule: Art Institute of Chicago (02/14/16-05/10/16)

Since the collapse of the Iron Curtain in 1991, Prague has become one of Europe's--and the world's--most popular tourist destinations. As in London, Paris, and Rome, visitors flock to the gorgeous buildings and monuments that grace the streets of Prague, entranced by structures ranging from Gothic and baroque to cubist and neoclassical. And while hundreds of thousands stroll over the Charles Bridge and gaze up at the St. Vitus Cathedral each year, far fewer venture away from the crowds to seek out the countless gems of art nouveau peppered throughout Prague.

With "Art-Nouveau Prague," Petr Wittlich--one of Europe's leading experts on nineteenth- and twentieth-century architecture--tours those monuments and buildings of Prague representative of the art nouveau movement and offers insightful commentary on each. Along the way, Wittlich visits such sites as the Municipal House, the Wilson Railway Station, the Grand Hotel Europa, and works by sculptors Frantisek Bilek, Ladislav Saloun, and Stanislav Sucharda.

An introductory essay by Wittlich emphasizing the role of art nouveau within contemporary currents of modern European art accompanies more than one hundred color illustrations of some of the most stunning examples of art nouveau architecture and decoration in existence, and a detailed bibliography provides additional reading for each of the sites displayed in the book. "Art-Nouveau Prague" is a must-have for those traveling to Prague for the first time or for anyone who appreciates or wants to learn more about art nouveau style.

The enduring influence of naturalist and explorer Alexander von Humboldt on American art, culture, and politics Alexander von Humboldt (1769-1859) was one of the most influential scientists and thinkers of his age. A Prussian-born geographer, naturalist, explorer, and illustrator, he was a prolific writer whose books graced the shelves of American artists, scientists, philosophers, and politicians. Humboldt visited the United States for six weeks in 1804, engaging in a lively exchange of ideas with such figures as Thomas Jefferson and the painter Charles Willson Peale. It was perhaps the most consequential visit by a European traveler in the young nation's history, one that helped to shape an emerging American identity grounded in the natural world. In this beautifully illustrated book, Eleanor Jones Harvey examines how Humboldt left a lasting impression on American visual arts, sciences, literature, and politics. She shows how he inspired a network of like-minded individuals who would go on to embrace the spirit of exploration, decry slavery, advocate for the welfare of Native Americans, and extol America's wilderness as a signature component of the nation's sense of self. Harvey traces how Humboldt's ideas influenced the transcendentalists and the landscape painters of the Hudson River School, and laid the foundations for the Smithsonian Institution, the Sierra Club, and the National Park Service. Alexander von Humboldt and the United States looks at paintings, sculptures, maps, and artifacts, and features works by leading American artists such as Albert Bierstadt, George Catlin, Frederic Church, and Samuel F. B. Morse. Published in association with the Smithsonian American Art Museum, Washington, DC Exhibition Schedule Smithsonian American Art Museum, Washington, DC September 18, 2020-January 3, 2021

Ford Madox Brown (1821-1893) is known predominantly for his close association with the Pre-Raphaelite Brotherhood and for his masterpiece, The Last of England (1852-55), with its poignant imagery of a young emigrant couple aboard ship taking their last sight of home. Admired by the young Dante Gabriel Rossetti, Brown was introduced by Rossetti to the artists of the PRB, an association that confirmed Brown's interests in outdoor light effects and led to the glowing palette of his great paintings of the 1850s. His interests embraced decorative design, and in the 1860s he was a founding member of the now famous decorating firm of Morris, Marshall, Faulkner & Co. This fully illustrated catalogue provides the first complete coverage of all of Madox Brown's work (including a section on frame designs contributed by Lynn Roberts). Drawing on the artist's diary and largely unpublished correspondence with associates and patrons, Mary Bennett provides a fascinating insight into his ideas and practice. Published for the Paul Mellon Centre for Studies in British Art

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.

In recent years, many prominent and successful artists have claimed that their primary concern is not the artwork they produce but the artistic process itself. In this volume, Kim Grant analyzes this idea and traces its historical roots, showing how changing concepts of artistic process have played a dominant role in the development of modern and contemporary art. This astute account of the ways in which process has been understood and addressed examines canonical artists such as Monet, Cezanne, Matisse, and De Kooning, as well as philosophers and art theorists such as Henri Focillon, R. G. Collingwood, and John Dewey. Placing "process art" within a larger historical context, Grant looks at the changing relations of the artist's labor to traditional craftsmanship and industrial production, the status of art as a commodity, the increasing importance of the body and materiality in art making, and the nature and significance of the artist's role in modern society. In doing so, she shows how process is an intrinsic part of aesthetic theory that connects to important contemporary debates about work, craft, and labor. Comprehensive and insightful, this synthetic study of process in modern and contemporary art reveals how artists' explicit engagement with the concept fits into a broader narrative of the significance of art in the industrial and postindustrial world.