This bibliography provides a source for reviews of the state-sponsored Parisian exhibitions of painting and sculpture (Salons) held during the period 1699-1827. It includes an extensive list of references, each presented in a standard format with titles, dates and ordering codes based upon the holdings of the Bibliotheque nationale in Paris. It is indexed both by authors and by periodicals. The essays and articles that are catalogued are of fundamental importance in establishing a picture of contemporary reactions to art in eighteenth- and early nineteenth-century France, and yet the standard work by Maurice Tourneux, Salons et expositions d'art a Paris, 1801-1870, has been out of print for several decades. By incorporating and correcting the relevant material from Tourneux, adding references from the Deloynes collection (together with full details of original sources) and incorporating a broad sample from the periodical press, the authors have achieved a substantial increase in the volume and range of criticism available for analysis by cultural and literary historians.

This volume provides the most comprehensive selection of Audubon's writings ever published, along with a portfolio of his drawings.

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 comprehensive review of art in the first truly modern century A Companion to Nineteenth-Century Art contains contributions from an international panel of noted experts to offer a broad overview of both national and transnational developments, as well as new and innovative investigations of individual art works, artists, and issues. The text puts to rest the skewed perception of nineteenth-century art as primarily Paris-centric by including major developments beyond the French borders. The contributors present a more holistic and nuanced understanding of the art world during this first modern century. In addition to highlighting particular national identities of artists, A Companion to Nineteenth-Century Art also puts the focus on other aspects of identity including individual, ethnic, gender, and religious. The text explores a wealth of relevant topics such as: the challenges the artists faced; how artists learned their craft and how they met clients; the circumstances that affected artist's choices and the opportunities they encountered; and where the public and critics experienced art. This important text: Offers a comprehensive review of nineteenth-century art that covers the most pressing issues and significant artists of the era Covers a wealth of important topics such as: ethnic and gender identity, certain general trends in the nineteenth century, an overview of the art market during the period, and much more Presents novel and valuable insights into familiar works and their artists Written for students of art history and those studying the history of the nineteenth century, A Companion to Nineteenth-Century Art offers a comprehensive review of the first modern era art with contributions from noted experts in the field.

With this publication a comprehensive study of Impressionism in Canada is available: from its beginnings in France, via the dissemination of the new style through artists, gallerists, dealers and collectors in North America, and its incorporation into and propagation within a hitherto conservative milieu, to the reception of Canadian Impressionism both nationally and internationally. The study culminates in the concise portrayal of the lives and works of fourteen of the most significant Canadian artists - including William Blair Bruce, Maurice Cullen, J. W. Morrice, Laura Muntz Lyall, Marc-Aurele de Foy Suzor-Cote, Helen McNicoll and Clarence Gagnon - along with several other artists who for some time also employed Impressionist techniques. In this overview not only are the sources of inspiration in French Impressionism presented but also how masterfully and with aplomb these artists found their own artistic form of expression, which has decisively shaped Canadian Impressionist painting today.

Mark C. Taylor provocatively claims that contemporary art has lost its way. With the art market now mirroring the art of finance, many artists create works solely for the purpose of luring investors and inspiring trade among hedge funds and private equity firms. When art is commodified, corporatized, and financialized, it loses its critical edge and is transformed into a financial instrument calculated to maximize profitable returns.

Joseph Beuys, Matthew Barney, James Turrell, and Andy Goldsworthy are artists who differ in style, yet they all defy the trends that have diminished art's potential in recent decades. They understand that art is a transformative practice drawing inspiration directly and indirectly from ancient and modern, Eastern and Western forms of spirituality. For Beuys, anthroposophy, alchemy, and shamanism drive his multimedia presentations; for Barney and Goldsworthy, Celtic mythology informs their art; and for Turrell, Quakerism and Hopi myth and ritual shape his vision.

Eluding traditional genres and classifications, these artists combine spiritually inspired styles and techniques with material reality, creating works that resist merging space into cyberspace in a way that overwhelms local contexts with global networks. Their art reminds us of life's irreducible materiality and humanity's inescapability of place. For them, art is more than just an object or process -- it is a vehicle transforming human awareness through actions echoing religious ritual. By lingering over the extraordinary work of Beuys, Barney, Turrell, and Goldsworthy, Taylor not only creates a novel and personal encounter with their art but also opens a new understanding of overlooked spiritual dimensions in our era.

Rebirth of the English Comic Strip: A Kaleidoscope, 1847-1870 enters deep into an era of comic history that has been entirely neglected. This buried cache of mid-Victorian graphic humor is marvelously rich in pictorial narratives of all kinds. Author David Kunzle calls this period a ""rebirth"" because of the preceding long hiatus in use of the new genre, since the Great Age of Caricature (c.1780-c.1820) when the comic strip was practiced as a sideline. Suddenly in 1847, a new, post-Toepffer comic strip sparks to life in Britain,, mostly in periodicals, and especially in Punch, where all the best artists of the period participated, if only sporadically: Richard Doyle, John Tenniel, John Leech, Charles Keene, and George Du Maurier. Until now, this aspect of the extensive oeuvre of the well-known masters of the new journal cartoon in Punch has been almost completely ignored. Exceptionally, George Cruikshank revived just once, in The Bottle, independently, the whole serious, contrasting Hogarthian picture story. Numerous comic strips and picture stories appeared in periodicals other than Punch by artists who were likewise largely ignored. Like the Punch luminaries, they adopt in semirealistic style sociopolitical subject matter easily accessible to their (lower-)middle-class readership. The topics covered in and out of Punch by these strips and graphic novels range from French enemies King Louis-Philippe and Emperor Napoleon III to farcical treatment of major historical events: the Bayeux tapestry (1848), the Great Exhibition of 1851, and the Franco-Prussian War 1870. Artists explore a great variety of social types, occupations, and situations such as the emigrant, the tourist, fox hunting and Indian big game hunting, dueling, the forlorn lover, the student, the artist, the toothache, the burglar, the paramilitary volunteer, Darwinian animal metamorphoses, and even nightmares. In Rebirth of the English Comic Strip, Kunzle analyzes these much neglected works down to the precocious modernist and absurdist scribbles of Marie Duval, Europe's first female professional cartoonist.

The book will provides the first detailed history of the Bridgewater collection. The story extends from the 3rd Duke of Bridgewater's purchases in Rome in the 1750s, then on to the major acquisitions of the 1790s (especially from the Orleans collection), then through the incorporation of the collection into the Stafford Gallery by the 2nd Marquess of Stafford (1st Duke of Sutherland), and finally to its reinstallation by Lord Francis Egerton in the new Bridgewater House in 1851. As well as providing a detailed account of the personalities and differing motives of three generations of collectors and owners, the book examines the ways in which the collection was arranged and displayed. It also discusses reactions to it by contemporaries, from sophisticated critics such as William Hazlitt, to the general public, and analyses major publications on it such as the four-volume illustrated catalogue by William Young Ottley of 1818. The illustrations will include many works sold from the collection aft er 1946 and now widely dispersed.

A vigorously written account of the changes in the depiction of the rural poor in English landscape painting between 1730 and 1840.

Following in the methodological footsteps of his prize-winning Sir Joshua Reynolds: The Painter in Society, Richard Wendorf's new book on British art in the eighteenth and nineteenth centuries is an experiment in cultural history, combining the analysis of specific artistic objects with an exploration of the cultural conditions in which they were created. Themes include an investigation of what happens when a painter dies, the role of writing around and within visual objects, and the nature of evidence in art history. Extended interpretations of some of the most iconic images in British art, including Constable's Cenotaph, Raeburn's Skating Minister, Stubbs's Haymakers and Reapers, and Rossetti's Prosperpine, Venus Verticordia, and Blessed Damosel, are part of a broader investigation of the ways in which we practice art history today. Published for the Paul Mellon Centre for Studies in British Art

Challenging cliches of Japanism as a feminine taste, Bachelor Japanists argues that Japanese aesthetics were central to contests over the meanings of masculinity in the West. Christopher Reed draws attention to the queerness of Japanist communities of writers, collectors, curators, and artists in the tumultuous century between the 1860s and the 1960s. Reed combines extensive archival research; analysis of art, architecture, and literature; the insights of queer theory; and an appreciation of irony to explore the East-West encounter through three revealing artistic milieus: the Goncourt brothers and other japonistes of late-nineteenth-century Paris; collectors and curators in turn-of-the-century Boston; and the mid-twentieth-century circles of artists associated with Seattle's Mark Tobey. The result is a groundbreaking integration of well-known and forgotten episodes and personalities that illuminates how Japanese aesthetics were used to challenge Western gender conventions. These disruptive effects are sustained in Reed's analysis, which undermines conventional scholarly investments in the heroism of avant-garde accomplishment and ideals of cultural authenticity.

Henri Rousseau was the first naive artist in the history of Western art to be recognized for his true worth. His paintings have now entered popular consciousness to such an extent that it is difficult to imagine how strongly they were resisted at the time. Much of the credit for his transformation is due to the author of these Recollections, dealer and art historian Wilhelm Uhde. It was Uhde who mounted the first exhibition of Rousseau's work, and the catalog he wrote for the occasion is the basis of the Recollections. In it, he painted a picture of a man of naivete, humor, and total commitment to an art of whose importance he was utterly convinced.

Mary Crovatt Hambidge (1885-1973) was an aspiring actress and a professional whistler on Broadway when she met Canadian-born Jay Hambidge (1867-1924), an artist, illustrator, and scholar. Their relationship would prove to be both a romantic and an artistic partnership. Jay Hambidge formulated his own artistic concept, known as Dynamic Symmetry, which stipulated that the compositional rules found in nature's symmetry should be applied to the creation of art. Mary Hambidge pioneered new techniques of weaving and dyeing fabric that merged Greek methods with Appalachian weaving and spinning traditions. The Hambidge Center for Creative Arts and Sciences, formed during the mid-1930s, provides an artists' community situated on six hundred rural acres in the north Georgia mountains where hundreds of visual artists, writers, potters, composers, dancers, and other artists have pursued their crafts. Dynamic Design details Jay Hambidge and Mary Crovatt Hambidge's cross-cultural and cross-historical explorations and examines their lasting contributions to twentieth-century art and cultural history. Virginia Gardner Troy illustrates how Jay and Mary were important independently and collectively, providing a wider understanding of their lives within the larger context of late nineteenth- and early twentieth-century art and design. They were from two different worlds, nearly a generation apart in age, and only together for ten years, but their lives intertwined at a pivotal moment in their development. They shared parallel goals to establish a place where they could integrate the arts and crafts around the principles of Dynamic Symmetry. Troy explores how this dynamic duo's ideas and artistic expressions have resonated with admirers throughout the decades and reflect the trends and complexities of American culture through various waves of cosmopolitanism, utopianism, nationalism, and isolationism. The Hambidges' prolific partnership and forward-thinking vision continue to aid and inspire generations of aspiring artists and artisans.

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.

Liberty is the last word in bohemian luxury, a destination and brand celebrated for its unique blend of avant-garde design and expert craftsmanship. Liberty: The History celebrates the historic beginnings of the iconic store as well as their contemporary vision – from their 'Eastern Bazaar' of objets d'art, rugs and textiles from Japan and the East to the brand's association with the developing Art Nouveau movement, their whimsical window displays and quintessential Art Fabrics, to the innovations in design and printmaking and the savvy collaborations and creative direction that have kept Liberty at the forefront of the fashion world. With treasures from the Liberty archives including classic silk scarves, designs spanning over a century and original sketches for Liberty Art Fabrics, this is the official invitation into a London institution and a global icon. This deluxe edition features a cloth-bound hardback book, 10 exquisite art prints and a stunning collectible gift box.

William Morris was an outstanding character of many talents, being an architect, writer, social campaigner, artist and, with his Kelmscott Press, an important figure of the Arts and Crafts movement. Many of us probably know him best, however, from his superb furnishings and textile designs, intricately weaving together natural motifs in a highly stylized two-dimensional fashion influenced by medieval conventions. William Morris Masterpieces of Art offers a survey of his life and work alongside some of his finest decorative work.

In this volume, emerging and established scholars bring ethical and political concerns for the environment, nonhuman animals and social justice to the study of nineteenth-century visual culture. They draw their theoretical inspiration from the vitality of emerging critical discourses, such as new materialism, ecofeminism, critical animal studies, food studies, object-oriented ontology and affect theory. This timely volume looks back at the early decades of the Anthropocene to query the agency of visual culture to critique, create and maintain more resilient and biologically diverse local and global ecologies.

Inspired by newly discovered antiquities of the ancient world exhibited in the museums of Europe and celebrated in the illustrated press of the day, the leading British history painters Sir Lawrence Alma-Tadema, Sir Edward Poynter and Edwin Long created a striking body of artworks in which archaeology was a prime focus. Of the growing community of historicist and classicist painters in mid-nineteenth century Britain, these artists expressed a passion for archaeological detail, and their aesthetic engagement with ancient material culture played a key role in fostering the enthusiasm for antiquity with wider audiences. Painting Antiquity explores the archaeological dimension of their paintings in detail, addressing how the relationship these artists had with ancient objects represented a distinctive and important development in the cultural reception of the past. The book also considers the inspiration for the movement defined as "archaeological genre painting," the artistic and historic context for this new style, the archaeological sources upon which the artworks were based, and the critical reception of the paintings in the world of Victorian art criticism. Alongside extensive visual evidence, rendered here in both striking color and black-and-white imagery, Stephanie Moser shows how this artistic practice influenced our understanding of ancient Egypt. Further, she argues that these paintings affected the development of archaeology as a discipline, revealing how the painters had an intense engagement with archaeology, representing artefacts in extraordinary detail and promoting the use of ancient material culture according to an aesthetic agenda. The issues raised by placing importance on concepts of beauty and decoration, over values such as rarity, function, or historical use continue to divide archaeologists and art historians in the present day. Ultimately, by demonstrating how the artistic dialogue with antiquity contributed to defining it, Painting Antiquity sheds important new light on the two-way exchanges between visual representations of the past and knowledge formation.

Looking at the newspaper clipping from 1870 to 1930 in art and science, this study examines knowledge production and its visual and material background, combining the perspectives of media history with art history and the history of science. It traces the biography of a newspaper clipping in different fields, ranging from highly sophisticated ordering systems in the sciences, to bureaucratic archives, to their appearance in the collages of the Dadaists. Te Heesen emphasises the materiality of paper and analyses the practices connected with it, placing them and their instruments and tools within a theoretical framework. This history also sheds light on the handling of information, information overload and the generation of knowledge, drawing parallels with the internet. Te Heesen offers a counterpoint to existing works on the iconographic meaning of materials by opening up an interdisciplinary framework through the use of different case studies. -- .

The Norwegian painter, novelist, and social critic Christian Krohg (1852-1925) is best known for creating highly political paintings of workers, prostitutes, and Skagen fishermen of the 1880s and for serving as a mentor to Edvard Munch. One of the Nordic countries' most avant-garde naturalist artists, Krohg was influenced by French thinkers such as Emile Zola, Claude Bernard, and Hippolyte Taine, and he shocked the provincial sensibilities of his time. His work reached beyond the art world when his book Albertine and its related paintings were banned upon publication. Telling the story of a young seamstress who turns to a life of prostitution, it galvanized support for outlawing prostitution in Norway-but Krohg was also punished for the work's sexual content. Examining the theories of Krohg and his fellow naturalists and their reception in Scandinavian intellectual circles, Oystein Sjastad places Krohg in an international perspective and reveals his striking contribution to European naturalism. In the process, Christian Krohg's Naturalism provides an unparalleled account of Krohg's art.

In his best-selling travel memoir, The Innocents Abroad, Mark Twain punningly refers to the black man who introduces him to Venetian Renaissance painting as a “contraband guide,� a term coined to describe fugitive slaves who assisted Union armies during the Civil War. By means of this and similar case studies, Paul H. D. Kaplan documents the ways in which American cultural encounters with Europe and its venerable artistic traditions influenced nineteenth-century concepts of race in the United States. Americans of the Civil War era were struck by the presence of people of color in European art and society, and American artists and authors, both black and white, adapted and transformed European visual material to respond to the particular struggles over the identity of African Americans. Taking up the work of both well- and lesser-known artists and writers—such as the travel writings of Mark Twain and William Dean Howells, the paintings of German American Emanuel Leutze, the epistolary exchange between John Ruskin and Charles Eliot Norton, newspaper essays written by Frederick Douglass and William J. Wilson, and the sculpture of freed slave Eugène Warburg—Kaplan lays bare how racial attitudes expressed in mid-nineteenth-century American art were deeply inflected by European traditions. By highlighting the contributions people of black African descent made to the fine arts in the United States during this period, along with the ways in which they were represented, Contraband Guides provides a fresh perspective on the theme of race in Civil War–era American art. It will appeal to art historians, to specialists in African American studies and American studies, and to general readers interested in American art and African American history.

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

From Hogarth to Reynolds, from Gainsborough to Turner, the great protagonists of English painting between the eighteenth and nineteenth centuries. This is the first comprehensive overview of the extraordinary development of British painting during the eighteenth century, which anticipated themes, styles, and techniques that later became paradigms of modernity. This volume focuses on the English context at a time when the growth of artistic standing was accompanied by the country's conquest of hegemony on a historical, political, and economic plane. The volume is arranged chronologically in seven sections, which include a selection of over 100 masterpieces by the most significant English painters. The main objective is to enable readers to rediscover the genres of portrait and landscape, which have always characterized British art. Readers can admire the work of artists like William Hogarth, Henry Fuseli (Johann Heinrich Fussli), Sir Joshua Reynolds, Thomas Gainsborough, Joseph Wright of Derby, George Stubbs, John Constable, and William Turner, who offer a completely original cross section of eighteenth- and early nineteenth-century painting in Great Britain.

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.

Walter Pater's European Imagination addresses Pater's literary cosmopolitanism as the first in-depth study of his fiction in dialogue with European literature. Pater's short pieces of fiction, the so-called 'imaginary portraits', trace the development of the European self over a period of some two thousand years. They include elements of travelogue and art criticism, together with discourses on myth, history, and philosophy. Examining Pater's methods of composition, use of narrative voice, and construction of character, the book draws on all of Pater's oeuvre and includes discussions of a range of his unpublished manuscripts, essays, and reviews. It engages with Pater's dialogue with the visual portrait and problematises the oscillation between type and individual, the generic and the particular, which characterises both the visual and the literary portrait. Exploring Pater's involvement with nineteenth-century historiography and collective memory, the book positions Pater's fiction solidly within such nineteenth-century genres as the historical novel and the Bildungsroman, while also discussing the portraits as specimens of biographical writing. As the 'Ur-texts' from which generations of modernist life-writing developed, Pater's 'imaginary portraits' became pivotal for such modernist writers as Virginia Woolf and Harold Nicolson. Walter Pater's European Imagination explores such twentieth-century successors, together with French contemporaries like Sainte-Beuve and followers like Marcel Schwob.