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Books > Arts & Architecture > History of art / art & design styles > 1800 to 1900
Painters Robert Duncanson (ca. 1821-1872) and Edward Bannister
(1828-1901) and sculptor Mary Edmonia Lewis (ca. 1844-1907) each
became accomplished African American artists. But as emerging art
makers of color during the antebellum period, they experienced
numerous incidents of racism that severely hampered their pursuits
of a profession that many in the mainstream considered the highest
form of social cultivation. Despite barriers imposed upon them due
to their racial inheritance, these artists shared a common cause in
demanding acceptance alongside their white contemporaries as
capable painters and sculptors on local, regional, and
international levels. Author Naurice Frank Woods Jr. provides an
in-depth examination of the strategies deployed by Duncanson,
Bannister, and Lewis that enabled them to not only overcome
prevailing race and gender inequality, but also achieve a measure
of success that eventually placed them in the top rank of
nineteenth-century American art. Unfortunately, the racism that
hampered these three artists throughout their careers ultimately
denied them their rightful place as significant contributors to the
development of American art. Dominant art historians and art
critics excluded them in their accounts of the period. In this
volume, Woods restores their artistic legacies and redeems their
memories, introducing these significant artists to rightful, new
audiences.
This lavish catalogue presents sketches made en plein air between
the end of the eighteenth century and late nineteenth century. It
accompanies a major exhibition at the National Gallery of Art,
Washington (USA), the Fondation Custodia (France) and the
Fitzwilliam Museum, Cambridge (UK). In the eighteenth century the
tradition of open-air painting was based in Italy, Rome in
particular. Artists came from all over Europe to study classical
sculpture and architecture, as well as masterpieces of Renaissance
and Baroque art. During their studies, groups of young painters
visited the Italian countryside, training their eyes and their
hands to transcribe the effects of light on a range of natural
features. The practice became an essential aspect of art education,
and spread throughout Europe in the nineteenth century. This
exhibition focuses on the artists' wish to convey the immediacy of
nature observed at first hand. Around a hundred works, most of them
unfamiliar to the general public, will be displayed. The artists
represented include Thomas Jones, John Constable, J.M.W. Turner,
Pierre-Henri de Valenciennes, Achille-Etna Michallon, Camille
Corot, Christoffer Wilhelm Eckersberg, Johan Thomas Lundbye,
Vilhelm Kyhn, Carl Blechen, Johann Martin von Rohden, Johann
Wilhelm Schirmer, Johann Jakob Frey, among others. The sketches
demonstrate the skill and ingenuity with which each artist quickly
translated these first-hand observations of atmospheric and
topographical effects while the impression was still fresh. The
exhibition and the catalogue will be organized thematically,
reviewing, as contemporary artists did, motifs such as trees,
rocks, water, volcanoes, and sky effects, and favourite
topgraphical locations, such as Rome and Capri. The catalogue will
present numerous unpublished plein air sketches, and contains
original scholarship on this relatively young field of art history.
Contemporary Crafts explores craft practices in both North America
and Britain, revealing an astonishingly rich and diverse picture of
artisanal work today. The book ranges across both urban and rural
crafts and analyses how the country/city dichotomy creates
differing approaches, practices and objects. Analysed in the
context of their environment and its localised history, crafted
objects are shown to embody or critique particular urban/rural
myths and traditions. Covering both traditional and cutting-edge
crafts from the small-scale domestic to large outdoor works,
Contemporary Crafts demonstrates how craftspeople today are
responding to the changing creative contexts of culture and
history.
This is the story of Marianne North, an unmarried middle-aged
Victorian lady of comfortable means, set off in 1871 on her first
expedition to make a pictorial record of the tropical and exotic
plants of the world. Marianne produced more than 800 paintings
which are housed in a special gallery at Kew. Now in second edtion,
this book provides an overview of her paintings and the Marianne
North Gallery (built under her patronage) where almost all her
paintings hang, the history of the gallery and its architecture and
its restoration. The beautiful gift book details Marianne's life
and travels, fully illustrated throughout with her stunning
botanical paintings. This second edition of the bestseller features
updated information and the new format allows Marianne's paintings
to be reproduced on a larger scale.
Arthur J. Elsley was the most popular 'chocolate box' artist of the
late Victorian and Edwardian period; over 150 of his works were
reproduced as prints. Long dismissed by art historians, this genre
now demands reappraisal as an important aspect of Victorian art.
Its appealing qualities are extremely accessible, presenting a
comfortable, idealized world of clean, smiling children that has
brought pleasure to millions.
Terry Parker has interviewed Elsley's only child and principal
model, whose reminiscences and anecdotes bring his work to life.
Her archive of photographs of Elsley's studio and models, together
with his address book, provide rare insight into the workings of
this artist.
Auction houses have witnessed an astronomical rise in the
popularity of Elsley's oil paintings in the last ten years: one
piece sold for $220,000.00 in 1996. Modern greeting card, calendar
and print companies remain eager to reproduce his images, which are
still found on a wide variety of products.
Manet's well-known painting in the National Gallery London of a
cafe-concert - a kind of cabaret performance and musicmaking that
was the latest fashion in Paris of the 1870s - has a peculiar
history. The painter initially planned an ambitious canvas with
which he grew dissatisfied, then cut it in two, one half being the
painting in the National Gallery and the other half now in
Winterthur in Switzerland. He repainted both fragments to make each
work as a picture in their own right, but modern technology has
discovered and reconstructed the original greater work. New
research has also identified the cafe, the Reichshoffen, and even
the Folies-Bergere performance that is advertised on a poster
represented in the picture. This study of a pivotal work in the
troubled painter's oeuvre reveals his pioneering genius and the
modernity of his search to capture a distillation of life in his
own time through disconcertingly direct brushstrokes. The book
discusses and illustrates related drawings and other paintings on
the same theme, which would culminate a mere three or four years
later in the Bar in the Folies-Bergere in the Courtauld Gallery,
London. Without the experimentation, false paths and new
discoveries of the Reichshoffen he would never have painted that
masterpiece.
More than one hundred works are catalogued in the second of two
volumes devoted to the National Gallery of Art's holdings of
nineteenth-century American paintings, including virtually all of
the important portraits in the collection. Distinguished in part by
the concentration of works by three preeminent artists, Thomas
Sully, John Singer Sargent, and James McNeill Whistler, this
collection also includes John Quidor's "The Return of Rip van
Winkle," Albert Pinkham Ryder's "Siegfried and the Rhine Maidens,"
and Rembrandt Peale's "Rubens Peale with a Geranium." The author
has skillfully untangled the misattributions, misidentifications,
and inaccurate provenances surrounding many of the paintings.
Pierre-Auguste Renoir's "La Loge" (The Theatre Box), 1874, is one
of the masterpieces of Impressionism and a major highlight of The
Courtauld Gallery's collection. Its depiction of an elegant couple
on display in a loge, or box at the theatre, epitomises the
Impressionists' interest in the spectacle of modern life. At the
heart of the painting is the complex play of gazes enacted by these
two figures seated in a theatre box. In turning away from the
performance, Renoir focused instead upon the theatre as a social
stage where status and relationships were on public display.This
book accompanies an exhibition in celebration of The Courtauld
Institute of Art's 75th anniversary which unites "La Loge" for the
first time with Renoir's other treatments of the subject and with
loge paintings by contemporaries, including Mary Cassatt and Edgar
Degas. Concentrating on the early years of Impressionism during the
1870s, the book explores how these artists used the loge to capture
the excitement and changing nature of fashionable Parisian society.
Lavishly produced contemporary journals such as "La Mode Illustree"
included fine hand-coloured engravings showing the latest fashions
modelled by elegant ladies in theatre boxes. A rich selection of
this little-known graphic material from contemporary Parisian
journals, as well as caricatures from the popular press, will also
be examined.
This book follows the life of Ivan Aguéli, the artist, anarchist,
and esotericist, notable as one of the earliest Western
intellectuals to convert to Islam and to explore Sufism. This book
explores different aspects of his life and activities, revealing
each facet of Aguéli’s complex personality in its own right. It
then shows how esotericism, art, and anarchism finally found their
fulfillment in Sufi Islam. The authors analyze how Aguéli’s life
and conversion show that Islam occupied a more central place in
modern European intellectual history than is generally realized.
His life reflects several major modern intellectual, political, and
cultural trends. This book is an important contribution to
understanding how he came to Islam, the values and influences that
informed his life, and—ultimately—the role he played in the
modern Western reception of Islam.
Art flourished in France to an exciting and unprecedented degree in
the 19th century. Sculpture was a part of this fantastic explosion
of creative genius with such artistic giants as Rodin, Barye,
d'Angers and Carpeaux. At the same time technological advances in
the bronze industry transformed sculpture from an art form for
public plazas and the rich to art for living rooms and vestibules
of even the middle class. The result has been an abundant supply of
nineteenth century French bronzes-some common reproductions, and
some extremely valuable limited editions. In this important
reference, you can discover a wealth of information. This
extraordinary volume contains a complete encyclopedia of almost 750
French artists, with biographies, listings of works (along with
size and foundry when known), museum pieces in France and
elsewhere, and recent sales. It also includes an overview of 19th
century bronze sculpture, the foundries that cast the bronzes, and
methods used to cast works. 1000 photographs capture the beauty of
the pieces and help identify these and similar works.
William Henry Fox Talbot - a scientist, mathematician, author and
artist - is credited with being the inventor of photography as we
know it. In mid-1834 he began to experiment with light-sensitive
chemistry, and in January 1839 he announced his invention of the
photogenic drawing, two weeks after Louis-Jacques Mande Daguerre's
daguerreotype process debuted in France. Talbot's improved process,
the calotype, was introduced in 1840. This invention, which
shortened exposure times and facilitated making multiple prints
from a single negative, became the basis for photography as it is
practised today The Getty Museum's collection of photographs
includes approximately 350 by Talbot, and approximately 50 are
reproduced here in colour with commentary on each image by Larry J.
Schaaf. Schaaf also provides an introduction to the volume and a
chronological overview of the artist's life This volume includes an
edited transcript of a colloquium on Talbot's career with
participants Schaaf, Michael Ware, Geoffrey Batchen, Nancy Keeler,
James Fee, Weston Naef and David Featherstone.
Smile of the Buddha explores the influences of Asian world-views
and particularly Buddhism on the art of Europe and America in the
modern era. In an informative and perceptive introduction and
essays on twenty well-known artists, Jacquelynn Baas analyzes how
the teachings of the Buddha offered alternatives to Western
intellectual conceptions of art and traces the various ways this
inspiration materialized in artworks. The influence of Buddhism on
art from the last quarter of the nineteenth century to the present
has been greater than historians and critics generally recognize,
Baas claims. Considering essential questions about the relationship
of art and life, this timely and beautifully illustrated book
expands our perspective on how spirituality and creativity inspire
and inform one another. Baas's insights and the images she presents
give the reader a new understanding and appreciation of a diverse
array of Western artworks.
Before unification, Germany was a loose collection of variously
sovereign principalities, nurtured on deep thought, fine music and
hard rye bread. It was known across Europe for the plentiful supply
of consorts to be found among its abundant royalty, but the
language and culture was largely incomprehensible to those outside
its lands. In the long eighteenth and nineteenth centuries- between
the end of the Thirty Years War in 1648 and unification under
Bismarck in 1871 - Germany became the land of philosophers, poets,
writers and composers. This particularly German cultural movement
was able to survive the avalanche of Napoleonic conquest and
exploitation and its impact was gradually felt far beyond Germany's
borders. In this book, Roderick Cavaliero provides a fascinating
overview of Germany's cultural zenith in the eighteenth and
nineteenth centuries. He considers the work of Germany's own
artistic exports - the literature of Goethe and Grimm, the music of
Wagner, Schumann, Mendelssohn and Bach and the philosophy of
Schiller and Kant - as well as the impact of Germany on foreign
visitors from Coleridge to Thackeray and from Byron to Disraeli.
Providing a comprehensive and highly-readable account of Germany's
cultural life from Frederick the Great to Bismarck, 'Genius, Power
and Magic' is fascinating reading for anyone interested in European
history and cultural history.
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