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.

Jugendstil, that is Germany's distinct engagement with the international Art Nouveau movement, is now firmly engrained in histories of modern art, architecture and design. Recent exhibitions and publications across the world explored Jugendstil's key protagonists and artistic centres to firmly anchor their activities within the trajectories of German modernism. Women, however, continue to be largely absent from these revisionist accounts. Jugendstil Women and the Making of Modern Design argues that women in fact actively participated in the cultural and socio-economic exchanges that generated German design responses to European modernity. By drawing on previously unpublished archival material and a series of original case studies including Elsa Bruckmann's Munich salon, the Photo Studio Elvira and the Debschitz School, the book explores women's important contributions to modern German culture as collectors, consumers, critics, designers, educators, and patrons. This book offers a new interpretation of this vibrant period by considering diverse manifestations of historical female agency that pushed against historically entrenched conventions and gender roles. The book's rigorous approach reshapes Jugendstil historiography by positing women's lived experiences against dominant ideologies that emerged at this precise moment. In short, the book advocates women as an integral part of the emergence, dissemination and reception of Jugendstil and questions the deeply gendered histories of this key period in modern art, architecture and design.

A new appraisal of intriguing and meditative figural works by one of the 19th century's great masters of landscape The women painted by Camille Corot (1796-1875) read, dream, and gaze at the viewer, conveying an independent spirit and a sense of their inner lives. Corot's handling of color and his deft, delicate touch applied to the female form resulted in pictures of quiet majesty. Although these figural paintings constitute a relatively small and little-known portion of his oeuvre, they were of great importance for the founders of modernist painting, such as Paul Cezanne, Pablo Picasso, and Georges Braque. This publication encompasses some forty paintings by Corot-from the single-figure bust and full-length images of the 1840s through the 1860s nudes and his allegorical series devoted to the model in the studio. Essays by leading experts in the field address Corot's debt to the old masters and the impact of his pictures on both 19th- and 20th-century painting, the relationship of his figural work to his more famous landscape practice, his response to the shifting social position of artists' models, and the incursion of photography into artistic practice in the Second Empire and early Third Republic. Published in association with the National Gallery of Art, Washington Exhibition Schedule: National Gallery of Art, Washington (09/09/18-12/30/18)

The theory and practice of art underwent a number of fascinating changes between the sixteenth and the eighteenth centuries, changes which are clearly revealed in this unique collection of letters, journals, essays, and other writings by the artists and their contemporaries. In the poems of Michelangelo, the Dialogues of Carducho, or the Discourses of Sir Joshua Reynolds, one discovers the stylistic and philosophical concerns of the artist, while the record of Veronese's trial before the Holy Tribunal, the diary of Bernini's journey in France, the letters of Rubens and Poussin or biographical sketches of Rembrandt and Watteau reveal not only the personalities but also the conditions of the times. These basic and illuminating documents, now again available in paperback, provide an unparalleled opportunity for insight into the art and ideas of the periods the author discusses.

This book addresses the unique and profound indeterminacy of “Creole,� a label applied to white, black, and mixed-race persons born in French colonies during the nineteenth century. "Creole� implies that the geography of one’s birth determines identity in ways that supersede race, language, nation, and social status. Paradoxically, the very capaciousness of the term engendered a perpetual search for visual signs of racial difference as well as a pretense to blindness about the intermingling of races in Creole society. Darcy Grimaldo Grigsby reconstructs the search for visual signs of racial difference among people whose genealogies were often repressed. She explores French representations of Creole subjects and representations by Creole artists in France, the Caribbean, and the Americas. To do justice to the complexity of Creole identity, Grigsby interrogates the myriad ways in which people defined themselves in relation to others. With close attention to the differences between Afro-Creole and Euro-Creole cultures and persons, Grigsby examines figures such as Théodore Chassériau, Guillaume Guillon-Lethière, Alexandre Dumas père, Édouard Manet, Edgar Degas, the models Joseph and Laure, Josephine Bonaparte, Jeanne Duval, and Adah Isaacs Menken. Based on extensive archival research, Creole is an original and important examination of colonial identity. This essential study will be welcomed by specialists in nineteenth-century art history, French cultural history, the history of race, and transatlantic history more generally.

Fashion reveals not only who we are, but whom we aspire to be. From 1775 to 1925, artists in Europe were especially attuned to the gaps between appearance and reality, participating in and often critiquing the making of the self and the image. Reading their portrayals of modern life with an eye to fashion and dress reveals a world of complex calculations and subtle signals. Fashion in European Art explores the significance of historical dress over this period of upheaval, as well as the lived experience of dress and its representation. Drawing on visual sources that extend from paintings and photographs to fashion plates, caricatures and advertisements, the expert contributors consider how artists and their sitters engaged with the fashion and culture of their times. They explore the politics of dress, its inspirations and the reactions it provoked, as well as the many meanings of fashion in European art, revealing its importance in understanding modernity itself.

La peinture occupe une place privilegiee dans A la recherche du temps perdu dans la mesure ou elle fonctionne comme metaphore de l'ecriture. La peinture et l'ecriture, toutes les deux creatrices d'images, sont les moyens qui permettent a l'artiste de devoiler l'essence des choses. En integrant la peinture dans son ecriture, Proust propose un equivalent visible de l'ecriture. La peinture fait sortir du livre l'image et la met a la portee du lecteur. Ainsi, grace a la peinture, l'ecriture sort du cadre des mots pour avoir une existence visuelle. Dans La Peinture ou les lecons esthetiques chez Marcel Proust, Yae-Jin Yoo developpe une theorie de la metaphore proustienne a laquelle meneront les analyses de la relation entre la peinture et l'ecriture dans le progres du narrateur en quete de son identite et de son art. Ce livre propose une nouvelle perspective de la peinture chez Proust faisant appel a l'esthetique de la metaphore.

The French Republic--with its rallying cry for liberty, equality, and fraternity--emerged in 1870, and by 1880 had developed a coherent republican ideology. The regime pursued secular policies and emphasized its commitment to science and technology. Naturalism was an ideal aesthetic match for the republican ideology; it emphasized that art should be drawn from the everyday world, that all subjects were worthy of treatment, and that there should be flexibility in representation to allow for different voices.

"Art of the Actual" examines the use of naturalism in the 19th-century. It explores how pictures by artists such as Roll, Lhermitte, and Friant could be read as egalitarian and republican, assesses how well-known painters including Degas, Monet, and Toulouse-Lautrec situated their painting vis-a-vis the dominant naturalism, and opens up new arguments about caricatural and popular style. By illuminating the role of naturalism in a broad range of imagery in late 19th-century France, Richard Thomson provides a new interpretation of the art of the period.

How the history of art begins with the myth of the barbarian invasion-the romantic fragmentation of classical eternity. The history of art, argues Eric Michaud, begins with the romantic myth of the barbarian invasions. Viewed from the nineteenth century, the Germanic-led invasions of the Roman Empire in the fifth century became the gateway to modernity, seen not as a catastrophe but as a release from a period of stagnation, renewing Roman culture with fresh, northern blood-and with new art that was anti-Roman and anticlassical. Artifacts of art from then on would be considered as the natural product of "races" and "peoples" rather than the creation of individuals. The myth of the barbarian invasions achieved the fragmentation of classical eternity. This narrative, Michaud explains, inseparable from the formation of nation states and the rise of nationalism in Europe, was based on the dual premise of the homogeneity and continuity of peoples. Local and historical particularities became weapons aimed at classicism's universalism. The history of art linked its objects with racial groups-denouncing or praising certain qualities as "Latin" or "Germanic." Thus the predominance of linear elements was thought to betray a southern origin, and the "painterly" a Germanic or northern source. Even today, Michaud points out, it is said that art best embodies the genius of peoples. In the globalized contemporary art market, the ethnic provenance of works-categorized, for example, as "African American," "Latino," or "Native American"-creates added value. The market displays the same competition among "races" that was present at the foundation of art history as a discipline.

Continuing with the theme of his work Renaissance Perspectives in Literature and the Visual Arts, Murray Roston applies to a later period the same critical principle: that for each generation there exists a central complex of inherited ideas and urgent contemporary concerns to which each creative artist and writer responds in his or her own way. Roston demonstrates that what emerges is not a fixed or monolithic pattern for each generation but a dynamic series of responses to shared challenges. The book relates leading English writers and literary modes to contemporary developments in architecture, painting, and sculpture. "A sumptuous book...Clearly and gracefully written and cogently argued, Roston's admirable achievement is of paramount significance to literary studies, to cultural and art history, and to aesthetics...Outstanding."--Choice Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

For almost twenty years, new historicism has been a highly controversial and influential force in literary and cultural studies. In "Practicing the New Historicism, " two of its most distinguished practitioners reflect on its surprisingly disparate sources and far-reaching effects.
In lucid and jargon-free prose, Catherine Gallagher and Stephen Greenblatt focus on five central aspects of new historicism: recurrent use of anecdotes, preoccupation with the nature of representations, fascination with the history of the body, sharp focus on neglected details, and skeptical analysis of ideology. Arguing that new historicism has always been more a passionately engaged practice of questioning and analysis than an abstract theory, Gallagher and Greenblatt demonstrate this practice in a series of characteristically dazzling readings of works ranging from paintings by Joos van Gent and Paolo Uccello to "Hamlet" and "Great Expectations."
By juxtaposing analyses of Renaissance and nineteenth-century topics, the authors uncover a number of unexpected contrasts and connections between the two periods. Are aspects of the dispute over the Roman Catholic doctrine of the Eucharist detectable in British political economists' hostility to the potato? How does Pip's isolation in "Great Expectations" shed light on Hamlet's doubt?
Offering not only an insider's view of new historicism, but also a lively dialogue between a Renaissance scholar and a Victorianist, "Practicing the New Historicism" is an illuminating and unpredictable performance by two of America's most respected literary scholars.

This catalogue accompanies the first exhibition devoted to a fascinating group of drawings by the Anglo-Swiss Henry Fuseli (1741-1825), one of eighteenth-century Europe's most idiosyncratic, original and controversial artists. Best known for his notoriously provocative painting The Nightmare, Fuseli energetically cultivated a reputation for eccentricity, with vividly stylised images of supernatural creatures, muscle-bound heroes, and damsels in distress. While these convinced some viewers of the greatness of his genius, others dismissed him as a charlatan, or as completely mad. Fuseli's contemporaries might have thought him even crazier had they been aware that in private he harboured an obsessive preoccupation with the figure of the modern woman, which he pursued almost exclusively in his drawings. Where one might have expected idealised bodies with the grace and proportions of classical statues, here instead we encounter figures whose anatomies have been shaped by stiff bodices, waistbands, puff ed sleeves, and pointed shoes, and whose heads are crowned by coiffures of the most bizarre and complicated sort. Often based on the artist's wife Sophia Rawlins, the women who populate Fuseli's graphic work tend to adopt brazenly aggressive attitudes, either fixing their gaze directly on the viewer or ignoring our presence altogether. Usually they appear on their own, in isolation on the page; sometimes they are grouped together to form disturbing narratives, erotic fantasies that may be mysterious, vaguely menacing, or overtly transgressive, but where women always play a dominant role. Among the many intriguing questions raised by these works is the extent to which his wife Sophia was actively involved in fashioning her appearance for her own pleasure, as well as for the benefit of her husband. By bringing together more than fi fty of these studies (roughly a third of the known total), The Courtauld Gallery will give audiences an unprecedented opportunity to see one of the finest Romantic-period draughtsmen at his most innovative and exciting. Visitors to the show and readers of the lavishly illustrated catalogue will further be invited to consider how Fuseli's drawings of women, as products of the turbulent aftermath of the American and French Revolutions, speak to concerns about gender and sexuality that have never been more relevant than they are today. The exhibition showcases drawings brought together from international collections, including the Kunsthaus in Zurich, the Auckland Art Gallery in New Zealand, and from other European and North American institutions.

Whistler embarked on a new project in the 1880s, working on a small scale in oil, pastel and watercolour, representing new London subjects and painting portraits of new urban types. This book is the first critical study of Whistler and his Impressionist followers and offers an in-depth analysis of Whistler's art as well as new insights into his modernist project. Anna Gruetzner Robins shows how Whistler formed an avant-garde group around himself and sought out followers who included Elizabeth Armstrong Forbes, Mortimer Menpes, Theodore Roussel, Walter Sickert and Sidney Starr to emulate his art and proselytise on his behalf. Their reminiscences and writings provide new information about Whistler's art, while their own little-known work, much of which is published here for the first time, is a testimony to its persuasive effect. Using a wealth of primary material, Robins tracks the history of Whistler and his group and shows through testimony and practice that they were formulating an identity as avant-garde artists. This is the first critical study of these Impressionist artists and throws new light on this neglected aspect of British art.

"Princeton and the Gothic Revival" investigates America's changing attitudes toward medieval art around the turn of the twentieth century through the lens of Princeton University and its role as a major patron of Gothic Revival art and architecture. Johanna Seasonwein charts a shift from eclecticism to a more unified, "authentic" approach to medieval art, and examines how the language of medieval forms was used to articulate a new model of American higher education in campus design and the classroom.

The catalog for an exhibition at the Princeton University Art Museum, "Princeton and the Gothic Revival" breaks new ground by addressing why universities, and Princeton in particular, were so effective at bringing together what had been disparate interests in the Middle Ages. Revivalists and Medievalists were often at odds, yet at Princeton they used the language of the Middle Ages to create a new identity for the American university, one that was steeped in the traditions of Oxford and Cambridge but also embraced the model of the German research university.

"Princeton and the Gothic Revival" provides an overview of Princeton's Romanesque and Gothic Revival architecture and examines the changing approach to the idea of the "Gothic" by looking at three Princeton buildings and their stained glass windows: the Marquand Chapel, Procter Hall at the Graduate College, and the University Chapel.

The Pre-Raphaelites and Orientalism' redefines the task of interpreting the East in the late nineteenth century. It takes as a starting point Edward Said's 'Orientalism' (1978) in order to investigate the latent and manifest traces of the East in Pre-Raphaelite literature and culture. As Eleonora Sasso demonstrates, the Pre-Raphaelites and their associates appeared to be the most eligible representatives of a profoundly conservative manifestation of the Orient, of its mystic aura, criminal underworld, and feminine sensuality, or to put it into Arabic terms, of its aja'ib (marvels), mutalibun (treasure-hunters) and hur al-ayn (femmes fatales). By combining together Western and Oriental modes of art, this study fills a gap in Pre-Raphaelite and Oriental studies.

Imaginary Distance' is the first book to undertake a survey of the literature produced by nineteenth-century settler emigration. It argues that the demographic shift in the nineteenth century to settler colonies in Canada, Australia, New Zealand was also a textual one: a vast literature supported and underpinned this movement of people. The monograph brings printed emigrants' letters, manuscript shipboard newspapers and settler fiction into conversation with each other across the first three chapters to explore the generic features of 'emigration literature': textual mobility, a sense of place, and home-making. The last two chapters demonstrate how pervasive the textual cultures of settler emigration were in shaping the nineteenth-century cultural imagination: concerns raised in emigration literature were pervasive and seeped through representations of space and place: the works of Charles Dickens, Elizabeth Gaskell and Ford Madox Brown, amongst others, draw upon emigration to explore the networks of people and texts extending across the settler world.

Glamour is one of the most tantalizing and bewitching aspects of contemporary culture - but also one of the most elusive. The aura of celebrity, the style of the fashion world, the vanity of the rich and beautiful, and the publicity-driven rites of cafe society are all imbued with its irresistible magnetism. But what exactly is glamour? Where does it come from? How old is it? And can anyone quite capture its magic? Stephen Gundle answers all these questions and more in this first ever history of the phenomenon, from Paris in the tumultuous final decades of the eighteenth century through to Hollywood, New York, and Monte Carlo in the twentieth and twenty-first centuries, from Napoleon to Marlene Dietrich and Marilyn Monroe, from Beau Brummell to Gianni Versace. Throughout, the book captures the excitement and sex appeal of glamour while exposing its mechanisms and exploring its sleazy and sometimes tragic underside. As Gundle shows, while glamour is exciting and magnetic, its promise is ultimately an illusion that can only ever be partially fulfilled.

African-American art has made an increasingly vital contribution to the art of the United States from the time of its origins in early-eighteenth-century slave communities. This major reassessment of the subject discusses folk and decorative arts such as ceramics, furniture, and quilts alongside fine art -- sculptures, paintings, and photography -- produced by African Americans, both enslaved and free, throughout the nineteenth century. It explores art and politics, the influence of galleries and museums, and examines the New Negro Movement of the 1920s, the Era of Civil Rights and Black Nationalism through the 1960s and 1970s, and the emergence of new black artists and theorists in the 1980s and 1990s. African-American Art shows that in its cultural diversity and synthesis of cultures it mirrors those in American society as a whole.

`a much needed text. . . breaks down the barrier between folk and formal art, and articulates an interrelationship of both concepts to African-American people and their culture' Keith Morrison, Artist and Dean of the College of Arts, San Francisco State University.

`a fine survey of contemporary African-American art and ideas... a volume, which, like no other, can be used both as an unusual reference book and a good read' Emma Amos, Artist and Professor of Art at Rutgers University

Curators make many decisions when they build collections or design exhibitions, plotting a passage of discovery that also tells an essential story. Collecting captures the past in a way useful to the present and the future. Exhibits play to our senses and orchestrate our impressions, balancing presentation and preservation, information and emotion. Curators consider visitors' interactions with objects and with one another, how our bodies move through displays, how our eyes grasp objects, how we learn and how we feel. Inside the Lost Museum documents the work museums do and suggests ways these institutions can enrich the educational and aesthetic experience of their visitors. Woven throughout Inside the Lost Museum is the story of the Jenks Museum at Brown University, a nineteenth-century display of natural history, anthropology, and curiosities that disappeared a century ago. The Jenks Museum's past, and a recent effort by artist Mark Dion, Steven Lubar, and their students to reimagine it as art and history, serve as a framework for exploring the long record of museums' usefulness and service. Museum lovers know that energy and mystery run through every collection and exhibition. Lubar explains work behind the scenes-collecting, preserving, displaying, and using art and artifacts in teaching, research, and community-building-through historical and contemporary examples. Inside the Lost Museum speaks to the hunt, the find, and the reveal that make curating and visiting exhibitions and using collections such a rewarding and vital pursuit.

Thomas Eakins painted two worlds in nineteenth-century America: one sure of its values statesmen, scientists, and philosophers and one that offered an uncertain vision of the changing times. From the shadow of his mother's depression to his fraught identity as a married man with homosexual inclinations, to his failure to sell his work in his day, Eakins was a man marked equally by passion and melancholy.In this enlightening examination of Eakins's defining artistic moments and key relationships with wife Susan MacDowell, with subject and friend Walt Whitman, and with several leading scientists of his time William S. McFeely sheds light on the motivations and desires of a founder of American realism."

Continuing with the theme of his work Renaissance Perspectives in Literature and the Visual Arts, Murray Roston applies to a later period the same critical principle: that for each generation there exists a central complex of inherited ideas and urgent contemporary concerns to which each creative artist and writer responds in his or her own way. Roston demonstrates that what emerges is not a fixed or monolithic pattern for each generation but a dynamic series of responses to shared challenges. The book relates leading English writers and literary modes to contemporary developments in architecture, painting, and sculpture. "A sumptuous book. . . . Clearly and gracefully written and cogently argued, Roston's admirable achievement is of paramount significance to literary studies, to cultural and art history, and to aesthetics. . . . Outstanding."--Choice

Originally published in 1992.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

This is a vivid portrait of the French historical profession in the nineteenth and early twentieth centuries, concluding just before the emergence of the famous "Annales" school of historians. It places the profession in its social, academic, and political context and shows that historians of the period have been unfairly maligned as amateurish and primitive in comparison to their more celebrated successors.

Pim den Boer begins by sketching the contours of French historiography in the nineteenth century, examining the quantity of historical writing, its subject matter, and who wrote it. He traces the growing influence of professional historians. He shows the increasing involvement of the national government in historical studies, paying special attention to the impact of political factions, ranging from ultraroyalists to radical republicans. He explores how historical research and teaching changed at schools and universities. And he shows how nineteenth-century historians' keen understanding of the past and of historical methodology laid the foundations for historiography in the twentieth century. archives, including official documents, confidential reports, and personal letters. Den Boer makes use of statistical, biographical, and methodological analysis and demonstrates comprehensive knowledge of both minor historians and leading scholars, including Charles Seignobos and Charles-Victor Langlois.

Originally published in 1998.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Explores the interconnected creative partnerships of the Wattses and De Morgans - Victorian artists, writers and suffragists This is the first book dedicated to examining the marital relationships of Mary and George Watts and Evelyn and William De Morgan as creative partnerships. The study demonstrates how they worked, individually and together, to support greater gender equality and female liberation in the nineteenth century. The author traces their relationship to early and more recent feminism, reclaiming them as influential early feminists and reading their works from twentieth-century theoretical perspectives. By focusing on neglected female figures in creative partnerships, the book challenges longstanding perceptions of them as the subordinate wives of famous Victorian artists and of their marriages as representatives of the traditional gender binary. This is also the first academic critical study of Mary Watts's recently published diaries, Evelyn De Morgan's unpublished writings and other previously unexplored archival material by the Wattses and the De Morgans. Key Features: Reveals the ways in which the couples promoted progressive socio-political ideas Draws on extensive archival research and analyses unpublished writings, including diaries and poems Focuses on neglected female figures in creative partnerships to challenge longstanding perceptions of them as the submissive or subordinate wives of famous Victorian artists, and of their marriages as representatives of the traditional gender binary Shows how male and female writers and artists engaged with mid-to-late Victorian feminism together and individually, reclaiming them as influential early feminists

In the 1890s, French poet and playwright Alfred Jarry founded pataphysics, the absurdist "science of imaginary solutions," a concept that has been nominally recognized as the precursor to Dadaism, Surrealism, and the Theater of the Absurd, among other movements. Over a century after Jarry "made the gesture of dying," Katie L. Price and Michael R. Taylor argue that it is time to take the comedic intervention of pataphysics seriously. 'Pataphysics Unrolled collects critical and creative essays to create an unauthorized account of pataphysical experimentation from its origins in the late nineteenth century through the contemporary moment. Reaching beyond the geographic and cultural boundaries normally associated with pataphysics, this volume presents rich readings of pataphysical syzygy, traces the influence of pataphysics across disciplines and outside of coteries such as the College de 'Pataphysique, and asks fundamental questions about the field of modern and contemporary studies that challenge distinctions between the modern and the postmodern, high and low culture, the serious and the comic. Touching on disciplines such as literature, art, architecture, education, music, and technology, this book reveals how pataphysics has been a platform and medium for persistent intellectual, poetic, conceptual, and artistic experimentation for over a century. In addition to the editors, the contributors to this volume include Charles Bernstein, Marc Decimo, Adam Dickinson, Johanna Drucker, Craig Dworkin, Catherine Hansen, James Hendler, John Heon, Ted Hiebert, Andrew Hugill, Steve McCaffery, Seth McDowell, Jerome McGann, Anne M. Mulhall, Marcus O'Dair, Jean-Michel Rabate, Orchid Tierney, and Brandon Walsh.

Raden Saleh and Juan Luna's agile navigation of these competing positions resulted in dramatic paintings that have been read as allegories of anti- colonialism in their respective homelands of Indonesia and the Philippines. From Orientalist hunting scenes to realist portrayals of the working class, their works trace stylistic shifts in painting through the 19th century, while re ecting the cultural and social dynamics of this period of enormous change.