Best known today as the illustrator of Lewis Carroll's Alice books, John Tenniel was one of the Victorian era's chief political cartoonists. This extensively illustrated book is the first to draw almost exclusively on primary sources in family collections, public archives, and other depositories. Frankie Morris examines Tenniel's life and work, producing a book that is not only a definitive resource for scholars and collectors but one that can be easily enjoyed by everyone interested in Victorian life and art, social history, journalism and political cartoons, and illustrated books. In the first part of the book, Morris looks at Tenniel the man. From his sunny childhood and early enthusiasm for sports, theatre, and medievalism to his flirtation with high art and his fifty years with the London journal Punch, Tenniel is shown to have been the sociable and urbane humorist revealed in his drawings. Tenniel's countrymen thought his work would embody for future historians the 'trend and character' of Victorian thought and life. Morris assesses to what extent that prediction has been fulfilled. The biography is followed by three sections on Tenniel's work, consisting of thirteen independent essays in which the author examines Tenniel's methods and his earlier book illustrations, the Alice pictures, and the Punch cartoons. For lovers of Alice, Morris offers six chapters on Tenniel's work for Carroll. These reveal demonstrable links with Christmas pantomimes, Punch and Judy shows, nursery toys, magic lanterns, nineteenth-century grotesques, Gothic revivalism, and social caricatures. Morris also demonstrates how Tenniel's cartoons depicted the key political questions of his day, from the Eastern Question to Lincoln and the American Civil War, examining their assumptions, devices, and evolving strategies. The definitive study of both the man and the work, Artist of Wonderland gives an unprecedented view of the cartoonist who mythologized the world for generations of Britons.

'Magnificent. Beautifully written, immaculately researched and thoroughly absorbing from start to finish. A tour de force that explains how Europe's cultural life transformed during the course of the 19th century - and so much more' Peter Frankopan From the bestselling author of Natasha's Dance, The Europeans is richly enthralling, panoramic cultural history of nineteenth-century Europe, told through the intertwined lives of three remarkable people: a great singer, Pauline Viardot, a great writer, Ivan Turgenev, and a great connoisseur, Pauline's husband Louis. Their passionate, ambitious lives were bound up with an astonishing array of writers, composers and painters all trying to make their way through the exciting, prosperous and genuinely pan-European culture that came about as a result of huge economic and technological change. This culture - through trains, telegraphs and printing - allowed artists of all kinds to exchange ideas and make a living, shuttling back and forth across the whole continent from the British Isles to Imperial Russia, as they exploited a new cosmopolitan age. The Europeans is Orlando Figes' masterpiece. Surprising, beautifully written, it describes huge changes through intimate details, little-known stories and through the lens of Turgenev and the Viardots' touching, strange love triangle. Events which we now see as central to European high culture are made completely fresh, allowing the reader to revel in the sheer precariousness with which the great salons, premieres and bestsellers came into existence.

This new account of international modernism explores the complex motivations behind this revolutionary movement and assesses its triumphs and failures. The work of the main architects of the movement such as Frank Lloyd Wright, Adolf Loos, Le Corbusier, and Mies van der Rohe is re-examined shedding new light on their roles as acknowledged masters.

Alan Colquhoun explores the evolution of the movement fron Art Nouveau in the 1890s to the megastructures of the 1960s, revealing the often contradictory demands of form, function, social engagement, modernity and tradition.

Between 1800 and 1920, the territory and influence claimed by Western empires came to cover a larger portion of the globe than at any time before or since. Why and how did this happen? What were the consequences of this unprecedented scramble for dominion? What methods have historians used to understand the increasingly large and structurally complex Western empires that emerged across the long 19th century? In this fifth volume, A Cultural History of Western Empires in the Age of Empire, we trace these questions across a period bookended by two devastating global wars. The forces that enabled unparalleled Western expansion were likewise violent. Often no less traumatically, the phenomenon was also one of cultural exchange and negotiated identities in which both colonized and colonizer were repeatedly made and remade. As cultural historians, we locate the power struggles of empire as much in identity and ways of life as in the movement of armies or the signing of treaties. New technologies of communication, transport and warfare brought an 'Age of Empire' into existence for the West. But it was equally grounded in new ways of thinking about human difference and new beliefs about the state's power to intervene in the most intimate domains of human behavior.

The nineteenth century in France witnessed the emergence of the structures of the modern art market that remain until this day. This book examines the relationship between the avant-garde Barbizon landscape painter, Theodore Rousseau (1812-1867), and this market, exploring the constellation of patrons, art dealers, and critics who surrounded the artist. Simon Kelly argues for the pioneering role of Rousseau, his patrons, and his public in the origins of the modern art market, and, in so doing, shifts attention away from the more traditional focus on the novel careers of the Impressionists and their supporters. Drawing on extensive archival research, the book offers fresh insight into the role of the modern artist as professional. It provides a new understanding of the complex iconographical and formal choices within Rousseau's oeuvre, rediscovering the original radical charge that once surrounded the artist's work and led to extensive and peculiarly modern tensions with the market place.

Evelyn Waugh's first book: a portrait of one of the greatest artists of the nienteenth century, from one of the greatest writers of the twentieth 'Biography, as books about the dead are capriciously catalogued, is still very much in the mode' This is a sparkling account of Dante Gabriel Rossetti's tragic and mysterious life, telling the story behind some of the greatest poetry and painting of the nineteenth century. Shot through with charm and dry wit, and illuminated by his sense of kinship with the Pre-Raphaelite artist, Rossetti is at once a brilliant reevaluation of Rosetti's work and legacy, as well as a blast of defiance against the art establishment of Waugh's day. 'The youthful high spirits of the writing make this a true cultural delight' New Statesman 'To be celebrated with fireworks, bunting and marching bands' Country Life

A celebration of the American painter's life and work in the region he loved best In 1883 American artist Winslow Homer (1836-1910) moved his studio from New York City to Prouts Neck, a slip of coastline just south of Portland, Maine. Here, over the course of twenty-five years, Homer produced his most celebrated and emotionally powerful paintings, which often depicted the dramatic views and storm-strewn skies around his home. Homer's influence and the Prouts Neck area would have a profound effect on the rise of a new American modernism, inspiring the artists who followed him. This beautifully illustrated catalogue celebrates Homer's legacy at Prouts Neck, and documents the Portland Museum of Art's six-year conservation project to preserve the Winslow Homer Studio, the former carriage house in which Homer lived and worked. Photographs of the studio and site, never before open to the public, highlight views that are recognizable as the subject of so many of Homer's paintings. Essays by leading scholars examine his iconic masterpieces; his artistic development in Prouts Neck; the architecture of his studio; his relationship to French painting; and the full range of his marine paintings. Published in association with the Portland Museum of Art Exhibition Schedule: Portland Museum of Art(09/22/12-12/30/12)

A fascinating look at the partnership of artist James McNeill Whistler and his chief model, Joanna Hiffernan, and the iconic works of art resulting from their life together "[A] lavish volume. . . . Illuminating. . . . MacDonald's deep research has . . . unearthed important new facts."-Gioia Diliberto, Wall Street Journal In 1860 James McNeill Whistler (1834-1903) and Joanna Hiffernan (1839-1886) met and began a significant professional and personal relationship. Hiffernan posed as a model for many of Whistler's works, including his controversial Symphony in White paintings, a trilogy that fascinated and challenged viewers with its complex associations with sex and morality, class and fashion, academic and realist art, Victorian popular fiction, aestheticism and spiritualism. This luxuriously illustrated volume provides the first comprehensive account of Hiffernan's partnership with Whistler throughout the 1860s and 1870s-a period when Whistler was forging a reputation as one of the most innovative and influential artists of his generation. A series of essays discusses how Hiffernan and Whistler overturned artistic conventions and sheds light on their interactions with contemporaries, including Gustave Courbet, for whom she also modeled. Packed with new insights into the creation, marketing, and cultural context of Whistler's iconic works, this study also traces their resonance for his fellow artists, including Dante Gabriel Rossetti, Edgar Degas, John Singer Sargent, and Gustav Klimt. Published in association with the National Gallery of Art, Washington Exhibition Schedule: Royal Academy of Arts, London (February 23-May 23, 2022) National Gallery of Art, Washington (July 3-October 10, 2022)

The importance of the late 18th century in the genesis of modern art emerges in these four essays on various aspects of the art and architecture of a neglected period.

The story of how a group of precocious young artists shook up the British art establishment, told through their works, letters and diaries. An illustrated history of the linked lives and loves of a group of supremely talented artists of late Victorian Britain through their passionate writings. It features the painters, poets, critics and designers: Ford Madox Brown, Edward Burne-Jones, Fanny Cornforth, William Holman Hunt, John Everett Millais, William and Janey Morris, Christina, Dante Gabriel, and William Rossetti, John Ruskin, William Bell Scott and Lizzie Siddal. The artistic aspirations and achievements of the Pre-Raphaelite Brotherhood are revealed alongside the interwoven dramas of their personal lives, in letters, diaries and reminiscences, while their genius is displayed in vivid paintings, drawings, designs and poems. The Pre-Raphaelites was a charmed circles of love, friendship and art. Within an ever-changing flow of affections, and intimacies as richly patterned as a tapestry, they worked together as companions, lovers and partners. They shared tragedy as well as happiness, critical hostility as well as success, even the griefs of infidelity and discord. These creative partnerships, which also created the firm William Morris and Co, revitalised Victorian art and design. The new edition publishes in time for the start of the Burne Jones Exhibition at Tate Britain, starting in October 18. It is a vital book in understanding the Pre-Raphaelite art, which remains as popular and moving as ever.

At the beginning of the twentieth century, when Alfons Mucha went to the United States for four years as a lecturer, the world-famous poster designer, Art-Nouveau book illustrator, designer, photographer and painter was greeted with enthusiasm. Mucha is regarded as one of the most important representatives of Jugendstil; he knew how to move between the various genres more skilfully than virtually any other artist of his day. After training as a stage decorator in Vienna, Mucha travelled via Munich to Paris. There he created a stir in the 1890s with his stylistically refined and elegantly executed posters. These designs were not only his artistic breakthrough; they also revolutionised the aesthetic of what was still a new medium. Mucha's later works also demonstrated the inimitable "Mucha style," which celebrated floral elements, lines and beauty and which is lavishly illustrated in this book.

From humble beginnings in Nuenen and Antwerp to his last month in Auvers-sur-Oise, this captivating book on Vincent Van Gogh's life and works is the perfect introduction for all students and art lovers interested in late nineteenth-century and Post-Impressionist art. Featuring fifty of his finest works, each painting and drawing is described and analyzed in beautiful detail, within the context of the period, so that the reader can really understand what the artist was hoping to achieve with each work. Drawing from the many letters that Van Gogh wrote to his brother, friends and others, curator John Cauman provides an enthralling and accessible narrative about the artist and his work, introducing the milieu, key characters and themes and legacy that continues to this day. Among the fifty paintings featured, this book includes The Potato Eaters (1885), Pere Tanguy (1887), Self-Portrait in Front of the Easel (1888), Sunflowers (1888), Cafe Terrace at Night (1888), Bedroom in Arles (1888), Van Gogh's Chair (1888), Portrait of Joseph Roulin (1889), Irises (1889), The Starry Night (1889) and Wheatfield with Crows (1890).

Demonstrates how the textual output of settler emigration shapes the nineteenth-century literary and artistic imagination Nineteenth-Century Settler Emigration in British Literature and Art is the first book to undertake a comprehensive survey of the literature produced by nineteenth-century settler emigration. Arguing that the demographic shift to settler colonies in Canada, Australia, New Zealand was supported and underpinned by a vast outpouring of text, this monograph brings printed emigrants' letters, manuscript shipboard newspapers and settler fiction into conversation with the works of Charles Dickens, Elizabeth Gaskell, Catherine Helen Spence and Ford Madox Brown, amongst others. The monograph demonstrates how the textual cultures of settler emigration pervaded the nineteenth-century cultural imagination and provided authors and artists with a means of interrogating representations of space and place, home-making and colonial encounters. Key features First study to make the case for the literature arising from nineteenth-century settler emigration as the distinct genre of 'emigration literature' Interdisciplinary approach combining literary criticism, art history and cultural geography Studies canonical authors and artists (Charles Dickens, Elizabeth Gaskell, Ford Madox Brown, James Collinson, Richard Redgrave, Abraham Solomon, and Thomas Webster) alongside ephemera, leading to an integrated and comprehensive study of settler culture

'A nourishing, occasionally provoking hybrid of group biography, cultural criticism and travelogue that seeks to restore to Romanticism its radicalism, and also show just how much the countryside shaped its manifesto' Hephzibah Anderson, Mail on Sunday We think we know the Romantic countryside: that series of picturesque landscapes familiar from paintings, poems and music that are still part of Britain's idea of itself today. But for the Romantics themselves, the countryside was a place where radical change was underway both within and around them. 'Romanticism isn't a cultural artefact; it's a way for thought to move,' writes highly acclaimed biographer and poet Fiona Sampson in this transporting and vividly evocative book, in which she spends a year walking in the Romantics' footsteps, from Kent to Kintyre. Setting out across ten landscapes, as the Romantics once did as they wrote, travelled, settled, or tried to define the rural environment, Fiona Sampson walks not with a sense of nostalgic cliche, but radically alive to interaction between the human and the natural world. So how were poets, writers, artists and philosophers of the time shaped by their natural environment? And how can we return to the vividness with which they experienced it? Starlight Wood is part group biography, part cultural history, and part an essay about place. In it, we find Percy Bysshe Shelley and Elizabeth Barrett Browning using diet as a symbol of radicalism, and John Constable revealing the emptiness of the post-Enclosure British countryside; while the young William Wordsworth follows the ideal of radical sensibility into the heart of Revolutionary France, and the biggest military structure in Britain since Hadrian's Wall is engineered on Romney Marsh to keep Napoleon at bay. Moving intuitively between art, politics, agriculture, science and philosophy, and punctuated by the author's personal reflections - most movingly on the death during the pandemic of her artist father, whose line-and-wash drawings act as gateways through which we embark on each walk - Starlight Wood brilliantly examines the importance of the countryside in shaping Romantic attitudes, and offers a gripping insight into the lives of some of the most influential figures of the age.

If ceramics, glass, and metals are inextricably linked to earth and fire, textiles are arguably linked with wind and water. In truth, craft practices are all deeply connected to the elements and to nature. Seven distinguished writers and thinkers living in the Nordic region endeavour to flesh out concepts such as material interaction and material agency, Posthumanism, site-responsiveness, and symbiotic thinking in the field of crafts. How do artists explore the potential of materials and the four natural elements? What does a human-material interaction look like, and how might one approach a material, not from the position of a master but from that of a collaborator? Features essays by Randi Grov Berger, Nicolas Cheng, Camilla Groth, Jessica Hemmings, Jenni Nurmenniemi, AEsa Sigurjonsdottir and Nina Woehlk. Text in English and Swedish, Danish, Norwegian, Finnish, Icelandic, and Northern Sami.

In this fascinating work, Paul Nagel tells the full story of George Caleb Bingham (1811-1879), one of America's greatest nineteenth-century painters. While Nagel assesses Bingham's artistic achievements, he also portrays another and very important part of the artist's career - his service as a statesman and political leader in Missouri. Until now, Bingham's public service has been largely forgotten, overshadowed by his triumph as a great artist. Yet Nagel finds there were times when Bingham yearned more to be a successful politician than to be a distinguished painter. Born in Virginia, Bingham moved with his family to Missouri when he was eight years old. He spent his youth in Arrow Rock, Missouri, and returned there as an adult. He also kept art studios in Columbia and St. Louis. In his last years, he served as the first professor of art at the University of Missouri in Columbia. Because of his ties to the state, he was known nationally as the ""Missouri artist."" Bingham's most distinguished public service to Missouri took place when violence erupted over the question of whether slaves should be allowed in Kansas. During the Civil War, he grew more politically involved and remained so throughout the bitter period of Reconstruction. From 1875 to 1877, Bingham served as Missouri's adjutant general, with most of that time spent in Washington, D. C., where he attempted to settle Missourians' war claims against the federal government. Contrary to the idyllic scenes portrayed in most of his paintings, Bingham's life ranged from moments of high achievement to times of intense distress and humiliation. His career was often touched by controversy, sorrow, and frustration. Personal letters and other manuscripts reveal Bingham's life to be quite complicated, and Nagel attempts to uncover the truth in this biography. Beautifully illustrated, this book includes a magnificent landscape entitled Horse Thief, which had been missing since Bingham painted it sometime around 1852. Recently discovered by art historian Fred R. Kline, this splendid work will appear in print for the first time. Anyone who has an interest in art, Missouri history, or politics will find this new book extremely valuable.

Lampooned during his lifetime for his style as much as his subject matter, French painter Edouard Manet (1832-1883) is now considered a crucial figure in the history of art, bridging the transition from Realism to Impressionism. Manet's work combined a painterly technique with strikingly modern images of contemporary life, centered on the urban Paris experience. He recorded the city's parks, bars, and cabarets, often delighting in the frisson of underground or provocative content. The Paris salon rejected his Dejeuner sur l'herbe with its juxtaposition of fully dressed men and a nude woman, while the steady gaze and unabashed pose of the prostitute Olympia, a very modern reworking of Titian's Venus of Urbino, caused a society scandal. This richly illustrated book introduces Manet's work and his uniquely influential combination of Realism, Impressionism, and reworked Old Masters that would become paradigms of a brave new world for generations of modernists to come. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

""Desire and Excess" is one of the most exciting and sophisticated books I have read for some time. It is capaciously learned, sensitively researched, and wonderfully graceful and witty. By reconsidering the institutions and aesthetics responsible for the culture of the museum in modernity, it offers a new history of art-historical discourse."--Isobel Armstrong, Birkbeck College, London

""Desire and Excess" tells about the time a dazzling company of poets got lost inside the Louvre, and only got out once they had together created the giant figure of the Artist. Jonah Siegel's brilliance is continually breathtaking, so it's lucky that he has placed such solid ground beneath our feet by his luxurious, intricately wrought scholarship."--Elaine Scarry, author of "On Beauty and Being Just"

"A timely book on the relationship of art and experience to the hallowed sanctuaries of museum collections. Jonah Siegel is right on target in dealing with this hugely important issue. I can only admire the vast range of themes and the quiet display of learning so apparent in this text. The book kept me constantly alert and informed."--Robert Rosenblum, New York University

"This ambitious and fascinating work traces the relations between the development of the museum, the history of taste, and the figure of the artist/author in nineteenth-century England. Here Jonah Siegel reads the long collapse of neoclassicism as a productive crisis in the modern conception of originality. His argument is remarkably rich, subtle, learned, and provocative."--Ian Duncan, University of Oregon

""Desire and Excess" marks the emergence of a powerful and distinctive critical sensibility, remarkable both for itsrange of erudition and for the extraordinary quality of reflection brought to bear on the works explored here. Jonah Siegel mingles exacting close analysis and broad, confident historical and cultural reference in a manner that is almost unfailingly persuasive. The book will appeal to readers interested in the intellectual, artistic, literary, and cultural histories of Britain from the eighteenth through twentieth centuries, as well as to those engaged in postmodern critical reflection on art institutions and artistic agency."--James Eli Adams, Indiana University

A highly important figure in the late eighteenth-century British art world, John Raphael Smith was the most robust and prolific printmaker of his time. Smith not only produced nearly 400 prints-about 130 of his own design and the others by such noted British artists as Joshua Reynolds, George Romney, and Joseph Wright of Derby-he was also appointed "Mezzotinto Engraver" to the Prince of Wales and became an impresario of the print-publishing trade. This book is the first full-length study for nearly a hundred years of Smith's remarkable career in printmaking. Ellen D'Oench investigates how Smith conducted his engraving and publishing business and what his prints, drawings, and paintings reveal about the culture and morality of the society that viewed them. She includes a chronological catalogue raisonne with newly discovered works, an inventory of his firm's publications, and a catalogue of prints reproduced from his own original work. Along with full biographical information on Smith and his activities as an artist and publisher, D'Oench pays close attention to the contemporary art market, its operation, and the placement of Smith's products within it. She details Smith's fascination with female genre subjects and his use of printed images to both exploit and critique his culture's manners and morals. Historians of paintings and prints, social and cultural historians, and scholars of women's history will all find in this book an array of delightful illustrations and interesting material. Published for the Paul Mellon Center for Studies in British Art

Louis Francois Roubiliac, the most compelling sculptor in eighteenth-century Britain, was responsible for many complex and dramatic monuments that can be seen in Westminster Abbey and churches throughout the country. This book is not only the first extended treatment of the artist since 1928 but is also an exploration of tomb sculpture in the context of the period. The first section, written by David Bindman, discusses the reasons for the commissioning of tomb sculpture, ideas of death and the afterlife, the setting of the tomb, the themes that govern its imagery, and the negotiations between sculptor and patron. The second section, written by Malcolm Baker, examines in detail the processes involved in the design and making of the monuments. Through an analysis of the monuments themselves, the surviving models, and a range of documentary evidence, Baker considers Roubiliac's technical procedures and compares them to those of other sculptors in Britain and on the continent. The volume ends with a full catalogue raisonne of Roubiliac's known monuments. Each commission is discussed in detail, with full accounts of contemporary documentation, inscriptions, physical construction, and related models. By examining the particular social and religious conditions of the time it becomes possible to account not only for the distinctive features of Roubiliac's work and practice but also for how such theatrical works came to be accepted and admired. The book is fully illustrated, all the major works having been newly photographed to make visible details that are impossible to see under normal viewing conditions. Published for the Paul Mellon Center for Studies in British Art

Focusing on the art of Henri Fantin-Latour (1836-1904) and his colleagues Gustave Courbet, Edgar Degas, Edouard Manet, Frederic Bazille, and Pierre-Auguste Renoir, "Fellow Men" argues for the importance of the group as a defining subject of nineteenth-century French painting. Through close readings of some of the most ambitious paintings of the realist and impressionist generation, Bridget Alsdorf offers new insights into how French painters understood the shifting boundaries of their social world, and reveals the fragile masculine bonds that made up the avant-garde.

A dedicated realist who veered between extremes of sociability and hermetic isolation, Fantin-Latour painted group dynamics over the course of two decades, from 1864 to 1885. This was a period of dramatic change in French history and art--events like the Paris Commune and the rise and fall of impressionism raised serious doubts about the power of collectivism in art and life. Fantin-Latour's monumental group portraits, and related works by his friends and colleagues from the 1850s through the 1880s, represent varied visions of collective identity and test the limits of association as both a social and an artistic pursuit. By examining the bonds and frictions that animated their social circles, Fantin-Latour and his cohorts developed a new pictorial language for the modern group: one of fragmentation, exclusion, and willful withdrawal into interior space that nonetheless presented individuality as radically relational."

Paul Cezanne, Georges Seurat, Paul Gauguin, Vincent van Gogh, Henri de Toulouse-Lautrec and others began as Impressionists but soon extended their explorations of the world around them to create highly personal work. With their foundations in the bright colours of Impressionism and the break from traditional representational art, the Post-Impressionists worked alone but collectively created the bridge into the expressionism of the 20th Century. Their delightful and evocative masterpieces are celebrated in this gorgeous new book.

Raphael's seven large gouache paintings, called cartoons, that weavers used in creating tapestries for the Sistine Chapel nearly 500 years ago exerted enormous influence on the development of painting in England in the 18th century. This volume focuses on copies of the cartoons painted between 1729 and 1731 by Sir James Thornhill, England's foremost history painter.

Thornhill's painted copies, together with a variety of engraved versions, were pivotal in the development of the "British School". As an extension of Thornhill's early efforts to formalize the training of British artists, these copies played an important part in the prelude to the founding of the Royal Academy in 1786. The intention was also political: to bolster England's position in relation to France by showing that the very best of Raphael was lodged on British soil. Essays explore issues about the use and reuse of the past and about the art of copying as a reproductive as well as a creative process.