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.

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 This is also the first academic critical study of Mary Watts's recently published diaries, Evelyn De Morgan's unpublished writings and other previously unexplored archival material by the Wattses and the De Morgans.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ways in which the couples promoted progressive socio-political ideas Draws on extensive archival research and analyses unpublished writings, including diaries and poems Focuses on neglected female figures in creative partnerships to challenge longstanding perceptions of them as the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

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."

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.

Using the tools of the "new" art history (feminism, Marxism, social context, etc.) An Introduction to Nineteenth-Century Art offers a richly textured, yet clear and logical, introduction to nineteenth-century art and culture. This textbook will provide readers with a basic historical framework of the period and the critical tools for interpreting and situating new and unfamiliar works of art.

Michelle Facos goes beyond existing histories of nineteenth-century art, which often focus solely on France, Britain, and the United States, to incorporate artists and artworks from Scandinavia, Germany, and Eastern Europe.

The book expertly balances its coverage of trends and individual artworks: where the salient trends are clear, trend-setting works are highlighted, and the complexity of the period is respected by situating all works in their proper social and historical context. In this way, the student reader achieves a more nuanced understanding of the way in which the story of nineteenth-century art is the story of the ways in which artists and society grappled with the problem of modernity.

Key pedagogical features include:

• Data boxes provide statistics, timelines, charts, and historical information about the period to further situate artworks.
• Text boxes highlight extracts from original sources, citing the ideas of artists and their contemporaries, including historians, philosophers, critics, and theorists, to place artists and works in the broader context of aesthetic, cultural, intellectual, social, and political conditions in which artists were working.
• Beautifully illustrated with over 250 color images.
• Margin notes and glossary definitions.
• Online resources at www.routledge.com/textbooks/facos with access to a wealth of information, including original documents pertaining to artworks discussed in the textbook, contemporary criticism, timelines and maps to enrich your understanding of the period and allow for further comparison and exploration.

Chapters take a thematic approach combined within an overarching chronology and more detailed discussions of individual works are always put in the context of the broader social picture, thus providing students with a sense of art history as a controversial and alive arena of study.

Michelle Facos teaches art history at Indiana University, Bloomington. Her research explores the changing relationship between artists and society since the Enlightenment and issues of identity. Prior publications include Nationalism and the Nordic Imagination: Swedish Painting of the 1890s (1998), Art, Culture and National Identity in Fin-de-Siecle Europe, co-edited with Sharon Hirsh (2003), and Symbolist Art in Context (2009).

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.

Philosophy, art, literature, music, and politics were all transformed in the turbulent period between the French Revolution of 1789 and the Communist Manifesto of 1848. This was the age of the 'Romantic revolution', when modern attitudes to political and artistic freedom were born. When we think of Romanticism, flamboyant figures such as Byron or Shelley instantly spring to mind, but what about Napoleon or Hegel, Turner or Blake, Wagner or Marx? How was it that Romanticism could give birth to passionate individualism and chauvinistic nationalism at the same time? How did it prefigure the totalitarian movements of the 20th century? Duncan Heath and Judy Boreham answer these questions and provide a unique overview of the many interlocking strands of Romanticism, focusing on the leading figures in Britain, Germany, France, Italy, Russia and America.

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.

The fin de siecle not only designated the end of the Victorian epoch but also marked a significant turn toward modernism. Extraordinary Aesthetes critically examines literary and visual artists from England, Ireland, and Scotland whose careers in poetry, fiction, and illustration flourished during the concluding years of the nineteenth century. This collection draws special attention to the exceptional contributions that artists, poets, and novelists made to the cultural world of the late 1880s and 1890s. The essays illuminate a range of established, increasingly acknowledged, and lesser-known figures whose contributions to this brief but remarkably intense cultural period warrant close attention. Such figures include the critically neglected Mabel Dearmer, whose stunning illustrations appear in Evelyn Sharp's radical fairy tales for children. Equally noteworthy is the uncompromising short fiction of Ella D'Arcy, who played a pivotal role in editing the most famous journal of the 1890s, the Yellow Book. The discussion extends to a range of legendary writers, including Max Beerbohm, Oscar Wilde, and W.B. Yeats, whose works are placed in dialogue with authors who gained prominence during this period. Bringing women's writing to the fore, Extraordinary Aesthetes rebalances the achievements of artists and writers during the rapidly transforming cultural world of the fin de siecle.

Due to the technological advances of the nineteenth century, an abundance of black drawing media exploded onto the market. Charcoal, conte crayon, and fabricated black chalks and crayons; fixatives; various papers; and many lifting devices gave rise to an unprecedented amount of experimentation. Indeed, innovation became the rule, as artists developed their own unique-and often experimental-processes. The exploration of black media in drawing is inextricably bound up with the exploration of black in prints, and this volume presents an integrated study that rises above specialization in one over the other. This richly illustrated catalogue brings together such diverse artists as Francisco de Goya, Maxime Lalanne, Gustave Courbet, Odilon Redon, and Georges Seurat and explores their inventive works on paper. Sidelining labels like "conservative" or "avant-garde," the essays in this book employ all the tools that art history and modern conservation have given us, inviting the reader to look more broadly at the artists' methods and materials. This volume accompanies an exhibition of the same name on view at the J. Paul Getty Museum from February 9 to May 15, 2016.

Part of a series of exciting and luxurious Flame Tree Sketch Books Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed, then foil stamped. The thick paper stock makes them perfect for sketching and drawing. These are perfect for personal use and make a dazzling gift. This example features Munch's The Scream. Munch's most famous painting exemplifies Norwegian Expressionism. The angst-ridden human condition has never been so superbly and unassailably conveyed as by the figure emitting a cry from the heart. Life, love and death are the themes which Munch endlessly explored in his paintings.

Since the publication of Eliza May Butler's "Tyranny of Greece over Germany" in 1935, the obsession of the German educated elite with the ancient Greeks has become an accepted, if severely underanalyzed, cliche. In "Down from Olympus," Suzanne Marchand attempts to come to grips with German Graecophilia, not as a private passion but as an institutionally generated and preserved cultural trope. The book argues that nineteenth-century philhellenes inherited both an elitist, normative aesthetics and an ascetic, scholarly ethos from their Romantic predecessors; German "neohumanists" promised to reconcile these intellectual commitments, and by so doing, to revitalize education and the arts. Focusing on the history of classical archaeology, Marchand shows how the injunction to imitate Greek art was made the basis for new, state-funded cultural institutions. Tracing interactions between scholars and policymakers that made possible grand-scale cultural feats like the acquisition of the Pergamum Altar, she underscores both the gains in specialized knowledge and the failures in social responsibility that were the distinctive products of German neohumanism.

This book discusses intellectual and institutional aspects of archaeology and philhellenism, giving extensive treatment to the history of prehistorical archaeology and German "orientalism." Marchand traces the history of the study, excavation, and exhibition of Greek art as a means to confront the social, cultural, and political consequences of the specialization of scholarship in the last two centuries."

In 1891, Paul Gauguin (1848 1903) arrives on the French Polynesian island of Tahiti. In this lush paradise, he is liberated from the concerns of the city-dwelling European. He is free: to love, to sing, and to create. In Copenhagen, Gauguin's wife enjoys no such freedom. She would rather forget her odious husband and his degenerate artwork. Instead, in a city resistant to the avant-garde, she is tasked with selling a collection of his extravagantly priced Tahitian paintings. When they finally go on sale in Paris, shortly after Gauguin's return sales are catastrophic. For Monet, Renoir, and the rest of the old guard, nothing indicates that these bizarre, visionary works are of any lasting significance. Gauguin: The Other World is a revelatory biography of an artist whose qualities as a man won him few admirers in his own lifetime, but whose talents as a painter would have an enormous influence on the art of Picasso, Matisse, and many more.

Albert Duvall Quigley spent most of his life painting the people and landscapes of the Monadnock region. A self-taught musician, he built and repaired fiddles, wrote dance tunes, and played at local dances. He also made frames known for their beautiful workmanship and originality, and prized by many Monadnock artists. This catalog has been compiled for an exhibition celebrating Quigley's life and work that will open at the Historical Society of Cheshire County (NH) in May 2017, and for the 250th anniversary celebration of the town of Nelson, NH, where Quigley lived for many years.

Situated at around 3,300 ft above sea level in the mountains of the Swiss Jura region, the town of La Chaux-de-Fonds experienced significant economic development towards the end of the 19th century, which went hand in hand with much building activity. There are few other places in Switzerland in which the influence of art nouveau is so clearly visible. Significantly inspired by the painter and architect Charles L'Eplattenier (1874-1946), and his art and decoration course at the local school of applied arts in 1905, a local variant of art nouveau developed, the so-called Style sapin or "fir style." Protagonists of this movement accorded special importance in their works to the use of symbolic motifs that reflect the nature of the Jura landscape and especially its fir forests. This book offers a comprehensive survey of the Style sapin and builds bridges into the 21st century. It places the "fir style" within the international context of art nouveau and also addresses in detail the local facets of this movement, which has left traces that are still visible today in watchmaking, applied arts, and architecture. Moreover, it draws attention for the first time to the previously scarcely acknowledged female artists of the Style sapin. Text in French.

This volume explores the early history of the photographic studio and portrait in China and Japan. The institution of the photographic studio has received relatively little attention in the history of photography; contributors here investigate various manifestations of the studio as a place and as a space that was cultural, economic, and creative. Its authors also look closely at the studio portrait not as images alone, but also as collaborative ventures between studio operators and sitters, opportunities to invent new roles, images that merged the new medium with "traditional" visual practices, as well as the portrait's part in devising modern, gendered, nationalistic, and public identities for its subjects. As the first collection of its kind, Portraiture and Early Studio Photography in China and Japan analyzes the photographic likeness-its producers, subjects, viewers, and pictorial forms-and argues for the historical significance of the photographic studio as a specific and new space central to the formation of new identities and communities. Photography's identity as a transnational technology is thus explored through the local uses, adaptations, and assimilations of the imported medium, presenting modern images of their subjects in specific Japanese and Chinese contexts.

Bernard Smith (1916-2011) was arguably Australia's greatest art historian and one of the most important humanist thinkers internationally on ideas concerning cultural contact. His European Vision and the South Pacific, first published in 1960, showed how the ideas of the Enlightenment and the empirical structuring of scientific and geographical knowledge during the great eighteenth-century voyages of discovery affected notions of identity-both for Europeans and the Indigenous peoples with whom they came in contact. Not only did Smith's investigation of art, science and imperialism of this period explore the conditions of frontier contact, it opened up the dialogue on de-colonisation and allowed us 'to think beyond or after it'. He was undoubtedly a pioneer of post-colonialism and the book remains 'a lighthouse' in pacific studies. The republication of European Vision and the South Pacific is an essential part of the discourse reframing the interconnections and crossing of cultural boundaries between Europe and antipodean societies. This new edition of a significant Australian classic also coincides with the 250th anniversary of Cook's landing on the east coast of Australia, and complements new scholarship on territorialisation, colonialism and the politics of exchange between metropolitan centres and peripheries. A new introduction by Sheridan Palmer situates the book in a contemporary context.

William Powell Frith (1819-1909) was the most celebrated painter of modern-life subjects in mid-Victorian England and the most popular British artist of that time. Published to mark the bicentenary of his birth and in association with an exhibition at the Mercer Art Gallery, Harrogate, this volume of essays offers fresh perspectives on three of Friths great panoramas of the Victorian scene Life at the Seaside (Ramsgate Sands), The Derby Day and The Private View at the Royal Academy. They are introduced by a survey of contemporary and later responses to Friths paintings. Further contributions explore important but hitherto neglected aspects of the artists life, work and influence. These range from Friths connections with Yorkshire (the county of his birth) and his circle of women friends to the key role played by the print trade in the popularisation of his images and their re-creation as tableaux on the London stage.

Sarah Symmons' fascinating account locates Goya in the context of his Spanish heritage, traces the immense influence of his work throughout Europe and considers the continued relevance of his art in the twentieth century. Drawings, oil paintings, frescos, tapestry designs and prints all convey the full range of Goya's work. Symmons draws on the most recent scholarship and on rediscovered works to create a comprehensive portrait of this complex artist that is perfectly up-to-date and highly absorbing.

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

In 1891, Paul Gauguin (1848-1903) traveled to Tahiti in an effort to live simply and to draw inspiration from what he saw as the island's exotic native culture. Although the artist was disappointed by the rapidly westernizing community he encountered, his works from this period nonetheless celebrate the myth of an untainted Tahitian idyll, a myth he continued to perpetuate upon his return to Paris. He created a travel journal entitled Noa Noa (fragrant scent), a largely fictionalized account that recalled his immersion into the spiritual world of the South Seas. To illustrate his text, Gauguin turned for the first time to the woodcut medium, creating a series of ten dark and brooding prints that he intended to publish alongside his journal-a publication that was never realized. The woodcuts crystallized important themes from his work and are the focus of this major new study. Gauguin's Paradise Remembered addresses both the artist's representation of Tahiti in the woodcut medium and the impact these works had on his artistic practice. Through its combined sense of immediacy (in the apparent directness of the printing process) and distance (through the mechanical repetition of motifs), the woodcut offered Gauguin the ideal medium to depict a paradise whose real attraction lay in its remaining always unattainable. With two insightful essays, this book posits that Gauguin's Noa Noa prints allowed him to convey his deeply Symbolist conception of his Tahitian experience while continuing his experiments with reproductive processes and other technical innovations that engaged him at the time. Distributed for the Princeton University Art Museum Exhibition Schedule: Princeton University Art Museum(09/25/10-01/02/11)

Julia Margaret Cameron's 'fancy subjects' is the first study of Cameron's allegorical photographs and the first to examine the intellectual connections of this imagery to British culture and politics of the 1860s and 1870s. In these photographs, Cameron depicted passages from classical mythology, the Old and New Testament, and historical and contemporary literature. She costumed her friends, domestic help, and village children in dramatic poses, turning them into goddesses and nymphs, biblical kings and medieval knights; she photographed young women in the style of the Elgin marbles, making sculpture come alive, and re-imagined scenes depicted in the poetry of Byron and Tennyson. Cameron chose allegory as her primary artistic device because it allowed her to use popular iconography to convey a latent or secondary meaning. In her photographs, a primary meaning is first conveyed by the title of the image; then, social and political ideas that the artist implanted in the image begin to emerge, contributing to and commenting on the contemporary cultural, religious and political debates of the time. Cameron used the term 'fancy subjects' to embed these moral, intellectual and political narratives in her photographs. This book reconnects her to the prominent minds in her circle who influenced her thinking, including Benjamin Jowett, George Grote and Henry Taylor, and demonstrates her awareness and responsiveness to popular graphic art, including textiles and wall paper, book illustrations and engravings from period folios, cartoons from Punch and line drawings from the Illustrated London News, cabinet photographs and autotype prints. -- .