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.

Art flourished in France to an exciting and unprecedented degree in the 19th century. Sculpture was a part of this fantastic explosion of creative genius with such artistic giants as Rodin, Barye, d'Angers and Carpeaux. At the same time technological advances in the bronze industry transformed sculpture from an art form for public plazas and the rich to art for living rooms and vestibules of even the middle class. The result has been an abundant supply of nineteenth century French bronzes-some common reproductions, and some extremely valuable limited editions. In this important reference, you can discover a wealth of information. This extraordinary volume contains a complete encyclopedia of almost 750 French artists, with biographies, listings of works (along with size and foundry when known), museum pieces in France and elsewhere, and recent sales. It also includes an overview of 19th century bronze sculpture, the foundries that cast the bronzes, and methods used to cast works. 1000 photographs capture the beauty of the pieces and help identify these and similar works.

Rare Merit is a beautifully illustrated and astute examination of women photographers in Canada as it took shape in the nineteenth and early-twentieth centuries. Throughout, the camera was both a witness to the colonialism, capitalism, and gendered and racialized social organization, and a protagonist. And women across the country, whether residents or visitors, captured people and places that were entirely new to the lens. This book shows how they did so, and the meaning their work carries.

Art critic Martin Gayford, author of The Yellow House, brings the Regency period to life in Constable in Love: Love, Landscape and the Making of a Great Painter his account of the life of English Romantic painter John Constable. Love, not landscape, was the making of Constable. . . John Constable and Maria Bicknell might have been in love but their marriage was a most unlikely prospect. Constable was a penniless painter who would not sacrifice his art for anything, while Maria's family frowned on such a penurious union. For seven long years the couple were forced to correspond and meet clandestinely. But it was during this period of longing that Constable developed as a painter. And by the time they'd overcome all obstacles to their marriage, he was on the verge of being recognised as a genius. Martin Gayford brings alive the time of Jane Austen in telling the tremendous story of Constable's formative years, as well as this love affair's tragic conclusion which haunted the artist's final paintings. 'Delightful...a small drama of love, frustration and despair played itself out with massive repercussions for the history of painting' Financial Times 'Gayford's nuanced narrative throws much-needed fresh light, as well as real understanding, on both Constable's painting and his love life' Sunday Telegraph 'A scrupulously observed tragical-comical tale' Evening Standard Martin Gayford is a celebrated art critic and journalist who has written for the Spectator and the Sunday Telegraph and is the current Chief European Art Critic for Bloomberg. In his other book The Yellow House: Van Gogh, Gauguin and Nine Turbulent Weeks in Arles Gayford depicts the period in which artistic geniuses van Gogh and Gauguin shared a house in the small French town of Arles.

William Pressly presents for the first time a close analysis of two important, neglected paintings, arguing that they are among the most extraordinary works of art devoted to the French Revolution. Johan Zoffany's "Plundering the King's Cellar at Paris, August 10, 1792," and "Celebrating over the Bodies of the Swiss Soldiers," both painted in about 1794, represent events that helped turn the English against the Revolution.
Pressly places both paintings in their historical context--a time of heightened anti-French hysteria--and relates them to pictorial conventions: contemporary history painting, the depiction of urban mobs in satiric and festival imagery, and Hogarth's humorous presentation of modern moral subjects, all of which Zoffany adopted and reinvented for his own purposes. Pressly relates the paintings to Zoffany's status as a German-born Catholic living in Protestant England and to Zoffany's vision of revolutionary justice and the role played by the sansculottes, women, and blacks. He also examines the religious dimension in Zoffany's paintings, showing how they broke new ground by conveying Christian themes in a radically new format.
Art historians will find Pressly's book of immense value, as will cultural historians interested in religion, gender, and race.

An invaluable guide through the intricacies of the first century of modern art, ArtSpoke features the same lucid prose, thought-provoking ideas, user-friendly organization, and striking design as its predecessor, ArtSpeak: A Guide to Contemporary Ideas, Movements, and Buzzwords. Chronicling international art from Realism through Surrealism, ArtSpoke explains such popular but often misunderstood movements and organizations as Impressionism, Post-Impressionism, the Salon, the Fauves, the Harlem Renaissance, and so on-as well as events ranging from the 1913 Armory Show to Brazil's little-known Semana de Arte Moderna. Concise explanations of potentially perplexing techniques, media, and philosophies of art making-including automatism, calotype, found object, Pictorialism, and Readymade-provide information essential to understanding how artists of this era worked and why the results look the way they do. Entries on concepts that were crucial to the development of modern art-such as androgyny, dandyism, femme fatale, spiritualism, and many others-distinguish this lively guide from any other art dictionary on the market. Also unique to this volume is the ArtChart, a handy one-page chronological diagram of the groups discussed in the book. In addition, there is a scene-setting timeline of world history and art history from 1848 to 1944, overflowing with invaluable information and illustrated with twenty-four color reproductions. Students, specialists, and casual art lovers will all find ArtSpoke an essential addition to their reference shelves and a welcome companion on visits to museums and galleries.

Garden Cities: the phrase is redolent of Arts and Crafts values and nineteenth-century utopianism. But despite being the culmination of a range of influential movements, and their own influence, in fact there were only ever two true garden cities in England - far more numerous were garden suburbs and villages. Crystallised in England by social visionary Ebenezer Howard and designed in many cases by Barry Parker and Raymond Unwin, the concept arose from industrial settlements like Port Sunlight, and also from the American City Beautiful movement. Designed to promote healthy and comfortable individual and community life, as well as commerce and industry, they remain instantly recognisable. This book is a beautifully illustrated guide to the movement and to the communities which are its legacy. Sarah Rutherford has an MA in the conservation of historic parks and gardens and a PhD. She was Head of the English Heritage Historic Parks and Gardens Register and is now a freelance consultant, creating conservation plans.

This book takes a timely look at how Scotland's national politics have been expressed in its buildings, exploring the role the architecture of Scotland - in particular its world-famous 'castle architecture' - has played the ongoing narrative of Scots national identity. Scotch Baronial examines many of the country's most important historic buildings - from the palaces left behind by the 'lost' monarchy, to revivalist castles and proud town halls - examining their architectural styles and tracing their wildly fluctuating political and national connotations. An introduction to a key episode in British architectural history, and a valuable resource for anyone studying the role of architecture in narratives of nationalism and empire globally, Scotch Baronial ends by bringing the story into the 21st century, exploring how contemporary 'neo-modernist' architecture in today's Scotland, as exemplified in the Holyrood parliament, relates to concepts of national identity in architecture over the previous centuries.

With the rise of museums in the 19th century, including the formation in 1824 of the National Gallery in London, as well as the proliferation of widely available published reproductions, the art of the past became visible and accessible in Victorian England as never before. Inspired by the work of Sandro Botticelli, Jan van Eyck, Diego Velazquez, and others, British artists elevated contemporary art to new heights through a creative process that emphasized imitation and emulation. Elizabeth Prettejohn analyzes the ways in which the Old Masters were interpreted by critics, curators, and scholars, and argues that Victorian artists were, paradoxically, at their most original when they imitated the Old Masters most faithfully. Covering the arc of Victorian art from the Pre-Raphaelites through to the early modernists, this volume traces the ways in which artists such as Dante Gabriel Rossetti, Edward Burne-Jones, and William Orpen engaged with the art of the past and produced some of the greatest art of the later 19th century. Published in association with the Paul Mellon Centre for Studies in British Art

What is art history? Why, how, and where did it originate, and how have its methods changed over time? The history of art has been written and rewritten since classical antiquity. Since the foundation of the modern discipline of art history in Germany in the late eighteenth century, debates about art and its histories have intensified. Historians, philosophers, psychologists, and anthropologists among others have changed our notions of what art history has been, is, and might be. This anthology is a guide to understanding art history through critical reading of the field's most innovative and influential texts, focusing on the past two centuries. Each section focuses on a key issue: art as history; aesthetics; form, content, and style; anthropology; meaning and interpretation; authorship and identity; and the phenomenon of globalization. More than thirty readings from writers as diverse as Winckelmann, Kant, Mary Kelly, and Michel Foucault are brought together, with editorial introductions to each topic providing background information, bibliographies, and critical elucidations of the issues at stake. This updated and expanded edition contains sixteen newly included extracts from key thinkers in the history of art, from Giorgio Vasari to Walter Benjamin and Satya Mohanty; a new section on globalization; and also a new concluding essay from Donald Preziosi on the tasks of the art historian today.

Responding to the decline of the monarchy and the church in post-revolutionary France, theorists representing a wide spectrum of leftist ideologies proposed comprehensive blueprints for society that assigned a crucial role to aesthetics. In this full-length investigation of social romanticism, Neil McWilliam explores the profound impact of radical philosophies on contemporary aesthetics and art criticism, and traces efforts to conscript the arts for doctrinal ends. He highlights the complexity and diversity of systems such as Saint-Simonianism, Fourierism, Republicanism, and Christian Socialism--movements that set out to exploit the ameliorative effect of aesthetic form on human consciousness--and challenges the previous linking of social art to narrow didacticism. This book seeks an understanding both of the conventions of artistic judgment and reception and of the aims and significance of radical political ideologies. Drawing on a broad spectrum of previously neglected journalistic criticism, visual material, and archival sources, together with key political texts by figures such as Saint-Simon, Philippe Buchez, and Pierre Leroux, this work reveals an important facet of radical history and modifies received understandings of French art in the wake of Romanticism. In the process it probes the role of culture within oppositional political practice, arguing that the ultimate failure to realize a social art exposes the limits of the radicals' break with dominant discourse and their hesitancy in forging links with a culturally disenfranchised working class. Originally published in 1993. 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.

Pierre-Auguste Renoir's Luncheon of the Boating Party (1880-81) is the jewel of The Phillips Collection. This volume reveals the fascinating characters in the painting and explores Renoir's technique. Eliza Rathbone is chief curator emerita at The Phillips Collection in Washington, DC. Mary Morton is curator and head of the Department of French Paintings at the National Gallery of Art in Washington, DC. Sylvie Patry is deputy director of Collections & Exhibitions and Gund Family Chief Curator at the Barnes Foundation in Philadelphia, PA. Aileen Ribeiro is Professor Emeritus of the University of London. Elizabeth Steele is head of conservation at The Phillips Collection in Washington, DC. Sara Tas is a curator at the Jewish Historical Museum in Amsterdam.

Eleanor Fortescue-Brickdale (1872-1945) was an accomplished painter, illustrator and designer whose artistic life bridged the Victorian and modern worlds. Her work was much influenced by the Pre-Raphaelite artists whose love of detail, colour, symbolism, storytelling and nature was so hugely influential on mid Victorian Britain. Eleanor's own work carried the Pre-Raphaelite style forward into the 20th century. Indeed she became known as 'the last Pre-Raphaelite'. Despite her huge popularity in her own time, Eleanor's work has been neglected since her death in 1945. This book is the first monograph on the artist. It is the result of extensive research by Pamela Gerrish Nunn, whose work on Pre-Raphaelite women artists has done so much to re-assess the art history of the Victorian period. Here, the author takes us on a journey through Eleanor's training, career and achievements to re-establish her as an important and fascinating figure in the history of Pre-Raphaelite art. Published by Liverpool University Press with National Museums Liverpool.

This unique and meticulously researched book will delight both Yes fans and students of the 1960s music scene. It is essential reading for all lovers of the world's greatest progressive rock band, and fans of the genre's finest vocalist - Jon Anderson. Jon Anderson is the enigmatic lead singer and founding member of Yes. He is also a composer, artist, writer, dreamer, lyricist, poet and musician, with a career spanning more than fifty years. Many books have been written about the band, but until now none have covered Jon's early years in his first band, The Warriors, in any sort of detail. David Watkinson takes us on a journey from the Lancashire beat music scene in the early 1960s to the vibrancy of London later in the decade. In the short time The Warriors existed - from 1963 to 1967 - they released a single, appeared on TV and in a movie, and spent a year following in the Beatles footsteps as a working group in Germany. As well as providing a complete history of The Warriors, this book also follows Jon's subsequent career in London, via appearances with Gun and his brief solo career as Hans Christian. He finally met Chris Squire and found a home in Mabel Greer's Toyshop, as that group gradually morphed into Yes during the summer of 1968. The book includes new interviews with Jon and many members of The Warriors, through its various line-up changes, most for the very first time. It also features a newly-researched family tree, never before seen photographs, both of the Warriors and the first line up of Yes, plus many items of memorabilia and an exclusive look into the band's diaries. It closes with a comprehensive discography and a collectables section.

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

In 1901, the sculptor Augustus Saint-Gaudens proclaimed in a letter to Will Low, “Health—is the thing!” Though recently diagnosed with intestinal cancer, Saint-Gaudens was revitalized by recreational sports, having realized midcareer “there is something else in life besides the four walls of an ill-ventilated studio.” The Medicine of Art puts such moments center stage in order to consider the role of health and illness in the way art was produced and consumed. Not merely beautiful or entertaining objects, works by Gilded-Age artists such as John Singer Sargent, Abbott Thayer, and Augustus Saint-Gaudens are shown to function as balm for the ill, providing relief from physical suffering and pain. Art did so by blunting the edges of contagious disease through a process of visual translation. In painting, for instance, hacking coughs, bloody sputum, and bodily enervation were recast as signs of spiritual elevation and refinement for the tuberculous, who were shown with a pale, chalky pallor that signalled rarefied beauty rather than an alarming indication of death. Works of art thus redirected the experience of illness in an era prior to the life-saving discoveries that would soon become hallmarks of modern medical science to offer an alternate therapy. The first study to address the place of organic disease—cancer, tuberculosis, syphilis—in the life and work of Gilded-Age artists, this book looks at how well-known works of art were marked by disease and argues that art itself functioned in medicinal terms for artists and viewers in the late 19th century.

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.

Robert Ross was one of the first people that Aubrey Beardsley met when he arrived in London to make his name in 1892. Within six years the young artist was dead; but the work he produced in that short time revolutionized British art, and he was fixed forever in the public imagination as one of the leading spirits of the decadent era. Like many others, Ross was taken not only by the evident originality and genius of Beardsley's work, but also by his character, remembering the "delightful and engaging smile both for friends and strangers," his modesty, wit, erudition, and--contrary to popular opinion--his "briskness and virility," or, as Beerbohm put it, his "stony common sense." Beardsley's reputation, both artistic and personal, was caught up in the hurricane that overtook avant garde art after the trial of Oscar Wilde. Ross set out in his pioneering biography to redress the balance. He memorialized the worth of the man he knew, and established the seriousness of his art, its roots in the work of the Old Masters (of whom Beardsley had considerable knowledge) and tracing the dramatic transformation as Beardsley matured in the six short years of his working life in London. This combination of personal memoir and informed analysis by someone at the heart of the artistic world of the 1890s makes this biography one of the most fascinating and evocative documents of the period. This republication is a close copy of the first stand-alone edition of 1909. It comes complete with all its original illustrations (and the advertisements for Beardsley's publications) and the catalogue of Beardsley's works by Aymer Vallance, which is still the cornerstone of Beardsley studies. It is introduced by Matthew Sturgis, Beardsley's most distinguished recent biographer. Robert Ross, son of the Attorney-General of Canada, was a key figure in avant garde arts and letters of the 1890's. Very unusually for this period, he acknowledged and accepted his homosexuality. It was he who first seduced Wilde, who helped him in his imprisonment and exile, and who rescued the estate to provide for Wilde's sons. His posthumous rehabilitation of Beardsley rescued the artist's reputation for future generations.

Framed by tensions between figural sculpture experienced in the round and its translation into two-dimensional representations, Animating the Antique explores enthralling episodes in a history of artistic and aesthetic encounters. Moving across varied locations-among them Rome, Florence, Naples, London, Dresden, and Paris-Sarah Betzer explores a history that has yet to be written: that of the Janus-faced nature of interactions with the antique by which sculptures and beholders alike were caught between the promise of animation and the threat of mortification. Examining the traces of affective and transformative sculptural encounters, the book takes off from the decades marked by the archaeological, art-historical, and art-philosophical developments of the mid-eighteenth century and culminantes in fin de siecle anthropological, psychological, and empathic frameworks. It turns on two fundamental and interconnected arguments: that an eighteenth-century ontology of ancient sculpture continued to inform encounters with the antique well into the nineteenth century, and that by attending to the enduring power of this model, we can newly appreciate the distinctively modern terms of antique sculpture's allure. As Betzer shows, these eighteenth-century developments had far-reaching ramifications for the making and beholding of modern art, the articulations of art theory, the writing of art history, and a significantly queer Nachleben of the antique. Bold and wide-ranging, Animating the Antique sheds light upon the work of myriad artists, in addition to that of writers ranging from Goethe and Winckelmann to Hegel, Walter Pater, and Vernon Lee. It will be especially welcomed by scholars and students working in eighteenth- and nineteenth-century art history, art writing, and art historiography.

In December 1888, Vincent van Gogh cut off his ear. It is the most famous story about any artist in history. But what really happened on that dark winter night? In Van Gogh's Ear, Bernadette Murphy reveals the truth. She takes us on an extraordinary journey from major museums to forgotten archives, vividly reconstructing Van Gogh's world. We meet police inspectors and cafe patrons, prostitutes and madams, his beloved brother Theo and fellow painter Paul Gauguin. Why did Van Gogh commit such a brutal act? Who was the mysterious 'Rachel' to whom he presented his macabre gift? Did he really remove his entire ear? Murphy answers these important questions with her groundbreaking discoveries, offering a stunning portrait of an artist edging towards madness in his pursuit of excellence. BBC RADIO 4 BOOK OF THE WEEK PRIMETIME BBC2 DOCUMENTARY WITH JEREMY PAXMAN

Vincent van Gogh is best known for two things - his sunflowers and his ear-cutting. But there are many other ways of knowing this remarkable son of a Dutch pastor, who left his chill homeland for the sunshine of Arles in the South of France; and left us over a thousand frank letters of struggle and joy, to help us glimpse his inner world. Vincent came late to painting after spending time in London trying to be a Christian missionary. And though he is now amongst the most famous artists on earth, in his day, no one saw him coming - apart from one French art critic called Aurier. It is possible he never sold one of his paintings in his life time. When he discovered the sun in Arles, he also discovered energy. Yellow for him was the colour of hope, and in his last two years he painted almost a canvass a day. But hope ran out on July 27th , 1890 when he shot himself, aged 37. He was at this time six months out of a mental institution, where perhaps he experienced his greatest calm. Vincent compared himself to a stunted plant; damaged by the emotional frost of his childhood. 'Conversations with Van Gogh' is an imagined conversation with this remarkable figure. But while the conversation is imagined, Van Gogh's words are not; they are all authentically his. "Speaking with Vincent - which he insists on being called - was a privilege,' says Simon Parke. 'He's endlessly fascinating, contradictory, moving, funny, insightful and tragic. There's a fury in him; but also a great kindness. He found harmony in human relationships elusive; his love life was a painful shambles. But with colour, he was a harmonic genius, and he has much to say about this. And here's the thing: for a man who killed himself - he died in the arms of his brother on July 29th - spending time with him was never anything but life-affirming.'

"Child of the Fire" is the first book-length examination of the career of the nineteenth-century artist Mary Edmonia Lewis, best known for her sculptures inspired by historical and biblical themes. Throughout this richly illustrated study, Kirsten Pai Buick investigates how Lewis and her work were perceived, and their meanings manipulated, by others and the sculptor herself. She argues against the racialist art discourse that has long cast Lewis's sculptures as reflections of her identity as an African American and Native American woman who lived most of her life abroad. Instead, by seeking to reveal Lewis's intentions through analyses of her career and artwork, Buick illuminates Lewis's fraught but active participation in the creation of a distinct "American" national art, one dominated by themes of indigeneity, sentimentality, gender, and race. In so doing, she shows that the sculptor variously complicated and facilitated the dominant ideologies of the vanishing American (the notion that Native Americans were a dying race), sentimentality, and true womanhood.

Buick considers the institutions and people that supported Lewis's career--including Oberlin College, abolitionists in Boston, and American expatriates in Italy--and she explores how their agendas affected the way they perceived and described the artist. Analyzing four of Lewis's most popular sculptures, each created between 1866 and 1876, Buick discusses interpretations of Hiawatha in terms of the cultural impact of Henry Wadsworth Longfellow's epic poem "The Song of Hiawatha"; "Forever Free "and" Hagar in the Wilderness" in light of art historians' assumptions that artworks created by African American artists necessarily reflect African American themes; and "The Death of Cleopatra" in relation to broader problems of reading art as a reflection of identity.

Otto Prutscher (1880-1949) was an architect and a designer in all applied arts media, as well as an exhibition designer, teacher and member of all the important arts and crafts movements, from the Secession to the Wiener Werkstatte and the Werkbund. The MAK - Museum of Applied Arts in Vienna - possesses a comprehensive graphic bequest and many significant objects from Prutscher's design oeuvre. Selected examples of Prutscher's creative work document his long-lasting influential role as a designer and artistic adviser for decorative art companies from Johann Loetz to Thonet. The publication conducts an audit of Prutscher's work as a pacemaker of Viennese modernism - over twenty years since the last show in Vienna and seventy years on from his death. Text in English and German.