Oscar Rejlander (1813-75), Julia Margaret Cameron (1815-79), Lewis Carroll (1832-98) and Clementina Hawarden (1822-65) embody the very best of photography from the Victorian era. They experimented with new approaches to picture making and shaped attitudes towards photography that have informed artistic practice ever since. Discover the images that made people think about the photograph as a work of art in this beautiful book. The idea of `art photography' is nearly as old as photography itself, but it wasn't until the 1850s that photographers began to claim fine---art status for their work. Debates about photography and its role raged internationally, but it was in England, through the work of Oscar Rejlander, Julia Margaret Cameron, Lewis Carroll and Clementina Hawarden in particular, that the new art found its fullest expression. These four artists - a Swedish emigre with a mysterious past, a middle---aged Ceylonese expatriate, an Oxford academic and writer of fantasy literature, and a Scottish countess - formed the most unlikely of schools. Both Carroll and Cameron studied under Rejlander briefly, and maintained a lasting association based around intersecting approaches to portraiture and narrative. Influenced by historical painting and working in close association with the Pre--- Raphaelite brotherhood, they formed a bridge between the art of the past and the art of the future, standing as true giants in Victorian photography. Separately, Cameron, Carroll, Hawarden and Rejlander produced some of the most spectacular images in history. Divided into three main sections, this book brings together many of these works for the first time, drawing heavily from the National Portrait Gallery Collection. The selection will be enriched with key works from other collections from around the globe. Of special interest is an exploration of historical and contemporary painters and their role in the young fine---art---photography movement.

A Choice Outstanding Academic Title for 2010. Designing the Modern Interior reveals how the design of the inside spaces of our homes and public buildings is shaped by and shapes our modern culture. The modern interior has often been narrowly defined by the minimalist work of elite, reforming architects. But a shared modernising impulse, expressed in interior design, extends at least as far back as the Victorians and reaches to our own time. And this spirit of modernisation manifested itself in interiors, designed both by professionals and by amateurs, which did not necessarily look modern and often even aimed to imitate the past. Designing the Modern Interior presents a new history of the interior from the late 19th to the 21st century. Particular characteristics are consistent across this period: a progressive attitude towards technology; a hyper-consciousness of what it is to live in the present and the future; an overt relationship with the mass media, mass consumption and the marketplace; an emphasis on individualism, interiority and the 'self'; the construction of identities determined by gender, class, race, sexuality and nationhood; and the experiences of urban and suburban life.

John Ruskin first came to widespread attention for his support for the work of J. M. W. Turner and his defence of naturalism in art. Later he was the executor of Turner's will. The present volume collects Ruskin's essay on Turner's paintings of English Harbours and Ruskins commentary on numerous other works of Turner.

Meditations on the paradoxes generated around the ending of western slavery. In his tour-de-force ""Blind Memory"", Marcus Wood read the visual archive of slavery in eighteenth- and nineteenth-century America and Britain with a closeness and rigor that until then had been applied only to the written texts of that epoch. ""Blind Memory"" changed the way we look at everything from a Turner seascape to a crude woodcut in a runaway slave advertisement. ""The Horrible Gift of Freedom"" brings the same degree of rigor to an analysis of the visual culture of Atlantic emancipation. Wood takes a troubled and troubling look at the iconography inspired by the abolition of slavery across the Atlantic diaspora. Why, he asks, did imagery showing the very instant of the birth of black slave freedom invariably personify Liberty as a white woman? Where did the image of the enchained kneeling slave, ubiquitous in abolitionist visual culture on both sides of the Atlantic, come from? And, most important, why was freedom invariably depicted as a gift from white people to black people? In order to assess what the inheritance of emancipation imagery means now and to speculate about where it may travel in the future, Wood spends the latter parts of this book looking at the 2007 bicentenary of the 1807 Slave Trade Abolition Act. In this context a provocative range of material is analyzed including commemorative postage stamps, museum exhibits, street performances, religious ceremonies, political protests, and popular film. By taking a new look at the role of the visual arts in promoting the 'great emancipation swindle', Wood brings into the open the manner in which the slave power and its inheritors have single-mindedly focused on celebratory cultural myths that function to diminish both white culpability and black outrage. This book demands that the living lies developed around the memory of the emancipation moment in Europe and America need to be not only reassessed but demolished.

From the canonical texts of the Arts and Crafts Movement to the radical thinking of today's "DIY" movement, from theoretical writings on the position of craft in distinction to Art and Design to how-to texts from renowned practitioners, from feminist histories of textiles to descriptions of the innovation born of necessity in Soviet factories and African auto-repair shops...The Craft Reader presents the first comprehensive anthology of writings on modern craft. Covering the period from the Industrial Revolution to today, the Reader draws on craft practice and theory from America, Europe, Asia and Africa. The world of craft is considered in its full breadth -- from pottery and weaving, to couture and chocolate-making, to contemporary art, architecture and curation. The writings are themed into sections and all extracts are individually introduced, placing each in its historical, cultural and artistic context. Bringing together an astonishing range of both classic and contemporary texts, The Craft Reader will be invaluable to any student or practitioner of Craft and also to readers in Art and Design. AUTHORS INCLUDE: Theodor Adorno, Anni Albers, Amadou Hampate Ba, Charles Babbage, Roland Barthes, Andrea Branzi, Alison Britton, Rafael Cardoso, Johanna Drucker, Charles Eames, Salvatore Ferragamo, Kenneth Frampton, Alfred Gell, Walter Gropius, Tanya Harrod, Martin Heidegger, Patrick Heron, Bernard Leach, Esther Leslie, W. R. Lethaby, Lucy Lippard, Adolf Loos, Karl Marx, William Morris, Robert Morris, Laszlo Moholy-Nagy, Stefan Muthesius, George Nakashima, Octavio Paz, Grayson Perry, M. C. Richards, John Ruskin, Raphael Samuel, Ellen Gates Starr, Debbie Stoller, Alexis de Tocqueville, Lee Ufan, Frank Lloyd Wright

W. D. Richmond's The Grammar of Lithography (1878) is a comprehensive and instructive work on the many varieties of lithography - with all their attendant materials and instruments - described and explained in practical terms for the active participant and the amateur enthusiast alike. Richmond's Grammar should also be understood as part of a wider movement of nineteenth-century industrial disclosure, where pockets of masterly knowledge previously available to apprentices and company employees alone were being made much more widely available through impartial manuals and guides. This noble cause was intended to bring down the walls of ignorance and trade secrecy and to foster an open atmosphere of mutual understanding. In the realm of lithography, Richmond's Grammar was the first treatise to achieve this. While the work forgoes any historical or overly theoretical discussion, it does provide an excellent example of practically oriented expertise in the graphic arts.

The work of Samuel Palmer (1805-1881) received mixed critical success during his lifetime, and his later life was overshadowed by the death of his elder son. Largely forgotten after his own death in 1881, Palmer began to attract renewed interest in the mid-twentieth century and he is now recognised as a key figure in English Romanticism. First published in 1892, this combination of a biography and a collection of Samuel Palmer's letters was written and compiled by his surviving son, A. H. Palmer, who later, in 1909, burned large quantities of his father's sketchbooks and notebooks. The letters published here, which date from 1829 to 1881, include correspondence with other members of 'the Ancients', such as John Linnell, George Richmond and Edward Calvert. The book also includes a range of sketches and etchings, as well as a catalogue of exhibited works.

In 1832, Eugene Delacroix accompanied a French diplomatic mission to Morocco, the first leg of a journey through the Maghreb and Andalusia that left an indelible impression on the painter. This comprehensive, annotated English-language translation of his notes and essays about this formative trip makes available a classic example of travel writing about the "Orient" from the era and provides a unique picture of the region against the backdrop of the French conquest of Algeria. Delacroix's travels in Morocco, Algeria, and southern Spain led him to discover a culture about which he had held only imperfect and stereotypical ideas and provided a rich store of images that fed his imagination forever after. He wrote extensively about these experiences in several stunningly beautiful notebooks, noting the places he visited, routes he followed, scenes he observed, and people he encountered. Later, Delacroix wrote two articles about the trip, "A Jewish Wedding in Morocco" and the recently discovered "Memories of a Visit to Morocco," in which he shared these extraordinary experiences, revealing how deeply influential the trip was to his art and career. Never before translated into English, Journey to the Maghreb and Andalusia, 1832 includes Delacroix's two articles, four previously known travel notebooks, fragments of two additional, recently discovered notebooks, and numerous notes and drafts. Michele Hannoosh supplements these with an insightful introduction, full critical notes, appendices, and biographies, creating an essential volume for scholars and readers interested in Delacroix, French art history, Northern Africa, and nineteenth-century travel and culture.

This is the first book in English on Henri Regnault (1843-71), a forgotten star of the European fin-de-siecle. A brilliant maverick who once seemed to hold the future of French painting in his hands, Regnault enjoyed a meteoric rise that was cut short when he died at the age of twenty-seven in the Franco-Prussian War. The story of his glamorous career and patriotic death colored French commemorative culture for nearly forty years--until his memory was swept away by the vast losses of World War I. In The Deaths of Henri Regnault, Marc Gotlieb reintroduces this important artist while offering a new perspective on the ultimate decline of nineteenth-century salon painting. Gotlieb traces Regnault's trajectory after he won the prestigious Grand Prix de Rome, a fellowship that provided four years of study in Italy. Arriving in Rome, however, Regnault suffered a profound crisis of originality that led him to flee the city in favor of Spain and Morocco. But the crisis also proved productive: from Rome, Madrid, Tangier, and Paris, Regnault enthralled audiences with a bold suite of strange, seductive, and violent Orientalist paintings inspired by his exotic journey--images that, Gotlieb argues, arose precisely from the crisis that had overtaken Regnault and that in key respects was shared by his more avant-garde counterparts. Both an in-depth look at Regnault's violent art and a vibrant essay on historical memory, The Deaths of Henri Regnault lays bare a creative legend who helped shape the collective experience of a generation.

Contemporary Crafts explores craft practices in both North America and Britain, revealing an astonishingly rich and diverse picture of artisanal work today. The book ranges across both urban and rural crafts and analyses how the country/city dichotomy creates differing approaches, practices and objects. Analysed in the context of their environment and its localised history, crafted objects are shown to embody or critique particular urban/rural myths and traditions. Covering both traditional and cutting-edge crafts from the small-scale domestic to large outdoor works, Contemporary Crafts demonstrates how craftspeople today are responding to the changing creative contexts of culture and history.

The St. Louis Mercantile Library Association has, from the time of its founding in 1846, exhibited and collected fine art, amassing a collection that complements its research holdings while also reflecting the tastes, interests, and cultural aspirations of its constituency. As such, the collection is particularly strong in artists who lived and worked in the city of St. Louis and the state of Missouri and who created works inspired by literary, political, and historical subjects.Numerous donations of sculpture have helped form a nucleus of works that brings to life the association's literary collections, while the predominance of landscape paintings is a natural outgrowth of St. Louis' nineteenth-century landscape movement that was tied to national and international art styles. Appropriately, the collection also features portraits of political, literary, and social leaders created in various media by some of the leading artists of their day.This fully illustrated handbook presents highlights of the paintings, sculpture, prints, drawings, and folk and decorative arts that make up the Mercantile Library Association's permanent collection and that reflect the institution's past 160 years of cultural activity as well as its ongoing role as a museum for art of the American Midwest.

This is the story of Marianne North, an unmarried middle-aged Victorian lady of comfortable means, set off in 1871 on her first expedition to make a pictorial record of the tropical and exotic plants of the world. Marianne produced more than 800 paintings which are housed in a special gallery at Kew. Now in second edtion, this book provides an overview of her paintings and the Marianne North Gallery (built under her patronage) where almost all her paintings hang, the history of the gallery and its architecture and its restoration. The beautiful gift book details Marianne's life and travels, fully illustrated throughout with her stunning botanical paintings. This second edition of the bestseller features updated information and the new format allows Marianne's paintings to be reproduced on a larger scale.

VINCENT VAN GOGH

Few artists command such fervent devotion amongst art lovers and such high prices in the salerooms of the art world. Love him or hate him, Vincent van Gogh is one of a handful of artists who is now a cultural event.

Stuart Morris's study concentrates on the paintings first, and employs van Gogh's eloquent letters as an aesthetic reference point. Much of the book is concerned with metacriticism - the way van Gogh has been critically received over the years.

Vincent van Gogh is one of the most celebrated of painters. It's a bit of a mystery. The mystery (or irony) is that his paintings have commanded the highest prices in the auction rooms of the contemporary art world (88 million dollars, 53 million dollars, and so on), yet he only managed to sell one painting during his lifetime, and he lived in poverty (with financial support from his brother Theo).

Why is Vincent van Gogh so popular? His legend has developed relatively rapidly. His art is loved by the critics and public. The crazy prices paid for single oil paintings are the manifestations of the fervour that van Gogh seems to generate. He is one of the handful of painters who cause great excitement every time exhibitions of his work are put on. One thinks also of Claude Monet, Leonardo da Vinci, Michelangelo Buonaroti and Pablo Picasso. These are artists that the public go mad for, so that when they are exhibited, there are huge queues trailing around the block.

The 1990 centenary celebrations of 'poor Vincent' showed how much he is exalted. There were films about him, discussions and conferences, TV documentaries, magazine articles, reviews, letters, and much merchandize was sold, to the great glee of the manufacturers: posters, tea towels, calendars, mugs, souvenirs of all kinds. What would the dishevelled, obsessive man who painted those small canvases in the years up to 1890 in Southern France make of the amazing fuss that now surrounds his work? What would van Gogh think of just one of his paintings being bought for 88 million dollars? It is a huge sum even in today's expensive world. You could build a hospital or two with the money. Imagine it Did Vincent know that when he painted those blue irises on that small, standard-size canvas, that it would one day be 'worth' millions of dollars?

I shall count myself very happy if I can manage to work enough to earn my living, for it worries me a lot when I think that I have done so many pictures and drawings without ever selling one.

Like the workers he depicted in numerous images, Vincent van Gogh himself worked very hard to improve his art. With a dogged determination van Gogh copied the Old Masters, as well as Japanese prints. His determined self-education and self-improvement paid off, resulting in more than 800 paintings in about 8 years. The years of van Gogh's art are relatively few - nearly all of the important works were made in the decade 1880-90. Hence his paintings are credited in art history books with the month and sometimes the day as well as the year of production. For most artists, 1889 would suffice. For van Gogh, the credit is October 1889. Producing 800 paintings in 8 years is an average of a hundred per year, or one every three and a half days. More likely, van Gogh would have worked on a number at the same time, or within a short space of time.

"Hidden Burne-Jones" is a major new volume which throws new light the draughtsmanship of leading Pre-Raphaelite artist, Edward Burne-Jones. The book studies Burne-Jones' development as an artist and image maker through his commitment to drawing during the course of his career. The volume includes three essays by leading Burne-Jones specialists. The first, by John Christian, presents new research on Burne-Jones' drawing technique and stylistic development, most clearly seen in works like the "Fairy Family" series (1857), "The Annunciation" (1857-61), "Study for an Idyll and An Idyll" (1862), and "Drapery Study of Lucretia for Chaucer's 'Legend of Good Women'" (1863).The second essay, by Elisa Korb, studies Burne-Jones' depiction of the female form, his approach to using models, and the stylistic development of subjects such as the nude over the course of his career. The artist's fascination with the female form is most strongly evoked in works like "Female Nude: Three Studies" (1865-66), "Two Nude Female Studies for 'The Lament'", (1865), "Lucretia" (1867) and "Composition Study for 'Charity'" (1867). The final essay, by Tessa Sidey, looks at Burne-Jones' often uneasy relationship with his native city of Birmingham, and the work of major benefactors, especially local patrons J.R. Holliday and Charles Fairfax Murray, in helping to develop the Museum and Art Gallery's internationally important holdings the artist's work.The volume illustrates 63 selected drawings and works on paper, which appear throughout the essays and the main exhibition presentation, nearly 30 of which are reproduced in colour. Each work is accompanied by an entry, which includes full specifications, provenance, inscriptions and an extended caption. The Burne-Jones collection at Birmingham is in every sense an international public resource. It contains nearly 1,200 works, of which over a thousand are works on paper and related archive material. This volume includes a complete catalogue listing of all 1,137 drawings, watercolours, prints and archive material at Birmingham Museums and Art Gallery, which will also form the basis of a new on-line Burne-Jones Resource Site to be launched in 2007.

When Paula Modersohn-Becker's artistfriends examined her extensive estate afew weeks after her death, they were overwhelmed. They only gradually realised thatin the painter, who had died so young, theyhad had an outstanding artist in their midst.Modersohn-Becker was largely unrecognisedduring her lifetime but is regarded today asone of the pioneers of Expressionism.The sculptor Bernhard Hoetger was one of the few who recognised hertalent from an early stage. Hoetger's memories of Paula Modersohn werepublished in 1920 as an authentic contemporary document in the seriesJunge Kunst. They are reprinted as a facsimile in this revised and extendededition. The volume is a bibliophilic highlight with an essay explaining theartist's life and work from a present-day perspective, together with herbiography and some 40 illustrations of her most important works.

The new scholarly series, "Van Gogh Studies" offers an international platform for research into nineteenth century, West European art history. The contributions focus on Vincent van Gogh and his contemporaries and are written by internationally acclaimed scholars and provide a richly variegated impression of this area of study. The first issue reveals the diversity of the Eminence grise series. Robert Herbert presents a major study about decorative arts; the nineteenth century French art market and the Salon system is the centrepiece of Robert Jensen and David Galenson's contribution, while Elise Eckermann, June Hargrove and Caroline Boyle-Turner provide remarkable monographs about Gauguin as a painter and sculptor. Joan Greer elucidates in great detail on the publication of Van Gogh's letters in the Flemish journal "Van Nu en Straks" ("Today and Tomorrow") in 1893, while Louis van Tilborgh researches and dates Van Gogh's stay in French painter Fernand Cormon's studio.

Struggling to create an identity distinct from the European tradition but lacking an established system of support, early painting in America received little cultural acceptance in its own country or abroad. Yet despite the initial indifference with which it was first met, American art flourished against the odds and founded the aesthetic consciousness that we equate with American art today.

In this exhilarating study David Rosand shows how early American painters transformed themselves from provincial followers of the established traditions of Europe into some of the most innovative and influential artists in the world. Moving beyond simple descriptions of what distinguishes American art from other movements and forms, "The Invention of Painting in America" explores not only the status of artists and their personal relationship to their work but also the larger dialogue between the artist and society. Rosand looks to the intensely studied portraits of America's early painters -- especially Copley and Eakins and the landscapes of Homer and Inness, among others -- each of whom grappled with conflicting cultural attitudes and different expressive styles in order to reinvent the art of painting. He discusses the work of Davis, Gorky, de Kooning, Pollock, Rothko, and Motherwell and the subjects and themes that engaged them. While our current understanding of America's place in art is largely based on the astonishing success of a handful of mid-twentieth-century painters, Rosand unearths the historical and artistic conditions that both shaped and inspired the phenomenon of Abstract Expressionism.

The Boyd family is Australia's most remarkable artistic dynasty. Among the descendants of landscape painter Emma Minnie a Beckett and her husband Arthur Merric Boyd are talented painters, potters, sculptors, architects and writers, several of international standing. This 'family biography' by award-winning writer Brenda Niall traces the emergence of an extraordinary artistic tradition. She places the Boyds in their historical and personal contexts, tells the interwoven stories of their brilliant careers, and analyses the shaping influences on their lives. Most remarkable is the story, told here for the first time, of heiress Emma Mills - a convict's daughter who in 1855 married William a Beckett, son of Victoria's first Chief Justice. As the family's much-loved matriarch, Emma a Beckett promoted the artistic careers of her daughter Emma Minnie, son-in-law Arthur Merric Boyd and Boyd grandchildren. Niall's narrative focuses on a sequence of Boyd family houses in Australia and Europe. Her story moves from a Wiltshire manor house to a farm in Yarra Glen and a pottery in Murrumbeena, to Arthur Boyd's Suffolk retreat and David Boyd's olive grove in the South of France, and finally to Bundanon, near Nowra-the homestead that Arthur Boyd gave to the Australian people. This strategy enables her to shift the spotlight from one individual to another, and to show dramatic changes in the family fortunes in many different settings. Beautifully illustrated, ""The Boyds"" is based on family papers, letters and diaries and a wide range of interviews. Moving from 1840s Melbourne to the present day, it covers a vast territory while reading with the ease of a novel.

In less than two decades, Jacoba van Heemskerck (1876-1923) created a powerful oeuvre comprising paintings, woodcuts, glass works and mosaics. Her expressive subjects, including landscapes, townscapes and harbour scenes, are characterised by luminosity and increasing transparency, by rhythmical compositions of the pictorial space, black contours and an intensive use of colour. After her artistic beginnings in the circle around Mondrian and elsewhere, Jacoba van Heemskerck belonged to the centre of the avant-garde movement emanating from the "Sturm" of Herwarth Walden in Berlin - the gallerist and publisher who made artists like Marc, Kandinsky and Jawlensky famous. Her work is shaped by her orientation towards Anthroposophy, which bears witness to her interest in the elemental effect of light and colour on the viewer. Her creative work is highly topical today thanks to her understanding of nature and the cosmos as a world viewed as a whole.

Handsomely designed and richly illustrated, this publication surveys the magnificent spectrum of projects undertaken by French architect and interior designer Charles Percier (1764-1838). After gaining an illustrious reputation for supervising the scenery at the Paris Opera during the French Revolution, Percier was later appointed by Napoleon Bonaparte. With the Emperor's support, he developed the opulent versions of neoclassicism closely associated with the Napoleonic era, and now known as Directoire style and Empire style. Percier worked on the renovation or redecoration of many of France's royal palaces, including the Louvre, the Tuileries, and the chateaux of Malmaison, Saint-Cloud, and Fontainebleau. The full scope and variety of Percier's design projects are revealed in this book, which also includes archival material detailing Percier's relationships with patrons and peers. Published in association with Bard Graduate Center Exhibition Schedule: Bard Graduate Center (11/18/16-02/15/17) Chateau de Fontainebleau (03/18/17-06/19/17)

Animal rights activists today regularly use visual imagery in their efforts to shape the public's understanding of what it means to be "kind," "cruel," and "inhumane" toward animals. Art for Animals explores the early history of this form of advocacy through the images and the people who harnessed their power. Following in the footsteps of earlier-formed organizations like the RSPCA and ASPCA, animal advocacy groups such as the Victoria Street Society for the Protection of Animals from Vivisection made significant use of visual art in literature and campaign materials. But, enabled by new and improved technologies and techniques, they took the imagery much further than their predecessors did, turning toward vivid, pointed, and at times graphic depictions of human-animal interactions. Keri Cronin explains why the activist community embraced this approach, details how the use of such tools played a critical role in educational and reform movements in the United States, Canada, and England, and traces their impact in public and private spaces. Far from being peripheral illustrations of points articulated in written texts or argued in impassioned speeches, these photographs, prints, paintings, exhibitions, "magic lantern" slides, and films were key components of animal advocacy at the time, both educating the general public and creating a sense of shared identity among the reformers. Uniquely focused on imagery from the early days of the animal rights movement and filled with striking visuals, Art for Animals sheds new light on the history and development of modern animal advocacy.

Speaking of the emergence of modernism, author Virginia Woolf famously said: "On or about December 1910, human character changed." But was the shift to modernism really so revolutionary? J. M. Mancini argues that it was not. She proposes that the origins of the movement can in fact be traced well into the nineteenth century.

Several cultural developments after the Civil War gradually set the stage for modernism, Mancini contends. New mass art media appeared on the scene, as did a national network of museums and groundbreaking initiatives in art education.These new institutions provided support for future modernists and models for the creators of the avant-garde. Simultaneously, art critics began to embrace abstraction after the Civil War, both for aesthetic reasons and to shore up their own nascent profession. Modernism was thus linked, Mancini argues, to the emergence of cultural hierarchy.

A work of impeccable scholarship and unusual breadth, the book challenges some of the basic ideas about both the origins of twentieth-century modernism and the character of Gilded-Age culture. It will appeal not only to art historians but also to scholars in American history and American studies.

This review considers the major Cezanne exhibition at the Tate Gallery London, staged from 8th February until 28th April 1996. Rather than focusing exclusively on the artist's work, the piece attempts to place the exhibition in context, exploring the institutional arena of presentation and the social and economic strata to which the retrospective is mainly addressed. To encompass these multiple levels of attention, the essay is based on a journey through the exhibition, seen at the press view on Tuesday 6th February 1996. The record is intentionally discursive, entwining impressions both of the works and the audience, groups of media professionals moving from room to room in sequence around the show. Further attention is given to the formulation of the catalogue, to gain a reasonably complete picture of the event.

The story of their salt-glazed pottery that has a special place in the history of ceramic art.