Part of a series of exciting and luxurious Flame Tree Notebooks. Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed then foil stamped. And they're powerfully practical: a pocket at the back for receipts and scraps, two bookmarks and a solid magnetic side flap. These are perfect for personal use and make a dazzling gift. This example is based on The Virgin, c. 1913 by Klimt (1862-1918), and printed on silver.

This book examines a range of visual images of military recruitment to explore changing notions of glory, or of gloire, during the French Revolution. It raises questions about how this event re-orientated notions of 'citizenship' and of service to 'la Patrie'. The opening lines of the Marseillaise are grandly declamatory: Allons enfants de la Patrie/le jour de gloire est arrive! or, in English: Arise, children of the Homeland/The day of glory has arrived! What do these words mean in their later eighteenth-century French context? What was gloire and how was it changed by the revolutionary process? This military song, later adopted as the national anthem, represents a deceptively unifying moment of collective engagement in the making of the modern French nation. Valerie Mainz questions this through a close study of visual imagery dealing with the issue of military recruitment. From neoclassical painting to popular prints, such images typically dealt with the shift from civilian to soldier, focusing on how men, and not women, were called to serve the Homeland.

The John Rylands Library houses one of the finest collections of rare books, manuscripts and archives in the world. The collections span five millennia and cover a wide range of subjects, including art and archaeology; economic, social, political, religious and military history; literature, drama and music; science and medicine; theology and philosophy; travel and exploration. For over a century, the Bulletin of the John Rylands Library has published research that complements the Library's special collections. The editors invite the submission of articles in these fields and welcome discussion of in-progress projects. -- .

One of the difficulties about how our minds work is that we often cannot quite clearly see or know what is inside us. Art therapists have a longstanding tradition of prescribing image-making to prompt expression of feelings, often by asking people to draw, paint, or sculpt "how you feel." It is one of the fundamental approaches in the field that distinguishes art therapy from verbal techniques that ask people to simply talk about their emotions. Author Erica Jong once wrote that imagery is a form of emotional shorthand. This could be interpreted to mean that while we may use paragraphs of prose to describe an emotional experience, images allow us to communicate simply and directly. At its core, art therapy embraces the paradigm that creating images cuts to the chase when it comes to expressing feelings. The point is not to draw well. But to draw with authenticity. This is specifically a book for people who can't draw.

This special issue of the Bulletin of the John Rylands Library is devoted to William Blake. It explores the British and European reception of Blake's work from the late nineteenth century to the present day, with a particular focus on the counterculture. Opening with two articles by the late Michael Horovitz, an important figure in the 'Blake Renaissance' of the 1960s, the issue goes on to investigate the ideological struggle over Blake in the early part of the twentieth century, with particular reference to W. B. Yeats. This is followed by articles on the artistic avant-garde and underground of the 1960s and on Blake's significance for science fiction authors of the 1970s. The issue closes with an article on the contemporary Belgian art collective maelstrOEm reEvolution. -- .

Starry Night is a fascinating, fully illustrated account of Van Gogh's time at the asylum in Saint-Remy, during which he created some of his most iconic pieces of art. Despite the challenges of ill health and asylum life, Van Gogh continued to produce a series of masterpieces - cypresses, wheatfields, olive groves and sunsets during his time there. This fascinating and insightful work from arts journalist and Van Gogh specialist Martin Bailey examines his time there, from the struggles that sent him to the asylum, to the brilliant creative inspiration that he found during his time here. He wrote very little about the asylum in letters to his brother Theo, so this book sets out to give an impression of daily life behind the walls of the asylum of Saint-Paul-de-Mausole and looks at Van Gogh through fresh eyes, with newly discovered material. An essential insight into the mind of a flawed genius, Starry Night is indispensable for those who wish to understand the life of one of the most talented and brilliant artists to have put paintbrush to canvas.

Gregory Dart expands upon existing notions of Cockneys and the 'Cockney School' in the late Romantic period by exploring some of the broader ramifications of the phenomenon in art and periodical literature. He argues that the term was not confined to discussion of the Leigh Hunt circle, but was fast becoming a way of gesturing towards everything in modern metropolitan life that seemed discrepant and disturbing. Covering the ground between Romanticism and Victorianism, Dart presents Cockneyism as a powerful critical currency in this period, which helps provide a link between the works of Leigh Hunt and Keats in the 1810s and the early works of Charles Dickens in the 1830s. Through an examination of literary history, art history, urban history and social history, this book identifies the early nineteenth century figure of the Cockney as the true ancestor of modernity.

When all that was solid melted into air... For decades, intellectuals from Benjamin to Bourdieu, Berman to Foucault, have been in thrall to this vision of the mid-nineteenth century. It shaped and underpinned their most influential thoughts, its legacy insinuated into institutionalized theories of culture. In this new book, that vision implodes, as if in a cultural supernova, its exceptionalism and limitations exposed. The story of modernity fades before a spectacle of linkages, stretching from and into the depths of history, the breadths of place. And, in a parallel substitution, the vast territories of the former Spanish Empire's thread through the narrative, rather than lurking on the peripheries, no longer just the fallen founders of modernity. Instead of modernity goes to the very heart of comparative cultural study: the question of what happens when intimate, dynamic connections are made over place and time, what it is to feel at home amid the lavish diversity of culture. This ambitious interdisciplinary book reconsiders foundational figures of the modern western canon, from Darwin to Cameron, Baudelaire to Whistler. It weaves together brain images from France, preserved insects from the Americas, glass in London, poetry from Argentina, paintings from Spain. Flaubert, Whitman, and Nietzsche find themselves with Hostos from Puerto Rico and Gorriti from Argentina. The flotsam and jetsam of history - optical toys from Madrid - sit with Melville and Marx. The book ranges over theoretical fields: trauma and sexuality studies, theories of visuality, the philosophy of sacrifice and intimacy, the thought of Wittgenstein. Instead of modernity is an adventure in the practice of comparative writing: resonances join suggestively over place and time, the textures of words, phrases and images combine to form moods. This book will be of interest to anyone concerned with the question of modernity and with the fate of cultural theory and comparison. -- .

Part of a series of exciting and luxurious Flame Tree Notebooks. Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed then foil stamped. And they're powerfully practical: a pocket at the back for receipts and scraps, two bookmarks and a solid magnetic side flap. These are perfect for personal use and make a dazzling gift. This example is based on 'Wheat Field with Cypresses' by Vincent van Gogh. Vincent Van Gogh composed this painting while he was in the Saint-Remy mental asylum, near Arles. The bold use of impasto and the beauty of the towering trees have made this one of his most recognisable works. There are various other versions of the painting, one of which features a closer view of the cypresses painted vertically, as well as a replica of this version that Van Gogh painted for his mother and sister.

This collection of essays stems from the conference 'Internationalism and the Arts: Anglo-European Cultural Exchange at the Fin de Siecle' held at Magdalene College, Cambridge, in July 2006. The growth of internationalism in Europe at the fin de siecle encouraged confidence in the possibility of peace. A wartorn century later, it is easy to forget such optimism. Flanked by the Franco-Prussian war and the First World War, the late nineteenth and early twentieth centuries were marked by rising militarism. Themes of national consolidation and aggression have become key to any analysis of the period. Yet despite the drive towards political and cultural isolation, transnational networks gathered increasing support. This book examines the role played by artists, writers, musicians and intellectuals in promoting internationalism. It explores the range of individuals, media and movements involved, from cosmopolitan characters such as Walter Sickert and Henri La Fontaine, through internationalist art societies, to periodicals, performance, and the mobility of the Arts and Crafts Movement. The discussion takes in the geographical breadth of Europe, incorporating Belgium, Bohemia, Britain, France, Germany, Hungary, Italy, Norway, Poland, Russia and Slovakia. Drawing on the work of scholars from across Europe and America, the collection makes a statement about the complexity of European identities at the fin de siecle, as well as about the possibilities for interdisciplinary research in our own era.

First full biography of Richard Woods, the landscape designer, examining his work and restoring him to the attention he merits. A contemporary of the famous landscape designer "Capability" Brown, Richard Woods has never received the recognition he deserves: in contrast to Brown, he emphasised the pleasure ground and kitchen garden, with a more pronounced use of flowers than was general among the landscape improvers of his time. He liked variety and incident in his plans and, where he was employed on a larger scale, the encroachment of the pleasure ground into the park created the Woodsian "pleasure park". In this important work of detection and biography, Fiona Cowell analyses his designs, and explores his activities as a plantsman, a determined amateur architect and a farmer. In particular, she showsthe difficulties he found as a Catholic living in penal times, examining the difficulties encountered by both Woods and his Catholic patrons, and placing the man and his work in their wider social and economic context. Unjustly neglected in the past, he is here given his rightful place among the creators of the English landscape style.

Over the course of the nineteenth century, women in Britain participated in diverse and prolific forms of artistic labour. As they created objects and commodities that blurred the boundaries between domestic and fine art production, they crafted subjectivities for themselves as creative workers. By bringing together work by scholars of literature, painting, music, craft and the plastic arts, this collection argues that the constructed and contested nature of the female artistic professional was a notable aspect of debates about aesthetic value and the impact of industrial technologies. All the essays in this volume set up a productive inter-art dialogue that complicates conventional binary divisions such as amateur and professional, public and private, artistry and industry in order to provide a more nuanced understanding of the relationship between gender, artistic labour and creativity in the period. Ultimately, how women faced the pragmatics of their own creative labour as they pursued vocations, trades and professions in the literary marketplace and related art-industries reveals the different ideological positions surrounding the transition of women from industrious amateurism to professional artistry.

The Victorian Era represents the cradle of our modern society - a time when social change and new technology heralded an industrialised economy. By the time of Queen Victoria's Diamond Jubilee in 1897, claims were proudly made of the progress since her accession to the throne. Steam ships had replaced sail, the railway system had superseded the stage coach, and the motor car had just begun to replace the horse. Not only did mass production create a new wealth of household products, ceramics, toys and games, but the arrival of cheaper printing and colour lithography made possible a profusion of printed material. The music sheets, colourful scraps, advertisements, greetings cards and children's book illustrations that fill The Victorian Scrapbook - with such vigour - all give us an insight into the life and times of our forebears. Fortunately the thousand items gathered here have survived in remarkable condition, some by chance, others by having themselves been pasted down into contemporary scrapbooks. They all combine to celebrate a time when British ruled an Empire 'on which the sun never sets'. AUTHOR: Since the 1960s, Robert Opie has amassed an unrivalled collection of packaging. He is the author of numerous publications and has given many talks to schools, as well as on radio and television. 10000 colour illustrations

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 Van Gogh's Sunflowers. Van Gogh painted a series of pictures depicting sunflowers, having first been inspired by the yellow flowers in Paris when he saw them growing in the gardens of Montmartre. Sunflowers were symbolic of life and hope to the artist, and could also be associated with his concept of the sun - glowing, yellow and hopeful.

In this little book for children, first made in 1793, William Blake charted the course of human life and experience in eighteen enigmatic emblems. Twenty-five years later, he revisited the book, adding three plates of explication and some captions. It remains one of his most accessible, yet disconcerting works.

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.

Systems theory emerged in the mid-20th century along with related theories such as Cybernetics and Information Theory. Recently it has included Complexity Theory, Chaos Theory and Social Systems Theory. Systems theory understands phenomena in terms of the systems of which they are part. This book is about a systems theoretical approach to thinking about art. It examines what it means to look to systems theory both for its implications for artistic practice and as a theory of art. This publication provides a sustained discussion on the application of systems theory to an account of art.

The first fully illustrated and comprehensive introduction to May Morris's work as an artist, designer and embroiderer, published in association with the V&A. May Morris (1862-1938), younger daughter of William Morris, was a significant figure in the British Arts and Crafts movement and a pioneer of 'art embroidery'. She ran the embroidery department of Morris & Co., as well as designing textiles, wallpapers and jewellery. May was also an influential teacher and lectured in the UK and America. May Morris: Arts & Crafts Designer is the first publication to present the full range of May Morris's work and reveals her exceptional skill and originality. It draws together her designs, exquisite embroideries, watercolours, costume and jewellery from museums around the world, and in particular the rich collections of the Victoria and Albert Museum and the William Morris Gallery, London. The book contains more than 180 items in colour and detailed information on their materials and provenance compiled by leading experts. There are also new insights into May's personal life and relationships, her social activism and her support for other craftswomen. This authoritative and illuminating study places May Morris, whose reputation has been overshadowed by that of her father, firmly among the leading British designer-makers of the Arts and Crafts movement.

This collection uncovers connections and coincidences that challenge the old stories of pioneering performers who crossed the Atlantic and Pacific oceans from the mid-nineteenth to the mid-twentieth century. It investigates songlines, drama, opera, music theatre, dance, and circus-removing traditional boundaries that separate studies of performance, and celebrating difference and transformation in style, intention, and delivery. Well known, or obscure, travelling performers faced dangers at sea and hazardous journeys across land. Their tracks, made in pursuit of fortune and fame, intersected with those made by earlier storytellers in search for food. Touring Performance and Global Exchange takes a fresh look at such tracks-the material remains-demonstrating that moving performance does far more than transfer repertoires and people; it transforms them. Touring performance has too often beenconceived in diasporic terms, as a fixed product radiating out from a cultural centre. This collection maps different patterns-ones that comprise reversed flows, cross currents, and continually proliferating centres of meaning in complex networks of global exchange. This collection will be of great interest to scholars and students in theatre, music, drama studies, and cultural history.

A singular thinker and an uncompromising seeker after artistic truth, Cezanne channelled a large part of his wide-ranging intellect and ferocious wit into his letters. This translation by Alex Danchev is based on a thorough re-examination of Cezanne's correspondence with family, friends and major figures from the literary and art worlds. Danchev's great achievement is to allow readers in English to hear Cezanne's voice for the first time in his own idiomatic, idiosyncratic style. And he sounds rather different from the Cezanne we thought we knew - richer, wittier, wiser, more philosophical, more irascible, above all more fully human. The letters offer fresh perspectives on his artistic vision, politics, friendships, psychology, philosophy, literary tastes and classical frame of reference. They provide an intimate insight into the preoccupations and personality of a legend.

Blake's only wood engravings, made near the end of his life for a school edition of Virgil, are among his most lyrical and enduringly influential creations. This is their first publication as a stand-alone book, with the original text of Ambrose Philips' version of the first Eclogue of Virgil.

The Pre-Raphaelite Brotherhood was a group of radical young artists who banded together in London in 1848. This book explores the vital role played by drawing and design in the work of the Brotherhood and their associates and followers. Alongside nudes and figure studies are the group s portraits, self-portraits, and caricatures that were often exchanged as gifts between friends; delicate studies of nature by John Ruskin and John Brett; scenes derived from religious, literary, and medieval sources; captivating studies of the iconic Pre-Raphaelite models Lizzie Siddal and Jane Morris; and original designs for stained glass, textiles, and ceramics. The book explores the full variety of Pre-Raphaelite drawing and demonstrates the impact that it had on turn-of-the-century British art movements such as Aestheticism, Symbolism, and Art Nouveau. Illustrated with the most important Pre-Raphaelite drawings from public and private collections in Britain including striking works by Dante Gabriel Rossetti, William Holman Hunt, and Edward Burne- Jones that have never before been exhibited or reproduced it offers an intimate look into the enchanting world of the Pre-Raphaelites.