Paul Cezanne challenged convention and pioneered new possibilities in painting. He was remarkable for his ability to perceive and paint aspects of everyday life in ways that revealed dynamic yet deeply harmonious visions of the world. But the intellectual and emotional difficulties of his achievements were considerable. Mainly self-taught, most of his career was plagued by rejection. The critics, and the public, disliked his paintings, and in 1884 Cezanne declared that Paris, the centre of the nineteenth-century art world, had defeated him. Repeatedly, he retreated into self-doubt and bad temper. This book follows Cezanne on his extraordinary artistic journey, focusing on his formative discoveries, made not in the flashy, fashionable metropolis of Paris but in provincial and rural France, often in isolation.

Focusing on an era that both inherited and irretrievably altered the form and the content of earlier art production, The Art-Journal and Fine Art Publishing in Victorian England, 1850-1880 argues that fine art practices and the audiences and markets for them were influenced by the media culture of art publishing and journalism in substantial and formative ways, perhaps more than at any other time in the history of English art. The study centers on forms of Victorian picture-making and the art knowledge systems defining them, and draws on the histories of art, literature, journalism, and publishing. The historical example employed in the book is that of the more than 800 steel-plate prints after paintings published in the London-based Art-Journal between 1850 and 1880. The cultural phenomenon of the Art Journal print is shown to be a key connector in mid-Victorian art appreciation by drawing out specific tropes of likeness. This study also examines the important links between paint and print; the aesthetic values and domestic aspirations of the Victorian middle class; and the inextricable intertwining of fine art and 'trade' publishing.

This rich treasury of Art Nouveau designs will inspire and enrich your decorative arts projects. The images were originally presented in the 1890s for use in home interiors, ceramics, textiles, stationary, stained glass, and ironwork. Now, even easier to use, they are in both print and digital forms, referenced by page numbers. 775 graphics, 500 in color, are at your fingertips. Specifically created more than a century ago to appeal to an emerging aesthetic called Art Nouveau, or New Art (derived from La Maison de l'Art Nouveau, a gallery for interior design that opened in Paris in 1896), this style became an international fad by the early 20th-century. Art Nouveau is characterized by organic foliate forms, sinuous lines, and non-geometric, whiplash curves that are highly appealing again today. With this wealth of beautiful designs, you can add an authentic antique touch to today's graphics with modern technology.

The first English-language monograph on the French dancer and model, Cleo de Merode and the Rise of Modern Celebrity Culture explores the haunting legacy of this intriguing and glamorous figure, an international celebrity at the dawn of modern celebrity culture. Situating Merode at a pivotal moment in the history of fame and visual culture, this study analyzes how technological and societal changes led to our star-struck modernity. Merode was one of the earliest examples of fame born from mass visual culture, as newly available postcards circulated her image around the globe. Through Merode, Michael D. Garval illuminates broader trends of the Belle A0/00poque: persistent statue fetishism within a vibrant monumental culture, rampant exoticism amid unprecedented colonial expansion, the rapid growth of the illustrated press, the rise of female show business personalities, the advent of cinema and x-rays, and a burgeoning sense of new visual possibilities. The volume examines how Merode heralded modern celebrity icons; problematizes the status of women and women's bodies under intense public scrutiny; and exposes the paradoxes of a society captivated by a mass media-driven dream of intimacy from afar.Cleo de Merode and the Rise of Modern Celebrity Culture probes the neglected prehistory of a visual culture obsessed with celebrities and their images.

The Fonte Gaia from Renaissance to Modern Times examines the history of Siena's famous public fountain, from its fifteenth-century origins to its eventual replacement by a copy in the nineteenth century (and the modern fate of both). The book explores how both the Risorgimento and the Symbolist movements have shaped our perceptions of the Italian Renaissance, as the Quattrocento was filtered through the lens of contemporary art and politics.

Focusing on images of or produced by well-to-do nineteenth-century European women, this volume explores genteel femininity as resistant to easy codification vis-A -vis the public. Attending to various iterations of the public as space, sphere and discourse, sixteen essays challenge the false binary construct that has held the public as the sole preserve of prosperous men. By contrast, the essays collected in Women, Femininity and Public Space in European Visual Culture, 1789-1914 demonstrate that definitions of both femininity and the public were mutually defining and constantly shifting. In examining the relationship between affluent women, femininity and the public, the essays gathered here consider works by an array of artists that includes canonical ones such as Mary Cassatt and FranAois Gerard as well as understudied women artists including Louise Abbema and Broncia Koller. The essays also consider works in a range of media from fashion prints and paintings to private journals and architectural designs, facilitating an analysis of femininity in public across the cultural production of the period. Various European centers, including Madrid, Florence, Paris, Brittany, Berlin and London, emerge as crucial sites of production for genteel femininity, providing a long-overdue rethinking of modern femininity in the public sphere.

The Impressionists are world renowned for their vibrant depictions of the atmospheric effects and shimmering beauty of the French countryside. These paintings, often produced in Paris, found an enthusiastic market in the city. The inhabitants of that hub of modernity had an apparently paradoxical interest in the mythologies of rural living. As the city became more and more the motive force of social change so the country was understood as the anchor of changelessness and nostalgia. The essayists in this volume examine the complex relationship between country and city. Their work draws widely on the contemporary culture exploring folklore and children's literature, anarchism and urbanism, and offers significant new insights into the work of major artists and writers including Courbet, Millet, Monet, Van Gogh and Zola.

The expression 'the Zola of Sculpture' was coined in the circles of the Royal Academy in the 1880s as a term of abuse. Rodin: 'The Zola of Sculpture' reveals how the appraisal of Rodin in British culture was shaped by controversies around the literary models of Zola and Baudelaire, in a period when negative notions about French culture were being progressively transformed into positive expressions of modern sculpture. Embedded within this collaborative book is the editor's proposition that Rodin came to play an important role in the cultural politics of the Entente Cordiale at a critical juncture of European history. Encompassing new scholarship in several disciplines, drawn from both sides of the Channel, Rodin: 'The Zola of Sculpture' offers the first in-depth account of Rodin's career in Britain in the period 1880-1914 and weaves this historical trajectory into a complex investigation of the interactions between French and British cultures. The authors examine the cultural agencies in which conceptions of Rodin's practice played a defining role, dealing in turn with artists' professional associations, art criticism, private and public collectors and the education of women sculptors.

Foreign Artists and Communities in Modern Paris, 1870-1914 examines Paris as a center of international culture that attracted artists from Western and Eastern Europe, Asia and the Americas during a period of burgeoning global immigration. Sixteen essays by a group of emerging and established international scholars - including several whose work has not been previously published in English - address the experiences of foreign exiles, immigrants, students and expatriates. They explore the formal and informal structures that permitted foreign artists to forge connections within and across national communities and in some cases fashion new, transnational identities in the City of Light. Considering Paris from an innovative global perspective, the book situates both important modern artists - such as Edvard Munch, Sonia Delaunay-Terk, Marc Chagall and Gino Severini - and lesser-known American, Czech, Italian, Polish, Welsh, Russian, Japanese, Catalan, and Hungarian painters, sculptors, writers, dancers, and illustrators within the larger trends of international mobility and cultural exchange. Broadly appealing to historians of modern art and history, the essays in this volume characterize Paris as a thriving transnational arts community in which the interactions between diverse cultures, peoples and traditions contributed to the development of a hybrid and multivalent modern art.

In a reevaluation of that period in Victorian illustration known as 'The Sixties,' a distinguished group of international scholars consider the impact of illustration on the act of reading; its capacity to reflect, construct, critique and challenge its audience's values; its response to older graphic traditions; and its assimilation of foreign influences. While focused on the years 1855 to 1875, the essays take up issues related to the earlier part of the nineteenth century and look forward to subsequent developments in illustration. The contributors examine significant figures such as Ford Madox Brown, Frederick Sandys, John Everett Millais, George John Pinwell, and Hablot Knight Browne in connection with the illustrated magazine, the mid-Victorian gift book, and changing visual responses to the novels of Dickens. Engaging with a number of theories and critical debates, the collection offers a detailed and provocative analysis of the nature of illustration: its production, consumption, and place within the broader contexts of mid-Victorian culture.

Restoring the role of theatrical performance as both subject and trope in the aesthetics of self-representation, Staging the Artist questions how nineteenth-century French and Belgian artists self-consciously fashioned their identities through their art and writings. This emphasis on performance allows for a new understanding of the processes of self-fashioning which underlie self-representation in word and image. Claire Moran offers new interpretations of works by major nineteenth-century figures such as Paul Gauguin and Edgar Degas, and addresses the neglected topic of the function of theatre in the development of modern visual art. Incarnating Baudelaire's metaphor of the artist as an actor ever-conscious of his role, the artists discussed "Courbet, Ensor and Van Gogh, among others" employed theatre as both a thematic source and formal inspiration in their painting, writings and social behaviour. Moran argues that what renders this visual, literary and social performance modern is its self-consciousness, which in turn serves as a model with which to challenge pictorial convention. This book suggests that tracing modern performance and artistic identity to the nineteenth century provides a greater understanding not only of the significance of theatre in the development of modern art, but also highlights the self-conscious staging inherent to modern artistic identity.

The first monograph to examine the depiction of reading women in French art of the early Third Republic, Women Readers in French Painting 1870-1890 evaluates the pictorial significance of this imagery, its critical reception, and its impact on notions of femininity and social relations. Covering a broad range of paintings, prints, and sculptures, this book shows how the liseuse was subjected to unprecedented levels of pictorial innovation by artists with widely differing aesthetic aims and styles. Depictions of readers are interpreted as contributions to changing notions of public and private life, female agency, and women's participation in cultural and political debates beyond the domestic household. This highly original book explores images of women readers from a range of social classes in both urban and rural settings. Such images are shown to have articulated concerns about the impact of female literacy on labour environments and family life while, in many cases, challenging conventions of gendered reading. Kathryn Brown also presents an alternative way of conceiving of modernity in relation to nineteenth-century art, a methodological departure from much recent art historical literature. Artists discussed range from Manet, Cassatt and Degas, to less familiar figures such as Lavieille, Carriere, Toulmouche and Tissot.

In 1864, Union soldier Charles George described a charge into battle by General Phil Sheridan: "Such a picture of earnestness and determination I never saw as he showed as he came in sight of the battle field . . . What a scene for a painter!" These words proved prophetic, as Sheridan's desperate ride provided the subject for numerous paintings and etchings as well as songs and poetry. George was not alone in thinking of art in the midst of combat; the significance of the issues under contention, the brutal intensity of the fighting, and the staggering number of casualties combined to form a tragedy so profound that some could not help but view it through an aesthetic lens, to see the war as a concert of death. It is hardly surprising that art influenced the perception and interpretation of the war given the intrinsic role that the arts played in the lives of antebellum Americans. Nor is it surprising that literature, music, and the visual arts were permanently altered by such an emotional and material catastrophe. In The Arts and Culture of the American Civil War, an interdisciplinary team of scholars explores the way the arts - theatre, music, fiction, poetry, painting, architecture, and dance - were influenced by the war as well as the unique ways that art functioned during and immediately following the war. Included are discussions of familiar topics (such as Ambrose Bierce, Peter Rothermel, and minstrelsy) with less-studied subjects (soldiers and dance, epistolary songs). The collection as a whole sheds light on the role of race, class, and gender in the production and consumption of the arts for soldiers and civilians at this time; it also draws attention to the ways that art shaped - and was shaped by - veterans long after the war.

In Maternal Breast-Feeding and Its Substitutes in Nineteenth-Century French Art, Gal Ventura investigates the ideological concepts behind the endorsement of maternal breast-feeding in modern Western society. Using diverse visual and textual sources and surveying hundreds of artworks produced from the time of the French Revolution to the beginning of the twentieth century, Ventura reveals the historical, political, religious, and economic factors that shaped the representations of breast-feeding and its substitutes in French art. She thus sheds light on the changing attitudes toward maternal breast-feeding in nineteenth-century France, which have had a considerable impact on the glorification of breast-feeding in the Western world to this very day.

With the words 'A new manifestation of art was ... expected, necessary, inevitable,' Jean Moreas announced the advent of the Symbolist movement in 1886. When Symbolist artists began experimenting in order to invent new visual languages appropriate for representing modern life in all its complexity, they set the stage for innovation in twentieth-century art. Rejecting what they perceived as the superficial descriptive quality of Impressionism, Naturalism, and Realism, Symbolist artists delved beneath the surface to express feelings, ideas, scientific processes, and universal truths. By privileging intangible concepts over perceived realities and by asserting their creative autonomy, Symbolist artists broke with the past and paved the way for the heterogeneity and penchant for risk-taking that characterizes modern art. The essays collected here, which consider artists from France to Russia and Finland to Greece, argue persuasively that Symbolist approaches to content, form, and subject helped to shape twentieth-century Modernism. Well-known figures such as Kandinsky, Khnopff, Matisse, and Munch are considered alongside lesser-known artists such as Fini, Gyzis, Koen, and Vrubel in order to demonstrate that Symbolist art did not constitute an isolated moment of wild experimentation, but rather an inspirational point of departure for twentieth-century developments.

Focusing on W.B. Yeats's ideal of mutual support between the arts, Karen Brown sheds new light on how collaborations and differences between members of the Yeats family circle contributed to the metamorphosis of the Irish Cultural Revival into Irish Modernism. Making use of primary materials and fresh archival evidence, Brown delves into a variety of media including embroidery, print, illustration, theatre, costume design, poetry, and painting. Tracing the artistic relationships and outcome of W.B. Yeats's vision through five case studies, Brown explores the poet's early engagement with artistic tradition, contributions to the Dun Emer and Cuala Industries, collaboration between W.B. Yeats and Norah McGuinness, analysis of Thomas MacGreevy's pictorial poetry, and a study of literary influence and debt between Jack Yeats and Samuel Beckett. Having undertaken extensive archival research relating to word and image studies, Brown considers her findings in historical context, with particular emphasis on questions of art and gender and art and national identity. Interdisciplinary, this volume is one of the first full-length studies of the fraternite des arts surrounding W.B. Yeats. It represents an important contribution to word and image studies and to debates surrounding Irish Cultural Revival and the formation of Irish Modernism.

Alfred Gilbert's Aestheticism presents the first sustained re-evaluation of the life and work of one of the most acclaimed sculptors of the late-Victorian period. Drawing on important new archival sources, this ground-breaking study challenges the customary assumption that Aestheticism was primarily a literary, painterly or architectural phenomena. Jason Edwards reveals both the diverse ways in which Gilbert's sculptures operated within the context of Aestheticism and also how these works provided a unique and provocative commentary on the history of masculine friendship and eroticism in the period leading up to and beyond the Wilde trials in 1895. Detailed readings are offered of the relationship of Gilbert's work to essays by Pater and Swinburne, poems, plays, and novels by Wilde and W. S. Gilbert, and paintings by Burne-Jones, Leighton, Rossetti, Solomon, Whistler, and Watts. With over 90 illustrations, including key contemporary photographs showing Gilbert's works in their original contexts, this book makes a major contribution to the field of Victorian sculpture studies.

Local/Global: Women Artists in the Nineteenth Century is the first book to investigate women artists working in disparate parts of the world. This major new book offers a dazzling array of compelling essays on art, architecture and design by leading writers: Joan Kerr on art in Australia by residents, migrants and visitors; Ka Bo Tsang on the imperial court in China; Gayatri Sinha on south Asian artists; Mary Roberts on harem portraiture of the Ottoman empire; Griselda Pollock on Parisian studios; Lynne Walker on women patron-builders in Britain; SA ghle Bhreathnach-Lynch and Julie Anne Stevens on Irish women artists; Ruth Phillips on souvenir art by native and settler women; Janet Berlo on North American textiles; Kristina Huneault on white settler identity in Canada; Charmaine Nelson on neo-classical sculpture in North America; and Stacie Widdifield on Mexico. This pioneering collection addresses issues at the heart of feminist and post-colonial studies: the nature of difference, discrepant modernities and cross-cultural encounters. Written in a lively and accessible style, this lavishly illustrated volume offers fresh perspectives on women, art and identity. It is essential reading for anyone interested in the history of women artists and the art of the nineteenth century.

Originally describing language use and class position, vulgarity became, over the course of the nineteenth century, a word with wider social implications. Variously associated with behavior, the possession of wealth, different races, sexuality and gender, the objects displayed in homes, and ways of thinking and feeling, vulgarity suggested matters of style, taste, and comportment. This collection examines the diverse ramifications of vulgarity in the four areas where it was most discussed in the nineteenth century: language use, changing social spaces, the emerging middle classes, and visual art. Exploring the dynamics of the term as revealed in dictionaries and grammars; Mayhew's London Labour and the London Poor; fiction by Dickens, Eliot, Gissing, and Trollope; essays, journalism, art, and art reviews, the contributors bring their formidable analytical skills to bear on this enticing and divisive concept. Taken together, these essays urge readers to consider the implications of vulgarity's troubled history for today's writers, critics, and artists.

In Neo-Impressionism and Anarchism in Fin-de-Siecle France, Robyn Roslak examines for the first time the close relationship between neo-impressionist landscapes and cityscapes and the anarchist sympathies of the movement's artists. She focuses in particular on paintings produced between 1886 and 1905 by Paul Signac and Maximilien Luce, the neo-impressionists whose fidelity to anarchism, to the art of landscape and to a belief in the social potential of art was strongest. Although the neo-impressionists are best known for their rational and scientific technique, they also heeded the era's call for art surpassing the mundane realities of everyday life. By tempering their modern subjects with a decorative style, they hoped to lead their viewers toward moral and social improvement. Roslak's ground-breaking analysis shows how the anarchist theories of Elisee Reclus, Pierre Kropotkin and Jean Grave both inspired and coincided with these ideals. Anarchism attracted the neo-impressionists because its standards for social justice were grounded, like neo-impressionism itself, in scientific exactitude and aesthetic idealism. Anarchists claimed humanity would reach its highest level of social and moral development only in the presence of a decorative variety of nature, and called upon progressive thinkers to help create and maintain such environments. The neo-impressionists, who primarily painted decorative landscapes, therefore discovered in anarchism a political theory consistent with their belief that decorative harmony should be the basis for socially responsible art.

Could the vitality of embodied experience create a foundation for a new form of revolutionary authority? The Life of the City is a bold and innovative reassessment of the early urban avant-garde movements that sought to re-imagine and reinvent the experiential life of the city. Constructing a ground-breaking theoretical analysis of the relationships between biological life, urban culture, and modern forms of biopolitical 'experiential authority', Julian Brigstocke traces the failed attempts of Parisian radicals to turn the 'crisis of authority' in late nineteenth-century Paris into an opportunity to invent new forms of urban commons. The most comprehensive account to date of the spatial politics of the literary, artistic and anarchist groups that settled in the Montmartre area of Paris after the suppression of the 1871 Paris Commune, The Life of the City analyses the reasons why laughter emerged as the unlikely tool through which Parisian bohemians attempted to forge a new, non-representational biopolitics of sensation. Ranging from the carnivalesque performances of artistic cabarets such as the Chat Noir to the laughing violence of anarchist terrorism, The Life of the City is a timely analysis of the birth of a carnivalesque politics that remains highly influential in contemporary urban movements.

Highly innovative and long overdue, this study analyzes the visual culture of addiction produced in Britain during the long nineteenth century. The book examines well-known images such as William Hogarth's Gin Lane (1751), as well as lesser-known artworks including Alfred Priest's painting Cocaine (1919), in order to demonstrate how visual culture was both informed by, and contributed to, discourses of addiction in the period between 1751 and 1919. Through her analysis of more than 30 images, Julia Skelly deconstructs beliefs and stereotypes related to addicted individuals that remain entrenched in the popular imagination today. Drawing upon both feminist and queer methodologies, as well as upon extensive archival research, Addiction and British Visual Culture, 1751-1919 investigates and problematizes the long-held belief that addiction is legible from the body, thus positioning visual images as unreliable sources in attempts to identify alcoholics and drug addicts. Examining paintings, graphic satire, photographs, advertisements and architectural sites, Skelly explores such issues as ongoing anxieties about maternal drinking; the punishment and confinement of addicted individuals; the mobility of female alcoholics through the streets and spaces of nineteenth-century London; and soldiers' use of addictive substances such as cocaine and tobacco to cope with traumatic memories following the First World War.

Painting Labour in Scotland and Europe, 1850-1900 explores hitherto unrecognized European variations in the phenomena of rural labour imagery, particularly in Scotland. In exploring these distinctions relative to Scotland and Europe it looks to develop a new understanding of the commonalities and idiosyncrasies of rural labour imagery which have often been treated as homogenous. Lacking the detailed analysis that has been accorded other images, writing about Scottish painting has often been appended to analyses of English or French imagery. It has generally been understood as intellectually divorced from the sometimes brutal realities of evolving Scottish nineteenth-century urbanism, or simply ignored. Painting Labour in Scotland and Europe, 1850-1900 sets out systematically to discuss the Scottish rural painting in relation to its particular Scottish historical context, both sociological and aesthetic and its English and European counterparts. Alongside canonical Scottish images by major figures such as James Guthrie, the book explores many hitherto under researched and unconsidered paintings by nineteenth-century Scottish artists, and considers them in relation to major English and Continental Realist and Romantic painters. The juxtaposition of J.F. Millet with W.D. McKay, and Edwin Landseer with George Reid makes for a volume that will appeal both to an academic audience and to one interested in European art history more generally.

Searing disputes over caricature have recently sparked flames across the world"the culmination, not the beginning, of the story of one of modernity's definitive artistic practices. Modern visual satire erupts during a period marked by reform and revolution, by cohering nationalisms and expanding empires, and by the emerging discipline of art history. This has long been recognized as its Golden Age. It is time to look anew. In The Efflorescence of Caricature, 1759-1838, an international, interdisciplinary, and intergenerational team of scholars reconfigures the geography of modern visual satire, as the expansive narrative reaches from North America to Europe, to China and the Ottoman Empire. Caricature's specific visual cultures are also laid bare, its iconographic means and material support, as well as the diverse milieu of its making"the military, the art academy, diplomacy, politics, art criticism, and popular entertainment. Some of its greatest practitioners"James Gillray and Honore Daumier"are seen in a new light, alongside some of their far flung and opportunistic pastichers. Most trenchantly, assumptions about the consequences of caricature's rise come under intense scrutiny, interrogated for its cherished and long-vaunted civilizational claims on individual character, artistic supremacy, political liberty, and global domination.