The formative influences of Paris and France on the Anglo-Irish writer George Moore (1852-1933) cannot be underestimated. While the years Moore spent in Paris in the 1870s were seminal for his artistic awakening and development, the associations and friendships he formed in French literary and artistic circles exerted an enduring influence on his creative career. Moore maintained close ties with France throughout his life and his numerous contacts extended to social, musical and cultural spheres. He introduced the Impressionists to a British audience and his importation of French literary innovation into the English novel was remarkable. Exploring Moore's early years in Paris and his ongoing engagement with the experimental modernity of his French models, these essays offer new insights into this cosmopolitan writer's work. Moore emerges as a turn-of-the-century European artist whose eclectic writings reflect the complex evolution of literature from Naturalism to Modernism through Symbolism and Decadence.

Sung closely examines William Blake's extant engraved copper plates and arrives at a new interpretation of his working process. Sung suggests that Blake revised and corrected his work more than was previously thought. This belies the Romantic ideal that the acts of conception and execution are simultaneous in the creative process.

This revolutionary interdisciplinary study argues that Monet's artistic practices and choices were the direct result of his political stance as a nineteenth-century libre penseur, a position characterized by radical republicanism, a progressive social agenda, and fierce anticlericalism. His efforts to create a style reflecting his personal political code led him to produce paintings proclaimed by like-minded free thinkers as "a science being constantly perfected" (Gustave Geffroy), that is, emphasizing only observable phenomena in the immediate present through scrupulous, insistent on-site observation, capturing the raw data of sensations and sensory experience, and purporting to record a world free of embedded meaning. Darwin's world similarly comes with no prepackaged reassurance of humankind's privileged place in it; it is instead a space in which all varieties of organisms and species compete for limited resources in a struggle for survival. The Darwinian model of nature appears to have influenced Monet's artistic production increasingly as his style evolved over several decades. In opposition to post-Renaissance art that privileged the human presence in both representation and the viewing act, Monet's later paintings create a sense of virtual and visual equality among all observable phenomena. The human - and the viewer, by extension - is thus represented as neither separate from nature as a disengaged observer nor superior to it but rather co-equal with all other organic life forms surrounding it. This approach, while echoing Darwin's admiration of nature and its laws, also reminds humankind of its own fragility and the hard choices it must make to avoid extinction.

Offering a broad and vivid survey of the culture of collecting from the French Revolution to the Belle Epoque, The Purchase of the Past explores how material things became a central means of accessing and imagining the past in nineteenth-century France. By subverting the monarchical establishment, the French Revolution not only heralded the dawn of the museum age, it also threw an unprecedented quantity of artworks into commercial circulation, allowing private individuals to pose as custodians and saviours of the endangered cultural inheritance. Through their common itineraries, erudition and sociability, an early generation of scavengers established their own form of 'private patrimony', independent from state control. Over a century of Parisian history, Tom Stammers explores collectors' investments - not just financial but also emotional and imaginative - in historical artefacts, as well as their uncomfortable relationship with public institutions. In so doing, he argues that private collections were a critical site for salvaging and interpreting the past in a post-revolutionary society, accelerating but also complicating the development of a shared national heritage.

This book explores how popular photography influenced the representation of travel in Britain in the period from the Kodak-led emergence of compact cameras in 1888, to 1939. The book examines the implications of people's increasing familiarity with the language and possibilities of photography on the representation of travel as educational concerns gave way to commercial imperatives. Sara Dominici takes as a touchstone the first fifty years of activity of the Polytechnic Touring Association (PTA), a London-based philanthropic-turned-commercial travel firm. As the book reveals, the relationship between popular photography and travel marketing was shaped by the different desires and expectations that consumers and institutions bestowed on photography: this was the struggle for the interpretation of the travel image.

Exploring the myths and realities of the origins of the "modern artist" in Britain The artist has been a privileged figure in the modern age, embodying ideals of personal and political freedom and self-fulfillment. Does it matter who gets to be an artist? And do our deeply held beliefs stand up to scrutiny? Making the Modern Artist gets to the root of these questions by exploring the historical genesis of the figure of the artist. Based on an unprecedented biographical survey of almost 1,800 students at the Royal Academy of Arts in London between 1769 and 1830, the book reveals hidden stories about family origins, personal networks, and patterns of opportunity and social mobility. Locating the emergence of the "modern artist" in the crucible of Romantic Britain, rather than in 19th-century Paris or 20th-century New York, it reconnects the story of art with the advance of capitalism and demonstrates surprising continuities between liberal individualism and state formation, our dreams of personal freedom, and the social suffering characteristic of the modern era. Distributed for the Paul Mellon Centre for Studies in British Art

The importance of typology in the study of early modern literature has long been accepted, yet students of Victorian culture have paid little attention to it. First published in 1980, this study demonstrates how biblical typology, an apparently arcane interpretative mode, had profound effects on the secular culture of the Victorian age: its art, literature and thought. George Landow considers the way in which the average English believer learned to read their Bible in terms of the types and shadows of Christ, the various ways in which Victorian poetry and hymns employed certain imagery, and the use of typological symbolism in narrative poetry, prose fiction, dramatic monologue and non-fiction. In a concluding chapter, he investigates the particularly complex, and often ironic, combinations of typological image and typological structure.

This book offers microhistories related to the transnational circulations of impressionism in the late nineteenth and early twentieth centuries. The contributors rethink the role of "French" impressionism in shaping these iterations by placing France within its global and imperialist context and arguing that impressionisms might be framed through the mobility studies' concept of "constellations of mobility." Artists engaging with impressionism in France, as in other global contexts, relied on, responded to, appropriated, and resisted elements of form and content based on fluid and interconnected political realities and market structures. Written by scholars and curators, the chapters demand reconsideration of impressionism as a historical construct and the meanings assigned to that term. This project frames future discussion in art history, cultural studies, and global studies on the politics of appropriating impressionism.

Mining various archives and newspaper repositories, Elizabeth Robins Pennell, Nineteenth-Century Pioneer of Modern Art Criticism provides the first full-length study of a remarkable woman and heretofore neglected art critic. Pennell, a prolific 'New Art Critic', helped formulate and develop formalist methodology in Britain at the end of the nineteenth century, which she applied to her mostly anonymous or pseudonymous reviews published in numerous American and British newspapers and periodicals between 1883 and 1923. A bibliography of her art criticism is included as an appendix. In addition to advocating an advanced way in which to view art, Pennell used her platform to promote the work of 'new' artists, including Edouard Manet and Edgar Degas, which had only recently been introduced to British audiences. In particular, Pennell championed the work of James McNeill Whistler for whom she, along with her husband, the artist Joseph Pennell, wrote a biography. Examination of her contributions to the late Victorian art world also highlights the pivotal role of criticism in the production and consumption of art in general, a point which is often ignored.

"Ut pictura poesis", Horace said, but through the two millennia in which "the sister arts" have been compared, little has been said about the nature of sight itself. What we see in "our mind's eye" as we read has not been explored, though by following the visual prompts in texts, one can anatomize the process of visualization. The Poetics of Sight analyses the role of sight in memory, dream and popular culture and demonstrates the structure of a complex sight within the metaphors of Shakespeare, Pope and Dickens; and within the visual metaphors of Picasso, Magritte and Bacon. This book explores the difference between the great and the failed works of the supreme poet-painter, William Blake, and tracks the migrations of the Satiric muse between verbal mockery and scabrous images in Persius, Pope, Gillray and Gogol. It records the rise, and partial decline, of the vividly "seen" novel in Dickens, Flaubert, Tolstoy, Proust and Hardy. The key concept throughout this book is visual metaphor, which in the twentieth century acquired overarching importance: in art from Picasso to Kapoor, in poetry from Eliot to Hughes, in aesthetics from Pound to Derrida. The book closes with a far-reaching definition of visual metaphor and with the great visual metaphor of the human body.

The late nineteenth-century Biloxi potter, George Ohr, was considered an eccentric in his time but has emerged as a major figure in American art since the discovery of thousands of examples of his work in the 1960s. Currently, Ohr is celebrated as a solitary genius who foreshadowed modern art movements. While an intriguing narrative, this view offers a narrow understanding of the man and his work that has hindered serious consideration. Ellen J. Lippert, in her expansive study of Ohr and his Gilded Age context, counters this fable. The tumultuous historical moment that Ohr inhabited was a formative force in his life and work. Using primary documentation, Lippert identifies specific cultural changes that had the most impact on Ohr. Developments in visual display and the altered role of artists, the southerner redefined in the wake of the Civil War, interest in handicraft as an alternative to rampant mass production, emerging tenets of social thought seeking to remedy worker exploitation, and new assessments of morals and beauty as a result of collapsed ideals all played into the positioning Ohr purposefully designed for himself. The second part of Lippert's study applies these observations to Ohr's body of work, interpreting his stylistic originality to be expressions of the contradictions and oppositions particular to late nineteenth-century America. Ohr threw his inspiration into being both the sophisticate and the ""rube,"" the commercial huckster and the selfless artist, the socialist and the individualist, the ""old-fashioned"" craftsman and the ""artist-genius."" He created art pottery as both a salable commodity and a priceless creation. His work could be ugly and deformed (or even obscene) and beautiful. Lippert reveals that far from isolated, Ohr and his creations were very much products of his inspired engagement with the late nineteenth century.

This book provides the most comprehensive survey of contemporary Palestinian art to date. The development of contemporary practice, theory and criticism is understood as integral to the concomitant construction of Palestinian national identities. In particular the book explores the intricate relationship between art and nationalism in which the idea of origin plays an important and problematic role. The book deconstructs the existing narratives of the history of Palestinian art, which search for its origins in the 19th century, and argues that Palestinian contemporary art demonstrates pluralistic, politically and philosophically complex attitudes towards identity and nation that confound familiar narratives of origin and belonging. The book builds upon theories of art, nationalism and post-colonialism particularly in relation to the themes of fragmentation and dispersal. It takes the Arabic word for Diaspora Shatat (literally broken apart) as a central concern in contemporary understanding of Palestinian culture and develops it, along with Edward Said's paradoxical formula of a 'coherence of dispersal' as the organising concept of the book. This aspect of contemporary Palestinian art is peculiarly suited to the conditions produced by the globalisation of art and we show how Palestinian artists, despite not having a state, have developed an international profile.

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.

First published in 1965, Mannerism is the rediscovery and revaluation of Mannerism, that long misjudged artistic style which came into its own during the crisis of the Renaissance. Expressionism, Surrealism and Abstract Art prepared the ground for a new understanding of Mannerism, and Dr. Hauser shows how this revaluation signifies an even deeper caesura in intellectual history than the crisis of the Renaissance itself in which Mannerism arose. These propositions however, only touch on the problem which is exhaustively treated by Hauser in all its historical and thematical variations. The author does not confine himself to the observation of development from the point of view of the history of art. In Part One he considers the emergence of the scientific worldview during the Renaissance, the economic and social revolution, religious movements and political ideas, the problem of alienation, and narcissism as keys to the understanding of Mannerism. Part Two, which deals with the history of Mannerism both in Italy and abroad, gives not only remarkable analyses of works of art with the aid of 322 reproductions, but also considers leading representatives of the literature of the Mannerism in Italy, Spain, France, and England. Again, in Part Three, parallel and connecting lines are drawn between art and literature to make the rules of form and the contents clearly recognisable. The book will be of interest to students of art history and literature.

In 1967, sex between consenting men in England and Wales was finally decriminalised - an entire century after the death penalty was abolished for sodomy in Britain in 1861. Between these legal landmarks lies a century of seismic shifts in gender and sexuality which found expression across the arts as artists, collectors and consumers explored transgressive identities, experiences and perspectives. Some of the resulting artworks were intensely personal, celebrating lovers or expressing private desires. Others addressed a wider public, helping to forge a sense of community at a time when the modern categories of gay, lesbian, bisexual and transgender were largely unrecognised. Ranging from the playful to the political, the explicit to the domestic, these works reveal the rich diversity of queer British art. This beautiful book explores coded desires in aestheticism; the impact of the new science of sexology; queer domesticities; eroticism in the artist's studio; intersections of gender and sexuality; seedy dives and visions of Arcadia; and love and lust in sixties Soho. Featuring works by major artists such as Simeon Solomon, Clare Atwood, Ethel Sands, Duncan Grant, Francis Bacon and David Hockney among others, Queer British Art pays homage to the wealth of queer creativity in Britain between the 1860s and the 1960s.

Victorian churches were often of high quality, reflecting in physical terms the intense theological debates of the time. This highly-illustrated book by a leading authority describes many of the finest examples. Many churches were built in England during the reign of Queen Victoria: most were in various varieties of Gothic Revival. Often exquisitely furnished, they were visible expressions of the presence and importance of religion at the time. Their architectural qualities reflected aspirations of clergy, laity, and individual benefactors. The finest were the results of passionate commitment to an architecture soundly based on scholarly studies known as Ecclesiology. James Stevens Curl places English churches of the period in their complex social and denominational settings, giving comprehensive accounts of the religious atmosphere and controversies of the times. He charts the progress and development of the Gothic Revival, explains differences in the architecture of various denominations, outlines the influences of the chief protagonists involved, and describes the demands made on craftsmen and industry to produce the materials, furnishings, and fittings necessary in making some of the finest buildings ever created in England. He reveals something of the individuals and events that shaped the religious climate of the epoch, while specially commissioned illustrations reveal the rich variety found in Victorian churches.

Artists, scientists and the wider public of the Victorian era all seem to have shared a common interest in the myth of the Briar Rose and its contemporary implications, from the Pre-Raphaelites and late Victorian aesthetes to the fascinated crowds who visited Ellen Sadler, the real-life 'Sleeping Maid' who is reported to have slept from 1871 to 1880. The figure of the beautiful reclining female sleeper is a recurring theme in the Victorian imagination, invoking visual, literary and erotic connotations that contribute to a complex range of readings involving aesthetics, gender definitions and contemporary medical opinion. This book compiles and examines a corpus of Sleeping Beauties drawn from Victorian medical reports, literature and the arts and explores the significance of the enduring revival of the myth.

Filling a critical gap in Vienna 1900 studies, this book offers a new reading of fin-de-siecle culture in the Austro-Hungarian Monarchy by looking at the unusual and widespread preoccupation with embroidery, fabrics, clothing, and fashion - both literally and metaphorically. The author resurrects lesser known critics, practitioners, and curators from obscurity, while also discussing the textile interests of better known figures, notably Gottfried Semper and Alois Riegl. Spanning the 50-year life of the Dual Monarchy, this study uncovers new territory in the history of art history, insists on the crucial place of women within modernism, and broadens the cultural history of Habsburg Central Europe by revealing the complex relationships among art history, women, and Austria-Hungary. Rebecca Houze surveys a wide range of materials, from craft and folk art to industrial design, and includes overlooked sources-from fashion magazines to World's Fair maps, from exhibition catalogues to museum lectures, from feminist journals to ethnographic collections. Restoring women to their place at the intersection of intellectual and artistic debates of the time, this book weaves together discourses of the academic, scientific, and commercial design communities with middle-class life as expressed through popular culture.

An in-depth and nuanced look at the complex relationship between two dynamic fields of study.

While today we are experiencing a revival of world art and the so-called global turn of art history, encounters between art historians and anthropologists remain rare. Even after a century and a half of interactions between these epistemologies, a skeptical distance prevails with respect to the disciplinary other. This volume is a timely exploration of the roots of this complex dialogue, as it emerged worldwide in the colonial and early postcolonial periods, between 1870 and 1970.

Exploring case studies from Australia, Austria, Brazil, France, Germany, and the United States, this volume addresses connections and rejections between art historians and anthropologists—often in the contested arena of “primitive art.” It examines the roles of a range of figures, including the art historian–anthropologist Aby Warburg, the modernist artist Tarsila do Amaral, the curator-impresario Leo Frobenius, and museum directors such as Alfred Barr and René d’Harnoncourt. Entering the current debates on decolonizing the past, this collection of essays prompts reflection on future relations between these two fields.

Offering a wealth of perspectives on African modern and Modernist art from the mid-nineteenth century to the present, this new Companion features essays by African, European, and North American authors who assess the work of individual artists as well as exploring broader themes such as discoveries of new technologies and globalization. * A pioneering continent-based assessment of modern art and modernity across Africa * Includes original and previously unpublished fieldwork-based material * Features new and complex theoretical arguments about the nature of modernity and Modernism * Addresses a widely acknowledged gap in the literature on African Art

Challenging distinctions between fine and decorative art, this book begins with a critique of the Rodin scholarship, to establish how the selective study of his oeuvre has limited our understanding of French nineteenth-century sculpture. The book's central argument is that we need to include the decorative in the study of sculpture, in order to present a more accurate and comprehensive account of the practice and profession of sculpture in this period. Drawing on new archival sources, sculptors and objects, this is the first sustained study of how and why French sculptors collaborated with state and private luxury goods manufacturers between 1848 and 1895. Organised chronologically, the book identifies three historically-situated frameworks, through which sculptors attempted to validate themselves and their work in relation to industry: industrial art, decorative art and objet d'art. Detailed readings are offered of sculptors who operated within and outside the Salon, including Sevin, Cheret, Carrier-Belleuse and Rodin; and of diverse objects and materials, from Sevres vases, to pewter plates by Desbois, and furniture by Barbedienne and Carabin. By contesting the false separation of art from industry, Claire Jones's study restores the importance of the sculptor-manufacturer relationship, and of the decorative, to the history of sculpture.

Dialogic Materialism: Bakhtin, Embodiment and Moving Image Art argues for the relevance of Mikhail Bakhtin's theories of dialogism as a means of examining the interdisciplinary nature of contemporary moving image art forms. The volume comprises six chapters divided into two sections. The first section, Part I, illustrates the key concepts in Bakhtin's multifaceted dialogism and develops these ideas in relation to moving image art. The main focus of this first part is the proposal of what the author terms dialogic materialism, which builds upon the Marxism inherent in Bakhtin, examining the material processes of cultural exchange with a particular emphasis on multi-perspective subjective relations. Part II consists of case studies that apply dialogic materialism to the moving image artwork of three artists: Stan Douglas, Jamelie Hassan and Chris Marker. Applying Bakhtinian theory to the field of the visual arts provides a means of examining the fundamentally dialogic nature of moving image art making and viewing, a perspective that is not fully developed within the existing literature.

Northern Ireland is now generally regarded to be a post-conflict region since the official end to three decades of violence in 1998. However, given some of the stipulations of the Good Friday Belfast Agreement, including the early release of politically motivated prisoners from jail, society in Northern Ireland remains in a state of flux, uncertainty and disagreement. This book presents four thematic studies revolving around the issues of imprisonment, surveillance, traumatic recall and myth-making in Northern Ireland. These studies examine the different ways in which artists and filmmakers are experimenting with film aesthetics and new media technologies to represent, re-present and invite engagement with the underlying anxieties that continue to trouble post-Agreement society. In doing so, the author argues for a reassessment of the critical analysis of film's convergence with other forms of visual art. Ultimately, the volume assesses the usefulness of such an approach in examining how artists and filmmakers experiment with diverse forms that open up space for discussion of the hidden and marginalized concerns in Northern Ireland's new, 'shared' society. This book was the winner of the 2012 Peter Lang Young Scholars Competition in Film Studies.

Painting Labour in Scotland and Europe, 1850-1900 explores hitherto unrecognised 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.