This book explores interaction and competition between painting and literature in France, from the late nineteenth century to the early twentieth, offering new readings of works by key figures including Paul Gauguin, Stephane Mallarme, Pablo Picasso and Andre Gide. Combining close visual and literary analysis with a broader examination of critical discourse, the volume uncovers a mutual but often contentious exchange of ideas. The author challenges habits of periodisation, drawing attention to the links between Symbolist and Cubist criticism. Issues such as the debate about 'literary' painting, the role of art criticism and artists' writings, as well as themes such as newspapers and gold, alchemy and forgery, are shown to connect the two centuries. In examining how the rejection of mimesis in painting affected literary responses to the visual arts, the book explores a shift in power from the verbal to the visual in the early decades of the twentieth century.

Bringing forth fresh perspectives on Manet's art by established scholars, this volume places this compelling and elusive artist's painted A"uvre within a broader cultural context, and links his artistic preoccupations with literary and musical currents. Rather than seeking consensus on his art through one methodology, or focusing on one crucial work or period, this collection investigates the range of Manet's art in the context of his time and considers how his vision has shaped subsequent interpretations. Specific essays explore the relationship between Manet and Whistler; Emile Zola's attitude toward the artist; Manet's engagement with moral and ethical questions in his paintings; and the heritage of Charles Baudelaire and Clement Greenberg in critical responses to Manet. Through these and other analyses, this volume illuminates the scope of Manet's career, and indicates the crucial position the artist held in generating a modernist avant-garde aesthetic.

This is volume one in a four-volume edition of primary source materials that document the histories of design across the long nineteenth century. Each volume is arranged by appropriate sub-themes and it is the first set of primary sources to be gathered together in this comprehensive and accessible format. Design refers to more than simply products and personalities or even cultural ideas, it involves consideration of ways of design thinking and applications as well as the philosophies and the other disciplines that impinge upon it. Here, the first volume discusses the theories and discourses that underpinned nineteenth-century design, ranging from design reform to aesthetics, and from the question of ornament to design education. The volumes will be of interest to a range of scholars and students, including those in art and design history, visual culture, and nineteenth-century material culture. They will also be of interest to a broad range of scholars working in areas including aesthetics, gender, politics and philosophy.

This is volume four in a four-volume edition of primary source materials that document the histories of design across the long nineteenth century. Each volume is arranged by appropriate sub-themes and it is the first set of primary sources to be gathered together in this comprehensive and accessible format. Design refers to more than simply products and personalities or even cultural ideas, it involves consideration of ways of design thinking and applications as well as the philosophies and the other disciplines that impinge upon it. Here, the final volume looks at consumption and uses of design as a part of the wider cultures of the period. The volumes will be of interest to a range of scholars and students, including those in art and design history, visual culture, and nineteenth-century material culture. They will also be of interest to a broad range of scholars working in areas including aesthetics, gender, politics and philosophy.

Revealing that nineteenth-century photography goes beyond the functional to reflect the aesthetic, intellectual, and cultural concerns of the time, this study proposes that each photographic image of architecture be studied both as a primary visual document and an object of aesthetic inquiry. This multi-faceted approach drives Architecture in Nineteenth-Century Photographs: Essays on Reading a Collection. Despite three decades of post-colonial, post-structuralist and gender-conscious criticism, the study of architectural photography continues to privilege technical virtuosity. This volume offers a thematic exploration of the material, and a socio-historical examination that allows consideration of questions that have not been addressed comprehensively before in a single publication. Themes include exoticism and "armchair tourism"; the absence of women from architectural photography; the role of photographs as commodities; vernacular architecture and the picturesque; and historic preservation, urban renewal, and nationalism. Micheline Nilsen analyzes photographs from France and England"the two countries where photography was invented"and from around the world, representing a corpus of over 10,000 photographs from the Janos Scholz Collection of Nineteenth-Century Photographs of the Snite Museum of Art at the University of Notre Dame.

A beautiful memoir, travelogue, and meditation on stone by artist and stone mason Beatrice Searle. 'What are you doing? If you don't mind me asking?' I say that we are taking this stone to Trondheim. I continue to tell her the story of Magnus and ancient Kings. 'Would you like to stand in it?' I ask. 'That is what it is for.' At the age of twenty-six, Beatrice Searle crossed the North sea and walked 500 miles through Southern Norway on a medieval pilgrim path to Nidaros Cathedral, taking with her a 40-kilo stone from the West coast of Orkney. She had recently completed her masonry training at Lincoln Cathedral and become fascinated with the mysterious footprint stones of Scandinavia, Northern Europe and the ancient Greco-Roman world; stones closely associated with travellers, saints and the inauguration of Kings. Following in their footsteps, her stone becomes a talisman of sorts, a bedrock on the move, and an offering to those she meets along the way. Stone Will Answer is an unusual adventure story of resilience and homecoming, of weight and motion, of rediscovering love and faith, and of journeys practical, spiritual and geological. A captivating blend of exploration, memoir and myth, and an insight into a beguiling craft, it asks what lessons might be learned from stone, what we choose to carry with us and what we return to put down or pick up again.

Revolutionary essays on design, aesthetics and materialism - from one of the great masters of modern architecture Adolf Loos, the great Viennese pioneer of modern architecture, was a hater of the fake, the fussy and the lavishly decorated, and a lover of stripped down, clean simplicity. He was also a writer of effervescent, caustic wit, as shown in this selection of essays on all aspects of design and aesthetics, from cities to glassware, furniture to footwear, architectural training to why 'the lack of ornament is a sign of intellectual power'. Translated by Shaun Whiteside With an epilogue by Joseph Masheck

The Swiss artist Alberto Giacometti participated in Parisian literary and cultural circles from the early meetings of the Surrealists to existentialism and the diverse currents in art and poetry that followed. Numerous writers were inspired to respond to his sculpture, drawing, painting and publications during his lifetime and after his death in 1966. This book considers examples of poesie critique devoted to Giacometti's work by major French poets and thinkers from Andre Breton to Yves Bonnefoy. Through close readings of key texts, it discusses the extent to which each writer has succeeded in overcoming the dichotomy between a text and its visual stimulus that so often leads to a hierarchical relationship. Many of these writers focus on the materiality of Giacometti's works of art and of the written word. Examination of their writings thus allows new understandings of poesie critique and ekphrasis to be developed.

Women's purses are uniquely personal statements. Many antique beaded, textile, and leather purses have survived as treasured collectibles and new styles are fashion icons. This exquisite new book examines the passionate history, art, and design of antique, vintage, and contemporary purses in an informative and accessible format. Over 700 high quality purses were chosen from private collections, including Cora Ginsburg LLC, the premier dealer of antique textiles and costume in the United States. Many have never been published before, providing a fresh resource for collectors. Many pre-date 1860. Chapters cover the history of purses; pockets; misers; chatelaines; fabric, tapestry, and needlework purses; leather bags; dance, compact, and evening purses; wirework and mesh bags; beaded purses; tortoiseshell, shell, and ivory styles; souvenir and even plastic purses; and unique and very rare examples. Detail photos show particularly unusual features. A section on beaded purse repair, by Terri Lykins and the Antique Purse Collector's Society, offers tips and a new opportunity for collectors. Each caption provides detailed descriptions and current values, and the extensive bibliography gives many resources for further reading.

Where, how, by whom and for what were the first museums of contemporary art created? These are the key questions addressed by J. Pedro Lorente in this new book. In it he explores the concept and history of museums of contemporary art, and the shifting ways in which they have been imagined and presented. Following an introduction that sets out the historiography and considering questions of terminology, the first part of the book then examines the paradigm of the Musee des Artistes Vivants in Paris and its equivalents in the rest of Europe during the nineteenth century. The second part takes the story forward from 1930 to the present, presenting New York's Museum of Modern Art as a new universal role model that found emulators or 'contramodels' in the rest of the Western world during the twentieth century. An epilogue, reviews recent museum developments in the last decades. Through its adoption of a long-term, worldwide perspective, the book not only provides a narrative of the development of museums of contemporary art, but also sets this into its international perspective. By assessing the extent to which the great museum-capitals - Paris, London and New York in particular - created their own models of museum provision, as well as acknowledging the influence of such models elsewhere, the book uncovers fascinating perspectives on the practice of museum provision, and reveals how present cultural planning initiatives have often been shaped by historical uses.

Based on meticulous archival research, Dennis M. Read's study offers the most accurate and thorough account to date of the engraver, editor, and arts enthusiast R. H. Cromek. Though he is best known today as William Blake's nemesis, Cromek made significant contributions to the vitality of the arts in nineteenth-century Britain. Read traces Cromek's early years as an accomplished engraver, his collaborations and falling out with Blake, and his editing and publishing ventures, showing him to be a pioneer who recognized the opportunities of the emerging market economy. Read's descriptions of Cromek's disastrous associations with the Chalcographic Society, his publication of Robert Burns's unpublished works, and his duping by the perpetrator of a literary hoax make for fascinating reading and tell us much about the commercial art and publishing scenes in England and Scotland. Perhaps most important, Read salvages Cromek's reputation as an unscrupulous exploiter of Blake and others. A fuller and more balanced portrait emerges that shows Cromek's efforts to bring the arts to emerging cities of the midlands and beyond, describes his friendships and associations with luminaries of the fine arts and literature such as Leigh Hunt and Benjamin West, and challenges more biased reports of his successes and failures as an entrepreneur.

Originally published in 2004. Once the most popular Victorian artist, G. F. Watts was also a complex and elusive figure. Influenced by evolutionary theory, he reinterpreted the tradition of the classical body, while his philanthropic and educational interests informed projects for a more affective public art. This book is the first modern account of the full range of Watts's different artistic interests and practices. Offering fresh approaches to his historical, allegorical and mythological paintings, it also traces his increasingly radical approach to portraiture and sculpture and examines the institutional and biographical factors behind his immense public profile. Together the essays present a comprehensive analysis of Watts's work and his vital relationship to the intellectual, cultural and social forces of his time.

This book expands the art historical perspective on art's connection to anatomy and medicine, bringing together in one text several case studies from various methodological perspectives. The contributors focus on the common visual and bodily nature of (figural) art, anatomy, and medicine around the central concept of modeling (posing, exemplifying and fabricating). Topics covered include the role of anatomical study in artistic training, the importance of art and visual literacy in anatomical/medical training and in the dissemination (via models) of medical knowledge/information, and artistic representations of the medical body in the contexts of public health and propaganda.

Revised edition of the bestselling backlist title. William Morris was an outstanding character of many talents, being an architect, writer, social campaigner, artist and, with his Kelmscott Press, an important figure of the Arts and Crafts movement. Many of us probably know him best, however, from his superb furnishings and textile designs, intricately weaving together natural motifs in a highly stylized two-dimensional fashion influenced by medieval conventions. Following on from the bestselling success of Art Nouveau, Art Deco and Alphonse Mucha, of the same series, this delightful new book offers a survey of his life and work alongside some of his finest decorative work. It is a richly beautiful book.

Travel, Art and Collecting in South Asia questions what are ideas of vertiginous collecting, art-making and museums as expanded fields, including wonder houses and missionary museums (or museobuses) in Britain and South Asia. If the historiography of British India has privileged photography and the 'Imperial Picturesque', the emphasis here is on the formation of a creole modernity, one that considers the relationship between art and labour, including pearlescence and pearl fishing in Sri Lanka, and the iconoclastic/fetish debates and forms of collecting amongst missionaries. Eaton explores these themes alongside the genealogies and modernities of white(ness) in contemporary curating and amateur female practice, and how the museobus or museum as a unique object has informed the work of contemporary artist group Raqs Media Collective. This book will be of interest to scholars in art history, Asian history, and imperial and colonial history.

French Sculpture Following the Franco-Prussian War, 1870-80 investigates the role played by the trope of the 'strong woman, fallen man' in re-establishing morale among the French people following the Franco-Prussian War. The study explores how certain French sculptors - including Falguiere, Mercie, Barrias, and Rodin - presented this recent history of defeat in commemorative monuments that increasingly dominated public space across France during the final decades of the nineteenth century. Though it focuses on French nationalism and the commemoration of war (or, as is the case with the French following the Franco-Prussian War, the commemoration of defeat), this volume also examines shifts in gender roles in the latter half of the nineteenth century, and the impact of military defeat on relations between the sexes. The book probes the aesthetic discourse of the period concerning the merits of traditional allegorical sculpture versus new-fangled realist sculpture in depicting modern life. Drawing on extensive archival research, Michael Dorsch gives a voice to the sculptures he discusses, restoring these often ignored works to their proper place in history.

Where Is My Home?: The Art and Life of the Russian-Jewish Sculptor Mark Antokolskii, 1843 1902 is the first full-length study in English of the art and life of Mark Antokolskii, the widely recognized Russian and European sculptor of the late 19th century. An originator of novel trends in sculpture in its transition to modernism, Antokolskii was the first artist of Jewish origin to attend the Academy of Art in St. Petersburg and to become an honorable member of the Russian and Western intellectual milieu. Participating in many International World Exhibitions, he received numerous awards, including the Legion d'Honneur (1878, Paris). Antokolskii was a member of many European academies of art, and his works are in museums and private collections worldwide. Where Is My Home? focuses on Antokolski's artistic uniqueness and his fate as a Jewish intellectual who belongs to distinct cultures. Musya Glants pays particular attention to Antokolski's constant struggle between his devotion to Russia and the lifelong commitment to his people. This opens ways to discuss less known aspects of the notions of national identity and spiritual duality. It is an attempt to give an account of the artist as a notable Jewish social and cultural figure, a thinker and essayist whose art reveals his longing for people's reconciliation and overcoming of historical alienation.

In 1874 Claude Monet's painting Impression, Sunrise caused uproar among the critics and a revolution in painting. His inventiveness was inexhaustible: with paintings of haystacks, poplars and, finally, the enchanting water-lilies of Giverny, Monet captured light in all its fleeting qualities. At last, almost blind - 'I fear the dark more than death' - he feverishly produced near-abstract landscapes of water and reflection, a vision of nature that paved the way for the art of our own times. Including hundreds of beautiful reproductions and contemporary illustrations, comprehensive text, documentary witness accounts and letters, this pocket-sized book is perfect both for the lover of Monet and of the history of Impressionism.

More than 300 historic fabric samples from the mid-1920s and 1930s provide a visual textbook of design ideas prevalent during the Art Deco era. These were the everyday fabrics used for housedresses and curtains, adorned with the era's predominate geometric creations and spiced with the exotic inspirations that spurred one of the most popular artistic movements of all times. This book is an invaluable reference guide for costume historians and a treasure trove of inspiration for designers.

James William Newland’s (1810–1857) career as a showman daguerreotypist began in the United States but expanded into Central and South America, across the Pacific to New Zealand and colonial Australia and onto India. Newland used the latest developments in photography, theatre and spectacle to create powerful new visual experiences for audiences in each of these volatile colonial societies. This book assesses his surviving, vivid portraits against other visual ephemera and archival records of his time. Newland’s magic lantern and theatre shows are imaginatively reconstructed from textual sources and analysed, with his short, rich career casting a new light on the complex worlds of the mid-nineteenth century. It provides a revealing case study of someone brokering new experiences with optical technologies for varied audiences at the forefront of the age of modern vision. This book will be of interest to scholars in art and visual culture, photography, the history of photography and Victorian history.

Varied and deliberately diverse, this group of essays provides a reassessment of the life and work of the popular nineteenth-century artist Samuel Palmer. While scholarly publications have been published recently which reassess Palmer's achievement, those works primarily consider the artist in isolation. This volume examines his work in relation to a wider art world and analyses areas of his life and output that have until now received little attention, reinstating the study of Palmer's work within broader debates about landscape and cultural history. In Samuel Palmer Revisited, the contributors provide a fresh perspective on Palmer's work, its context and its influence.

Through his intense vision Van Gogh was able to create paintings that speak directly to us all, and today this disturbed and rejected misfit is the most universally loved of all artists. The story of his thirty seven years of poverty, loneliness and failure is in fact a triumphant saga of absolute dedication and the final realization of genius. This extravagantly illustrated volume in the hugely popular New Horizons series, includes the story of his life; his relationships with his brother Theo and contemporaries such as Toulouse-Lautrec, Pissarro and Gauguin; his descent into madness and his eventual suicide. As well as the many reproductions of paintings and drawings by Van Gogh and his contemporaries, extensive documentary evidence includes extracts from his letters, critical writings and documentary photographs.

The Orientalism debate, inspired by the work of Edward Said, has been a major source of cross-disciplinary controversy in recent years. John MacKenzie offers a comprehensive re-evaluation of this vast literature of Orientalism and brings to the subject highly original historical perspectives. The study provides the first major discussion of Orientalism by a historian of imperialism. Setting the analysis within the context of conflicting scholarly interpretations, John MacKenzie then carries the discussion into wholly new areas, testing the notion that the western arts received genuine inspiration from the East by examining the visual arts, architecture, design, music and theatre. John MacKenzie concludes that western approaches to the Orient have been much more ambiguous and genuinely interactive then Said allowed. The artistic construction of the East by the West has invariably been achieved through a greater spirit of respect and in search of a truly syncretic culture. The Orient has indeed proved an inspiration to the European arts, even when caught in the web of imperial power relations. -- .

Should sight trump the other four senses when experiencing and evaluating art? Art, History and the Senses: 1830 to the Present questions whether the authority of the visual in 'visual culture' should be deconstructed, and focuses on the roles of touch, taste, smell, and sound in the materiality of works of art. From the nineteenth century onward, notions of synaesthesia and the multi-sensorial were important to a series of art movements from Symbolism to Futurism and Installations. The essays in this collection evaluate works of art at specific moments in their history, and consider how senses other than the visual have (or have not) affected the works' meaning. The result is a re-evaluation of sensory knowledge and experience in the arts, encouraging a new level of engagement with ideas of style and form.