Title first published in 2003. In this detailed study of the landscapes and rural scenes of Britain and France made by artists like George Clausen, Philip Wilson Steer, Augustus John, Laura Knight, J. D. Fergusson and Spencer Gore, Ysanne Holt investigates the imaginary geographies behind the pictures and reconsiders the relationship between national identity, 'Englishness' and the native landscape. Combining close investigation of important works with a broader enquiry into the appeal of the Mediterranean for an age preoccupied with cultural degeneracy and bodily health, Ysanne Holt draws fascinating conclusions about the impact of modernism on the British tradition of landscape painting.

New essays offering fresh glimpses of Romanticism as interdisciplinary and cross-linguistic, illuminating the discursive features and the pan-European nature of the movement. Romanticism bubbled up as lava from such historical eruptions as the Napoleonic Wars. The power of its flow across disciplines and linguistic borders reminds us that the use of the term in a context limited to one linguistic, national, or political tradition, or to one discipline or area of human development, shows an essential ignorance of the ideational configurations elaborated and lived out by the movement. Among its consistent norms are the notion ofreality as a transcendent self-unfolding Geist, everything existing in a dialectical relationship with all else; the position that art reveals mythic understructures of reality; and that all kinds of kinship are more normalthan isolation. This book brings together essays that highlight the inclusivity of Romanticism. A team of eleven scholars offers fresh glimpses of Romanticism as it manifests itself in a number of disciplines, including most prominently literature, but also music, painting, and the sciences. In so doing, the contributors treat Romanticism as interdisciplinary and cross-linguistic, providing data and interpretive viewpoints that illuminate the discursive features and the pan-European nature of the movement. Contributors: Lloyd Davies, Ellis Dye, Stacey Hahn, Hollie Markland Harder, Jennifer Law-Sullivan, Sarah Lippert, Marjean D. Purinton, Ashley Shams, Kaitlin Gowan Southerly. Larry H. Peer is Professor of Comparative Literature at Brigham Young University. Christopher R. Clason is Professor of German at Oakland University.

This title was first published in 2003. The essay collection explores the conjunctions of nation, gender, and visual representation in a number of countries-including Ireland, Scotland, Britain, Canada, Finland, Russia and Germany-during the nineteenth and twentieth centuries. The contributors show visual imagery to be a particularly productive focus for analysing the intersections of nation and gender, since the nation and nationalism, as abstract concepts, have to be "embodied" in ways that make them imaginable, especially through the means of art. They explore how allegorical female figures personify the nation across a wide range of visual media, from sculpture to political cartoons and how national architectures may also be gendered. They show how through such representations, art reveals the ethno-cultural bases of nationalisms. Through the study of such images, the essays in this volume cast new light on the significance of gender in the construction of nationalist ideology and the constitution of the nation-state. In tackling the conjunctions of nation, gender and visual representation, the case studies presented in this publication can be seen to provide exciting new perspectives on the study of nations, of gender and the history of art. The range of countries chosen and the variety of images scrutinised create a broad arena for further debate.

This title was first published in 2000. London in the nineteenth century saw the founding of the National Gallery, the National Portrait Gallery, the Victoria and Albert Museum and the Whitechapel Art Gallery. Other, less permanent, organisations flourished, among them the British Institution, water-colour societies and the Society of Female Artists. These worked alongside the schools such as the Royal Academy and the Slade School of Art. In this volume, eleven scholars, experts on the individual institutions, analyse their complex histories to investigate such issues as: How did they generate and redesign their publics? What identities did they create? What practice of art making, connoisseurship and spectatorship did they enshrine? These reports elucidate the values associated with the key institutions and describe the responses and adaptation over time to major cultural developments: new movements, political change and the development of the Empire. The volume as a whole offers a fascinating account of the interconnections between these key institutions. Challenging conventional readings of the subject, the Introduction, by Paul Barlow and Colin Trodd, offers a definition of public art during the Victorian period.

Ceramics and Modernity in Japan offers a set of critical perspectives on the creation, patronage, circulation, and preservation of ceramics during Japan's most dramatic period of modernization, the 1860s to 1960s. As in other parts of the world, ceramics in modern Japan developed along the three ontological trajectories of art, craft, and design. Yet, it is widely believed that no other modern nation was engaged with ceramics as much as Japan-a "potter's paradise"-in terms of creation, exhibition, and discourse. This book explores how Japanese ceramics came to achieve such a status and why they were such significant forms of cultural production. Its medium-specific focus encourages examination of issues regarding materials and practices unique to ceramics, including their distinct role throughout Japanese cultural history. Going beyond descriptive historical treatments of ceramics as the products of individuals or particular styles, the closely intertwined chapters also probe the relationship between ceramics and modernity, including the ways in which ceramics in Japan were related to their counterparts in Asia and Europe. Featuring contributions by leading international specialists, this book will be useful to students and scholars of art history, design, and Japanese studies.

This reference organizes and describes the primary and secondary literature surrounding Mary Stevenson Cassatt, Berthe Morisot, Eva Gonzal?s, and Marie Bracquemond, four major women Impressionist artists. The Impressionist group included several women artists of considerable ability whose works and lives were largely ignored until the advent of feminist art criticism in the early 1970s. They studied, worked, and exhibited with their male counterparts including Degas, Manet, Monet, and Pissarro. The entries provide extensive coverage of the careers, critical reception, exhibition history, and growing reputations of these four female artists and discuss women Impressionists in general as they shared the challenges of becoming accepted as professional artists in late 19th-century society.

Containing nearly 900 citations of manuscripts, books, articles, reproductions, films, exhibitions, and reviews, this unique sourcebook will appeal to both art and women's studies scholars. Each artist receives a biographical sketch, chronology, information about individual and group exhibitions and reviews, and a primary and secondary bibliography, which captures details about the artist's life, career, and relationship with other artists. An art works index and names index complete the volume.

This title was first published in 2002. To date, studies explaining decorative practice in the early modernist period have largely overlooked the work of women artists. For the most part, studies have focused on the denigration of decorative work by leading male artists, frequently dismissed as fashionably feminine. With few exceptions, women have been cast as consumers rather than producers. The first book to examine the decorative strategies of late nineteenth- and early twentieth-century women artists, Women Artists and the Decorative Arts concentrates in particular on women artists who turned to fashion, interior design and artisanal production as ways of critically engaging various aspects of modernity. Women artists and designers played a vital role in developing a broad spectrum of modernist forms. In these essays new light is shed on the practice of such well-known women artists as May Morris, Clarice Cliff, Natacha Rambova, Eileen Gray and Florine Stettheimer, whose decorative practices are linked with a number of fascinating but lesser known figures such as Phoebe Traquair, Mary Watts, Gluck and Laura Nagy.

First published in 1999, this book asks what kind of advice was available to somebody wishing to embark upon oil painting in England between 1850 and 1900. It is a fascinating collection of Victorian instruction on how and what to paint, linked to crucial advice about art, its meaning and its relation to contemporary life, given by practising artists, important and often popular in their time, but whose lectures and writings are long overdue for reappraisal: Leslie, Hamerton, O'Neil, Poynter, Watts, Leighton, Armitage, Quilter and Herkomer. Here, beyond the familiar voices of Ruskin, Whistler and Pater, we have a whole range of experience from an age in which issues about painting were hotly debated by large numbers of people: professional artists, amateurs, critics, gallery-goers and Academy students. This anthology brings back to life the humour, seriousness, ambitions, eccentricities and controversies of people whose work shaped the nature of mainstream Victorian art.

A charming and heartfelt story about war, art, and the lengths a woman will go to find the truth about her family. 'As devourable as a thriller... Incredibly moving' Elle 'Pauline Baer de Perignon is a natural storyteller - refreshingly honest, curious and open' Menachem Kaiser 'A terrific book' Le Point It all started with a list of paintings. There, scribbled by a cousin she hadn't seen for years, were the names of the masters whose works once belonged to her great-grandfather, Jules Strauss: Renoir, Monet, Degas, Tiepolo and more. Pauline Baer de Perignon knew little to nothing about Strauss, or about his vanished, precious art collection. But the list drove her on a frenzied trail of research in the archives of the Louvre and the Dresden museums, through Gestapo records, and to consult with Nobel laureate Patrick Modiano. What happened in 1942? And what became of the collection after Nazis seized her great-grandparents' elegant Parisian apartment? The quest takes Pauline Baer de Perignon from the Occupation of France to the present day as she breaks the silence around the wrenching experiences her family never fully transmitted, and asks what art itself is capable of conveying over time.

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.

In the act of enclosing space and making rooms, we make and define our aspirations and identities. Taking a room by room approach, this fascinating volume explores how representations of domestic space have embodied changing spatial configurations and values, and considers how we see modern individuals in the process of making themselves 'at home'. Scholars from the US, UK and Australasia re-visit and re-think interiors by Bonnard, Matisse, Degas and Vuillard, as well as the great spaces of early modernity; the drawing room in Rossetti's house, hallways in Hampstead Garden Suburb, the Paris attic of the Brothers Goncourt; Schutte-Lihotzky's Frankfurt Kitchen, to explore how interior making has changed from the Victorian to the modern period. From the smallest room - the bathroom - to the spacious verandas of Singapore Deco, Domestic Interiors focuses on modern rooms 'imaged' and imagined, it builds a distinct body of knowledge around the interior, interiority, representation and modernity, and creates a rich resource for students and scholars in art, architecture and design history.

Japan held a profound fascination for western artists in the latter half of the nineteenth century and the influence of Japonisme on western art was pervasive. Paradoxically, just as western artists were beginning to find inspiration in Japan and Japanese art, Japan was opening to the western world and beginning a process of thorough modernisation, some have said westernisation. The mastery of western art was included in the programme.
This book examines the nineteenth century art world against this background and explores Japanese influences on four artists working in Britain in particular: the American James McNeill Whistler, the Australian Mortimer Menpes, and the 'Glasgow boys' George Henry and Edward Atkinson Hornel. Japonisme in Britian is richly illustrated throughout.

Charles Baudelaire's flaneur, as described in his 1863 essay "The Painter of Modern Life," remains central to understandings of gender, space, and the gaze in late nineteenth-century Paris, despite misgivings by some scholars. Baudelaire's privileged and leisurely figure, at home on the boulevards, underlies theorizations of bourgeois masculinity and, by implication, bourgeois femininity, whereby men gaze and roam urban spaces unreservedly while women, lacking the freedom to either gaze or roam, are wedded to domesticity. In challenging this tired paradigm and offering fresh ways to consider how gender, space, and the gaze were constructed, this book attends to several neglected elements of visual and written culture: the ubiquitous male beggar as the true denizen of the boulevard, the abundant depictions of well-to-do women looking (sometimes at men), the popularity of windows and balconies as viewing perches, and the overwhelming emphasis given by both male and female artists to domestic scenes. The book's premise that gender, space, and the gaze have been too narrowly conceived by a scholarly embrace of Baudelaire's flaneur is supported across the cultural spectrum by period sources that include art criticism, high and low visual culture, newspapers, novels, prescriptive and travel literature, architectural practices, interior design trends, and fashion journals.

First published in 1999, this book asks what kind of advice was available to somebody wishing to embark upon oil painting in England between 1850 and 1900. It is a fascinating collection of Victorian instruction on how and what to paint, linked to crucial advice about art, its meaning and its relation to contemporary life, given by practising artists, important and often popular in their time, but whose lectures and writings are long overdue for reappraisal: Leslie, Hamerton, O'Neil, Poynter, Watts, Leighton, Armitage, Quilter and Herkomer. Here, beyond the familiar voices of Ruskin, Whistler and Pater, we have a whole range of experience from an age in which issues about painting were hotly debated by large numbers of people: professional artists, amateurs, critics, gallery-goers and Academy students. This anthology brings back to life the humour, seriousness, ambitions, eccentricities and controversies of people whose work shaped the nature of mainstream Victorian art.

Alternately praised as "an American original" and lampooned as an arbiter of kitsch, the regionalist painter Thomas Hart Benton has been the subject of myriad monographs and journal articles, remaining almost as controversial today as he was in his own time. Missing from this literature, however, is an understanding of the profound ways in which sound figures in the artist's enterprises. Prolonged attention to the sonic realm yields rich insights into long-established narratives, corroborating some but challenging and complicating at least as many. A self-taught and frequently performing musician who invented a harmonica tablature notation system, Benton was also a collector, cataloguer, transcriber, and distributor of popular music. In Thomas Hart Benton and the American Sound, Leo Mazow shows that the artist's musical imagery was part of a larger belief in the capacity of sound to register and convey meaning. In Benton's pictorial universe, it is through sound that stories are told, opinions are voiced, experiences are preserved, and history is recorded.

The story of Klimt's astonishing artistic career is told in this beautifully produced collection of reproductions, photographs and drawings with an accompanying text that places the artist in a unique historical moment and reflects his fierce appetite for life and beauty. Gustav Klimt's career straddled the last gasps of Vienna's golden age and the birth of modernism. When seen through this bifurcated lens, it is easy to understand why his relatively small oeuvre created such a lasting impact. This gorgeously illustrated biography explores the unique environment in which Klimt worked-a society in which the schooling of artists was both appreciated and encouraged; a city that was pouring money into magnificently ornate architecture and portraiture; a population that was both experimenting with and suppressing freedom of thought. The full breadth of Klimt's accomplishments is represented here-history and symbolist paintings, building decorations, murals, posters, magazine illustrations, portraits, and landscapes. Readers will learn how Klimt navigated the complex architecture of fin-de-sie cle Vienna and helped found the Vienna Secession and they will see how Klimt's style and motifs changed extensively through the years. Dozens of key works allow for close inspection of Klimt's dazzling artistry, his profound appreciation of female sensuality and his brilliant application of color and mosaic. The author draws out the importance of the relation between the plane surfaces of Klimt's paintings and the spaces they represent, thereby raising surprising connections between his painting and his skills in the applied arts. Compact and satisfying, this book traces a singular artist's trajectory across an ever-changing cultural landscape.

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.

From c.1750 to c.1810 the paths of music history and the history of painting converged with lasting consequences. The publication of Newton's Opticks at the start of the eighteenth century gave a 'scientific' basis to the analogy between sight and sound, allowing music and the visual arts to be defined more closely in relation to one another. This was also a period which witnessed the emergence of a larger and increasingly receptive audience for both music and the visual arts - an audience which potentially included all social strata. The development of this growing public and the commercial potential that it signified meant that for the first time it became possible for a contemporary artist to enjoy an international reputation. Nowhere is this better illustrated than in the career of Joseph Haydn. Although this phenomenon defies conventional modes of study, the book shows how musical pictorialism became a major creative force in popular culture. Haydn, the most popular living cultural personality of the period, proved to be the key figure in advancing the new relationship. The connections between the composer and his audiences and leading contemporary artists (including Tiepolo, Mengs, Kauffman, Goya, David, Messerschmidt, Loutherbourg, Canova, Copley, Fuseli, Reynolds, Gillray and West) are examined here for the first time. By the early nineteenth century, populism was beginning to be regarded with scepticism and disdain. Mozart was the modern Raphael, Beethoven the modern Michelangelo. Haydn, however, had no clear parallel in the accepted canon of Renaissance art. Yet his recognition that ordinary people had a desire to experience simultaneous aural and visual stimulation was not altogether lost, finding future exponents in Wagner and later still in the cinematic arts.

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.

Beyond the Frame rewrites the history of Victorian art to explore the relationships between feminism and visual culture in a period of heady excitement and political struggle. Artists were caught up in campaigns for women's enfranchisement, education and paid work, and many were drawn into controversies about sexuality. This richly documented and compelling study considers painting, sculpture, prints, photography, embroidery and comic drawings as well as major styles such as Pre-Raphaelitism, Neo-Classicism and Orientalism. Drawing on critical theory and post-colonial studies to analyse the links between visual media, modernity and imperialism, Deborah Cherry argues that visual culture and feminism were intimately connected to the relations of power.

Beyond the Frame rewrites the history of Victorian art to explore the relationships between feminism and visual culture in a period of heady excitement and political struggle. Artists were caught up in campaigns for women's enfranchisement, education and paid work, and many were drawn into controversies about sexuality. This richly documented and compelling study considers painting, sculpture, prints, photography, embroidery and comic drawings as well as major styles such as Pre-Raphaelitism, Neo-Classicism and Orientalism. Drawing on critical theory and post-colonial studies to analyse the links between visual media, modernity and imperialism, Deborah Cherry argues that visual culture and feminism were intimately connected to the relations of power.

eBook available with sample pages: HB:0415107261

The first half of this book is a detailed exploration of Turner's life and background. It begins with his early years in London, where he exhibited paintings in the window of his father's barber shop. Through his travels in Europe, copying and studying the old masters, Turner was largely self-taught until he enrolled at the Royal Academy. In 1796 one of his first oil paintings was hung there, and his success culminated in the opening of his own gallery. The second half of the book is a collection of his original works. These superb reproductions are accompanied by analysis of each painting and its significance regarding Turner's life, the period in which it was executed, his technique and his body of work as a whole. This reference book is essential for anyone who wants to learn more about one of the finest landscape painters in English history.

Before Modernism, narrative painting was one of the most acclaimed and challenging modes of picture-making in Western art, yet by the early twentieth century storytelling had all but disappeared from ambitious art. France was a key player in both the dramatic rise and the controversial demise of narrative art. This is the first book to analyse French painting in relation to narrative, from Poussin in the early seventeenth to Gauguin in the late nineteenth century. Thirteen original essays shed light on key moments and aspects of narrative and French painting through the study of artists such as Nicolas Poussin, Charles Le Brun, Jacques-Louis David, Paul Delaroche, Gustave Moreau, and Paul Gauguin. Using a range of theoretical perspectives, the authors study key issues such as temporality, theatricality, word-and-image relations, the narrative function of inanimate objects, the role played by viewers, and the ways in which visual narrative has been bound up with history painting. The book offers a fresh look at familiar material, as well as studying some little-known works of art, and reveals the centrality and complexity of narrative in French painting over the course of three centuries.

Over the last forty years, renewed interest in the career of Henry Ossawa Tanner (1859-1937) has vaulted him into expanding scholarly discourse on American art. Consequently, he has emerged as the most studied and recognized representative of African American art during the nineteenth century. In fact, Tanner, in the spirit of political correctness and racial inclusiveness, has gained a prominent place in recent textbooks on mainstream American art and his painting, The Banjo Lesson (1893), has become an iconic symbol of black creativity. In addition, Tanner achieved national recognition when the Philadelphia Museum of Art in 1991 and the Pennsylvania Academy of the Fine Arts in 2012 celebrated him with major retrospectives. The latter exhibition brought in a record number of viewers. While Tanner lived a relatively simple life where his faith and family dictated many of the choices he made daily, his emergence as a prominent black artist in the late nineteenth century often thrust him openly into coping with the social complexities inherent with America's great racial divide. In order to fully appreciate how he negotiated prevailing prejudices to find success, this book places him in the context of a uniquely talented black man experiencing the demands and rewards of nineteenth-century high art and culture. By careful examination on multiple levels previously not detailed, this book adds greatly to existing Tanner scholarship and provides readers with a more complete, richly deserved portrait of this preeminent American master.

This collection of essays by musicologists and art historians explores the reciprocal influences between music and painting during the nineteenth century, a critical period of gestation when instrumental music was identified as the paradigmatic expressive art and theoretically aligned with painting in the formulation ut pictura musica (as with music, so with painting). Under music's influence, painting approached the threshold of abstraction; concurrently many composers cultivated pictorial effects in their music. Individual essays address such themes as visualization in music, the literary vs. pictorial basis of the symphonic poem, musical pictorialism in painting and lithography, and the influence of Wagner on the visual arts. In these and other ways, both composers and painters actively participated in interarts discourses in seeking to redefine the very identity and aims of their art.