Strange and exotic, seductive and threatening, the Orient has always been an enchanted space for the West. But this is a space, theorists argue, that has been 'Orientalized' by the West, constructed upon a system of knowledge and power which defines the West as much as this 'Other'. Within Western cultures, the French encounter with the Orient has been extraordinarily rich and varied, from the experiences of the first pilgrims to the challenges posed for the identity of modern-day France by its ethnic minorities. This collection of interdisciplinary essays explores the range of French and francophone encounters with the East from the medieval period to the present day. The contributions encompass a variety of Orients, both geographical and generic: the Orients of the visual arts, of historicist discourse, of fiction and travel writing. They consider not only those artists we immediately associate with the East, such as Nerval or Fromentin, but also those, like Proust, whose work appears firmly rooted in the West. They also provide new insights into the less familiar works of long-celebrated authors like Flaubert and more recently acclaimed writers such as Bouvier and Djebar.

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.

Representations of political power play an important role in Western art history from the late Middle Ages up to modern times. This volume by leading experts is a wide-ranging survey of significant trends in the development of political imagery.

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 reprint of an important work details the authors groundbreaking work in Arts & Crafts era projects created with concrete. Projects include majolica and mosaic tiles, bowls and vases, flower boxes and garden pottery, and architectural applications. Techniques covered include the creation of plaster molds, surface finishes, and slip painting as well as recipes for cement mixes, color applications, and the simple tools needed to get started. The processes are so basic, and the materials so widely available, that the authors even suggest projects for school children. Moreover they offer design tips that are perfect for anyone hoping to recreate Arts & Crafts era accents for their home.

The first comprehensive, scholarly sourcebook/research guide/bibliography on the major French Symbolists painters, this work includes nearly 3,000 entries covering a variety of materials. Each artist receives a primary and secondary bibliography with many annotated entries. Art works, personal names, and subject indexes facilitate easy access. The volume is designed for art historians, art students, museum and gallery curators, and others interested in this major art style of the last half of the 19th century and the first quarter of the 20th century. Art museums and art libraries in both the United States and abroad were gleaned for sources. This is a unique and substantial research tool. Symbolism is one of the most difficult art movements to define. Its primary meaning is the representation of things by symbols, by the imaginative suggestion of dreams and the subconscious through symbolic allusion and luxuriant decoration. The writings of Charles Baudelaire on the arts powerfully influenced the aesthetic theories of Symbolist artists and critics from 1860-1900, much as Baudelaire's poetics were the root of Symbolist literature. The Symbolist work, be it painting or poem, is above all personal and revelatory, precious not commonplace, reflecting and evoking a journey of the imagination. French Symbolist artists explored this style, attitude, and atmosphere from the 1880s to the early twentieth century. This sourcebook organizes biographical, historical, and critical information on four major French Symbolist artists: Pierre Puvis de Chavannes (1824-98), Gustave Moreau (1826-98), Odilon Redon (1840-1916), and Maurice Denis (1870-1943). The first three artists are recognized asoriginators of the movement. Denis is regarded as Symbolist's foremost theorist and profoundly religious practitioner. Although all four artists have been the focus of major retrospective exhibitions since 1990, no comprehensive sourcebook/bibliography exists.

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.

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.

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.

A fun and fact-filled introduction to the dismissed Black art masters and models who shook up the world. Elegant. Refined. Exclusionary. Interrupted. The foundations of the fine art world are shaking. Beyonce and Jay-Z break the internet by blending modern Black culture with fine art in their iconic music video filmed in the Louvre. Kehinde Wiley powerfully subverts European masterworks. Calls resonate for diversity in museums and the resignations of leaders of the old guard. It's clear that modern day museums can no longer exist without change-and without recognizing that Black people have been a part of the Western art world since its beginnings. Quietly held within museum and private collections around the world are hundreds of faces of Black men and women, many of their stories unknown. From paintings of majestic kings to a portrait of a young girl named Isabella in Amsterdam, these models lived diverse lives while helping shape the art world along the way. Then, after hundreds of years of Black faces cast as only the subject of the white gaze, a small group of trailblazing Black American painters and sculptors reached national and international fame, setting the stage for the flourishing of Black art in the 1920s and beyond. Captivating and informative, BLK ART is an essential work that elevates a globally dismissed legacy to its proper place in the mainstream art canon. From the hushed corridors of royal palaces to the bustling streets of 1920s Paris-this is Black history like never seen before.

Sir George Beaumont is a key figure in the history of British art. As well as being a respected amateur landscape painter, he was a prominent patron, a collector, and co-founder of the National Gallery. William Wordsworth described Beaumont’s friendship as one of the chief blessings of his life, and this edition reveals that the two men became collaborators as well as companions. In addition to documenting unique perspectives on social, political, and cultural events of the early nineteenth century (providing new contexts for reading Wordsworth’s mature poetry), the letters collected here chart the progress of an increasingly intimate inter-familial relationship. The picture that emerges is of a coterie that – in influence, creativity, and affection – rivals Wordsworth’s more famous exchange with Coleridge at Nether Stowey in the 1790s. The edition includes an extended study of how Wordsworth and Beaumont helped shape one another’s work, tracing processes of mutual artistic development that involved not only a meeting of aristocratic refinement and rural simplicity, of a socialite and a lover of retirement, of a painter and a poet, but also an aesthetic rapprochement between neoclassical and romantic values, between the impulse to idealize and the desire to particularize.

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.

Fuseli's Milton Gallery challenges the antipictorial theories and canons of Romantic period culture. Between 1791 and 1799 Swiss painter Henry Fuseli turned Milton's Paradise Lost into a series of 40 pictures. Fuseli's project and other literary galleries developed within an expanding market for illustrated books and a culture of anthologization used to reading British and other 'classics' in terms of the visualization of key moments in the text. Thus transformed into repositories of virtual pictures literary texts became ideal sources of subjects for painters. Illustrating British literature was a way of inventing a national 'grand style' to fit the needs of a consumer society. Cale calls into question the separation of reading and viewing as autonomous aesthetic practices. To 'turn readers into spectators' meant to place readers and reading within the dizzying world of associations offered by an emerging culture of exhibitions. Attending to the energized reading effects developed by Fuseli's Gallery we rediscover a new side of the Romantic imagination which is not the solitary mentalist experience preferred by Wordsworth and Coleridge, nor divorced from the senses, let alone a refuge from the crowded public spaces of the Revolutionary period. Rather, Fuseli's embodied aesthetic exemplifies the associationist psychology espoused by the radical circle convening around the publisher Joseph Johnson, including Joseph Priestley and Mary Wollstonecraft. This book analyses exhibitions as important sites of Romantic sociability and one of many interrelated mediums for the literature, debates and controversies of the Revolutionary period.

Individually and collectively, the essays in this cross-disciplinary collection explore the impact of the revolutionary and Napoleonic Wars on European visual culture, from the outbreak of the pan-European conflict with France in 1792 to the aftermath of the Battle of Waterloo in 1815. Through consideration of a range of media, from academic painting to prints, drawings and printed ephemera, this book offers fresh understanding of the rich variety of ways in which warfare was mediated in visual cultures in Britain and continental Europe. The fourteen essays in the collection are grouped thematically into three sections, each focusing on a specific type of visual communication. Thus, Part One engages with historically specific ways of transmitting messages about war and conflict, including maps, prints, silhouette imagery and war games produced in France and Germany; Part Two considers popular and elite imagining of war between 1793 and 1815, encompassing readings of paintings by Turner, Girodet and Goya, Portuguese anti-French drawings and British satirical book illustrations; while Part Three concentrates on visual cultures of commemoration, addressing British theatrical reenactments and museum collections, and British and Dutch paintings of the Battle of Waterloo. As such, the volume uncovers fascinating new visual material and throws fresh light on some of the more canonical visual representations of conflict during the first 'Total War'.

A distinguished list of contributors explores a variety of perspectives on the artistic culture of France and surrounding countries during the period 1870 to 1914. Aspects of dance, cinema, theater, poetry, prose, painting, social and political science, history, and medicine are covered in interdisciplinary essays that are both useful to researchers and accessible to students.

The first part of the book, which concentrates on France, assembles essays on the prose, poetry, and painting of Symbolism and Decadence, in particular Mallarme and Moreau; on avant-garde dance and performance; on women's writing; and on early cinema from Lumiere, Villiers, and Verne.

The second part explores the relations between France and several cultures. These cross-cultural investigations range from studies of the Anglo-Celtic "Rhymers' Club" to the Italian Crepusculari and include discussions of Belgian Symbolism and the Franco-Anglo-American Axis. The essays consistently point beyond the late nineteenth century and into the twentieth as they explore the multiple beginnings -- as well as the false starts -- that characterize the period.

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 comprehensive assessment of Degas's legacy to be published in over two decades, Perspectives on Degas unites a team of international scholars to analyze Degas's work, artistic practice, and unique methods of pictorial problem-solving. Established scholars and curators show how recent trends in art historical thinking can stimulate innovative interpretations of Degas's paintings, prints, sculptures, and drawings and reveal new ideas about his place in the art historical narrative of the nineteenth-century avant-garde. Questions posed by contributors include: what interpretive approaches are open to a new generation of art historians in the wake of a vast body of existing scholarship on nineteenth-century art? In what ways can feminist analyses of Degas's works continue to yield new results? Which of Degas's works have received less attention in critical literature to date and what does study of them reveal? As the centenary of Degas's death approaches, this book offers a timely re-evaluation of the critical literature that has developed in response to Degas's work and identifies ways in which the further study of this artist's multi-facetted output can deepen our understanding of the wider scientific, literary, and artistic ideas that circulated in France during the latter decades of the nineteenth century.

The world that shaped Europe's first national sculptor-celebrities, from Schadow to David d'Angers, from Flaxman to Gibson, from Canova to Thorvaldsen, was the city of Rome. Until around 1800, the Holy See effectively served as Europe's cultural capital, and Roman sculptors found themselves at the intersection of the Italian marble trade, Grand Tour expenditure, the cult of the classical male nude, and the Enlightenment republic of letters. Two sets of visitors to Rome, the David circle and the British traveler, have tended to dominate Rome's image as an open artistic hub, while the lively community of sculptors of mixed origins has not been awarded similar attention. Rome, Travel and the Sculpture Capital, c.1770-1825 is the first study to piece together the labyrinthine sculptors' world of Rome between 1770 and 1825. The volume sheds new light on the links connecting Neo-classicism, sculpture collecting, Enlightenment aesthetics, studio culture, and queer studies. The collection offers ideal introductory reading on sculpture and Rome around 1800, but its combination of provocative perspectives is sure to appeal to a readership interested in understanding a modernized Europe's overwhelmingly transnational desire for Neo-classical, Roman sculpture.

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.

This study investigates the paradoxical dynamics of American high culture in the late nineteenth and early twentieth centuries by examining the strategies of Americans who wrote about European art in order to promote and legitimize literary careers. Contrary to the myths they themselves disseminated, American writers in Europe did not escape American culture but rather created and participated in US. Cultural institutions like journals, museums, and universities. Transatlantic careers articulated a cult of Europe in a privileged American space, served social and aesthetic hierarchies, and constructed formidable versions of professional authority of American writers.
The book focuses on four art careers Americans practiced in Europe: travel writing, art reviewing, connoisseurship, and salon hosting. It illuminates the careers of William Dean Howells, Henry James, Bernard and Mary Berenson, Celia Thaxter, and Gertrude Stein as itineraries of high-cultural formation and self-definition. In four chapters, the study examines these paradigmatic careers as both literary and cultural history, relating them to a diverse American society as well as Bostonian high culture.
Americans created and deployed expatriate art careers, the author argues, in a landscape of gender, ethnic, and class relations. The "use" of Europe was both figural and practical: writers created a fantasized Europe that both enacted social repression and enabled social liberation. Ultimately, as the example of James Weld Johnson demonstrates, elitist and Europhile high culture reflected a much larger America as well as the narrower cultural institutions that historically fostered it.

Part of a series of exciting and luxurious Flame Tree Sketch Books Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed, then foil stamped. The thick paper stock makes them perfect for sketching and drawing. These are perfect for personal use and make a dazzling gift. This example features Van Gogh: Cafe Terrace.

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.

'Arnold Hausers Social History of Art - a very important and under-appreciated text.' - Whitney Davis, John Evans Professor of Art History, Northwestern University

'It is no exaggeration to say that more than any other work Hauser's four volumes inspired my interest in art history.' - Alan Wallach, Ralph H Wark Professor of Art History, College of William and Mary

'This work has great value in a contemporary context. I look forward to seeing what Jonathan has done with the introduction, but I cannot think of anyone better suited to the task.' - Johanna Drucker, Professor of Art History, Yale University

Hausers extraordinary energy and subtlety wave a brilliant synthesis of the interaction between the aesthetic and societal, giving us at one and the same time a wealth of artistic detail and a consistent and fully elaborated exposition of the social process. - Albert Boime, UCLA, author of The Social History of Modern Art, 1750-1989

Introducing the concept of music and painting as 'rival sisters' during the nineteenth century, this interdisciplinary collection explores the productive exchange-from rivalry to inspiration to collaboration-between the two media in the age of Romanticism and Modernism. The volume traces the relationship between art and music, from the opposing claims for superiority of the early nineteenth century, to the emergence of the concept of synesthesia around 1900. This collection puts forward a more complex history of the relationship between art and music than has been described in earlier works, including an intermixing of models and distinctions between approaches to them. Individual essays from art history, musicology, and literature examine the growing influence of art upon music, and vice versa, in the works of Berlioz, Courbet, Manet, Fantin-Latour, Rodin, Debussy, and the Pre-Raphaelites, among other artists.