As the debate about Scottish independence rages on, this book takes a timely look at how Scotland's politics have been expressed in its buildings, exploring how the architecture of Scotland - in particular the constantly-changing ideal of the 'castle' - has been of great consequence to the ongoing narrative of Scottish national identity. Scotch Baronial provides a politically-framed examination of Scotland's kaleidoscopic 'castle architecture', tracing how it was used to serve successive political agendas both prior to and during the three 'unionist centuries' from the early 17th century to the 20th century. The book encompasses many of the country's most important historic buildings - from the palaces left behind by the 'lost' monarchy, to revivalist castles and the proud town halls of the Victorian age - examining their architectural styles and tracing their wildly fluctuating political and national connotations. It ends by bringing the story into the 21st century, exploring how contemporary 'neo-modernist' architecture in today's Scotland, as exemplified in the Holyrood parliament, relates to concepts of national identity in architecture over the previous centuries.

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.

Philip Webb was a British architect known as a founder of the Arts and Crafts movement and also a key member of the Pre-Raphaelite circle. He had a long association with William Morris and was responsible for the design of the hugely influential Red House, Morris's first home. In this collection, Philip Webb's letters have been drawn together by John Aplin. They tell a fascinating story of Webb's life and work, and the corresponding notes to each text will help the reader to understand the meaning and context of the letters. This work will be of interest to art and architecture historians alike.

This books strength lies in its combination of approaches: Symbolism is viewed as a set of concepts and as an artistic climate. Its structure allows for the inclusion of artists not normally found in most Symbolist anthologies.

The role of the visual arts in the assertion of European colonial power has been the subject of much recent investigation and redefinition. This book takes as a ground for discussion the representation of Indian scenery and architecture by British artists in the late eighteenth and early nineteenth centuries. It includes the work of a diversity of artists from the Daniells to Edward Lear, but central to the study is a particular focus on William Hodges, a pioneer in the field who enjoyed a close association with Britain's first Governor General in India, Warren Hastings, and whose impressive body of work as draughtsman, painter and writer formed a crucial legacy for later artists. The book includes many of his paintings and drawings rarely or never previously published, and analyses his art and writing in relation to the intellectual and aesthetic ideas of his time. The paintings and drawings discussed here are shown to be complex objects, standing in a necessarily complex relationship with historical events and ideas. This relationship is explored and defined fully, to present a new intervention in post-colonial cultural theory.

Arts & Crafts is a celebration of the design movement that started in Britain and spread around the world at the end of the nineteenth century. Depicting both well-known and unusual art and artifacts from this most fascinating of eras, this book provides a wealth of information about the lives and times of the designers, architects and artists who created them.

In his study of the journalist George Augustus Sala, Peter Blake discusses the way Sala's personal style, along with his innovations in form, influenced the New Journalism at the end of the nineteenth century. Blake places Sala at the centre of nineteenth-century newspapers and periodicals and examines his prolific contributions to newspapers and periodicals in the context of contemporary debates and issues surrounding his work. Sala's journalistic style, Blake argues, was a product of the very different mediums in which he worked, whether it was the visual arts, bohemian journalism, novels, pornographic plays, or travel writing. Harkening back to a time when journalism and fiction were closely connected, Blake's book not only expands our understanding of one of the more prominent and interesting journalists and personalities of the nineteenth century, but also sheds light on prominent nineteenth-century writers and artists such as Charles Dickens, Mathew Arnold, William Powell Frith, Henry Vizetelly, and Mary Elizabeth Braddon.

This book offers a careful analysis of how far what John Ruskin writes to Louisa Waterford as a woman artist concurs with, or differs from, the views he propounds on art in his published writing, and examines the style and quality of mentoring that Ruskin offered to his female students.

Printing and Painting the News in Victorian London offers a fresh perspective on Social Realism by contextualizing it within the burgeoning new media environment of Victorian London. Paintings labelled as Social Realist by Luke Fildes, Frank Holl and Hubert Herkomer are frequently considered to typify the sentimental Victorian genre painting that quickly became outdated with the development of modernism. Yet this book argues that the paintings must be considered as the result of the new experiences of modernity-the urban poverty that the paintings represent and, most importantly, the advent of the mass-produced illustrated news. Fildes, Holl and Herkomer worked for The Graphic, a publication launched in 1869 as a rival to the dominant Illustrated London News. The artists' illustrations, which featured the growing problem of urban poverty, became the basis for large-scale paintings that provoked controversy among their contemporaries and later became known as Social Realism. This first in-depth study of The Graphic and Social Realism uses the approach of media archaeology to unearth the modernity of these works, showing that they engaged with the changing notions of objectivity and immediacy that nineteenth-century new media cultivated. In doing so, this book proposes an alternative trajectory for the development of modernism that allows for a richer understanding of nineteenth-century visual culture.

Celebrated connoisseur, drawings collector, print dealer, book publisher and authority on the art of antiquity, Pierre-Jean Mariette (1694-1774) was a pivotal figure in the eighteenth-century European art world. Focusing on the trajectory of Mariette's career, this book examines the material practices and social networks through which connoisseurs forged the idea of art as an object of empirical and historical analysis. Drawing on significant unpublished archival material as well as on histories of science, publishing, collecting and display, this book shows how Mariette and his colleagues' practices of classification and interpretation of the graphic arts gave rise to new conceptions of artistic authorship and to a history of art that transcended the biographies of individual artists. To follow Mariette's career through the eighteenth century is to see that art was consolidated as a specialized category of intellectual inquiry-and that style emerged as its structuring analytic device-in the overlapping spaces of the collector's cabinet, the connoisseur's portfolio and the dealer's shop.

Since the mid-1970s, the colloquial term zone has often been associated with the troubled post-war housing estates on the outskirts of large French cities. However, it once referred to a more circumscribed space: the zone non aedificandi (non-building zone) which encircled Paris from the 1840s to the 1940s. This unusual territory, although marginal in a social and geographical sense, came to occupy a central place in Parisian culture. Previous studies have focused on its urban and social history, or on particular ways in which it was represented during particular periods. By bringing together and analysing a wider range of sources from the duration of the zone's existence, this study offers a rich and nuanced account of how the area was perceived and used by successive generations of Parisian novelists (including Zola and Flaubert), poets, songwriters, artists, photographers, film-makers, politicians and town-planners. More generally, it aims to raise awareness of a neglected aspect of Parisian cultural history while pointing to links between current and past perceptions of the city's periphery.

It's well known that Claude Monet was a gourmand as well as an artistic genius. His culinary journals are filled with detailed recipes and notes about what he ate and with whom he shared his meals. Now, sixty of those recipes are gathered in this elegantly produced book brimming with the colors and flavors of Giverny, France. Each chapter features recipes that were served in Monet's famed yellow dining room, eaten al fresco in the gardens at Giverny, or at several of the fine restaurants along the Seine in Normandy. Beautiful reproductions of Monet's art compliment the recipes, along with photographs of the artist enjoying these dishes with his family, friends, and fellow artists. The recipes themselves, selected for their rustic appeal and use of only the freshest ingredients, range from simple galettes and hearty casseroles to fine souffle s, seafood dishes, and delicious tarts, cakes, and other pastries. A fitting tribute to the painter and his legendary aesthetic, this cookbook is the next best thing to sitting at Monet's table.

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

Across the medieval and early modern eras, new rulers were celebrated with increasingly elaborate coronations and inaugurations that symbolically conferred legitimacy and political power upon them. Many historians have considered rituals like these as irrelevant to understanding modern governance-an idea that this volume challenges through illuminating case studies focused on the eighteenth- and nineteenth-century Habsburg lands. Taking the formal elasticity of these events as the key to their lasting relevance, the contributors explore important questions around their political, legal, social, and cultural significance and their curious persistence as a historical phenomenon over time.

The Wilhelmine Empire's opening decades (1870s - 1880s) were crucial transitional years in the development of German modernism, both politically and culturally. Here Marsha Morton argues that no artist represented the shift from tradition to unsettling innovation more compellingly than Max Klinger. The author examines Klinger's early prints and drawings within the context of intellectual and material transformations in Wilhelmine society through an interdisciplinary approach that encompasses Darwinism, ethnography, dreams and hypnosis, the literary Romantic grotesque, criminology, and the urban experience. His work, in advance of Expressionism, revealed the psychological and biological underpinnings of modern rational man whose drives and passions undermined bourgeois constructions of material progress, social stability, and class status at a time when Germans were engaged in defining themselves following unification. This book is the first full-length study of Klinger in English and the first to consistently address his art using methodologies adopted from cultural history. With an emphasis on the popular illustrated media, Morton draws upon information from reviews and early books on the artist, writings by Klinger and his colleagues, and unpublished archival sources. The book is intended for an academic readership interested in European art history, social science, literature, and cultural studies.

The notion of a person--or even an object--having a "double" has been explored in the visual arts for ages, and in myriad ways: portraying the body and its soul, a woman gazing at her reflection in a pool, or a man overwhelmed by his own shadow. In this edited collection focusing on nineteenth- and twentieth-century western art, scholars analyze doppelgangers, alter egos, mirror images, double portraits and other pairings, human and otherwise, appearing in a large variety of artistic media. Artists whose works are discussed at length include Richard Dadd, Salvador Dali, Egon Schiele, Frida Kahlo, the creators of Superman, and Nicola Costantino, among many others.

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.

Art, Theatre, and Opera in Paris, 1750-1850: Exchanges and Tensions maps some of the many complex and vivid connections between art, theatre, and opera in a period of dramatic and challenging historical change, thereby deepening an understanding of familiar (and less familiar) artworks, practices, and critical strategies in the eighteenth and nineteenth centuries. Throughout this period, new types of subject matter were shared, fostering both creative connections and reflection on matters of decorum, legibility, pictorial, and dramatic structure. Correspondances were at work on several levels: conception, design, and critical judgement. In a time of vigorous social, political, and cultural contestation, the status and role of the arts and their interrelation came to be a matter of passionate public scrutiny. Scholars from art history, French theatre studies, and musicology trace some of those connections and clashes, making visible the intimately interwoven and entangled world of the arts. Protagonists include Diderot, Sedaine, Jacques-Louis David, Ignace-Eugene-Marie Degotti, Marie Malibran, Paul Delaroche, Casimir Delavigne, Marie Dorval, the 'Bleeding Nun' from Lewis's The Monk, the Comedie-Francaise and Etienne-Jean Delecluze.

Jean Simeon Chardin (1699-1779) was arguably the most talented French painter of the eighteenth century, best known for his original still lifes. Composed of simple, everyday objects, these works glow with warmth and magic, from the dull iron of the kitchen pans, to the glaze of the green earthenware jug or the shining copper of the cauldron. There is no superfluous detail or search for decorative effect; the beauty of his paintings lies in their minimalism. His contemporary, the philosopher Diderot, looking at The Olive Jar exclaimed: 'All you have to do is take these biscuits and eat them ... pick up the glass of wine and drink it ... O Chardin! It's not white, red or black pigment that you crush on your palette: it's the very substance of the objects.' Chardin received early recognition for his work, becoming an Associate of the Royal Academy of Painting and Sculpture and full Academician in 1728 at the age of almost 29. Following the success of his early still lifes and inspired by Dutch seventeenth-century artists, whose work was very much in vogue in Paris at the time, Chardin went on to paint some exquisite genre scenes and portraits, remarkable for their realism and honesty as well as for their skilful technique. His works had a tremendous influence on subsequent artists, inspiring painters as diverse as Manet and Cezanne.

Through the example of Central Pacific Railroad executives, Manufacturing the Modern Patron in Victorian California redirects attention from the usual art historical protagonists - artistic producers - and rewrites narratives of American art from the unfamiliar vantage of patrons and collectors. Neither denouncing, nor lionizing, nor dismissing its subjects, it demonstrates the benefits of taking art consumers seriously as active contributors to the cultural meanings of artwork. It explores the critical role of art patronage in the articulation of a new and distinctly modern elite class identity for newly ascendant corporate executives and financiers. These economic elites also sought to legitimate trends in industrial capitalism, such as mechanization, incorporation, and proletarianization, through their consumption of a diverse array of elite culture, including regional landscapes, panoramic and stop-motion photography, history paintings of the California Gold Rush, the architecture of Stanford University, and the design of domestic galleries. This book addresses not only readers in the art history and visual and material cultures of the United States, but also scholars of patronage studies, American Studies, and the sociology of culture. It tells a story still relevant to this new Gilded Age of the early 21st century, in which wealthy collectors dramatically shape contemporary art markets and institutions.

How did the tumult caused by German composer Richard Wagner result in the first modernist painting? In the first full-length book dedicated to the study of Edouard Manet and music, art historian Therese Dolan demonstrates that the 1862 painting Music in the Tuileries represents the progressive musical culture of his time, heretofore read by scholars predominantly through the words of Charles Baudelaire. Dolan sees in this painting's radical style the conceptual shift to modernism in both painting and music, a transition that, she convincingly argues, received a strong impetus from Manet's Music in the Tuileries and Wagner's controversial Tannhauser, which premiered the previous year. Supplemental to analysis of the painting, Dolan incorporates discussion of texts by Theophile Gautier, Champfleury, and Baudelaire who are represented in the painting. This book incorporates studies of the major artistic, literary, and musical figures of nineteenth-century France. It represents an important contribution to an understanding of French culture in the third quarter of the nineteenth century, a period of intense literary, artistic, and musical activity that formed the crucible for modernism.

The panorama is primarily a visual medium, but a variety of print matter mediated its viewing; adverts, reviews, handbills and a descriptive programme accompanied by an annotated key to the canvas. The short accounts, programs, reviews, articles and lectures collected here are the primary historical sources left to us.

Bringing to life the gorgeous, inspiring art of Monet, Manet, Renoir, Pissarro and their group, Impressionists takes the reader back to Nineteenth Century Paris to explore one of the most influential, and popular art movements in the history of painting. A careful selection of the period's most enduring artworks sits alongside some lesser known, but equally impressive images to convey the spirit and passion of the era.

When the author bought a falling down fortified house on the Staffordshire moorlands, he had no reason to anticipate the astonishing tale that would unfold as it was restored. An increasingly mysterious, set of relationships emerged amongst its former owners, revolving round a now almost forgotten artist. Robert Bateman, in his youth was a prominent Pre-Raphaelite and friend of Burne Jones. The son of a local millionaire, he was to marry the granddaughter of the Earl of Carlisle, and to be associated with both Disraeli and Gladstone, and other prominent political and artistic figures. But he had abandoned his life as a public artist in mid-career for no obvious reason, to live as a recluse, while his father lost his money, and his rich and glamorous wife-to-be had married the local vicar, already in his sixties and shortly to die. The discovery of two paintings by Bateman, both clearly autobiographical, led to an utterly absorbing forensic investigation into Bateman's life. The story moves from Staffordshire to Lahore in India, to Canada, to Wyoming, and then, via Buffalo Bill to Peru and back to England. It leads to the improbable respectability of the Wills (now Imperial Tobacco) cigarette business in Bristol, and then, less respectably, to a car park in Stoke on Trent. En route the author pieces together, and illustrates, an astonishing and deeply moving story of love and loss, of art and politics, of morality and hypocrisy, of family secrets, concealed but never quite completely obscured. The result is a page-turning combination of detective story and tale of human frailty, endeavour and love. It is also a portrait of a significant artist, a reassessment of whose work is long overdue