By the 1850s, the expansion of printing and distribution technologies provided writers with more readers and literary outlets than ever before, while the ever-changing political contexts occasioned by the revolutions of 1830 and 1848 brought about differing degrees of political, social, and literary censure and pressure. Seth Whidden examines crises of literary authority in nineteenth-century French literature, both in response to the attempts of the Second Empire (1852-1870) to restore the unquestioned imperial authority that had been established by Napoleon I and in the aftermath of the bloody Paris Commune of 1871. In each of his chapters, Whidden offers a representative case study highlighting one of several phenomena-literary collaboration, parody, destabilized poetic form, the substitution of one poetic or narrative voice with that of the man-that enabled challenges to the traditional status of the writer and, by extension, the political authority that it reflected. Whidden focuses on the play Le Supplice d'une femme (1865); the Cercle Zutiste, a group of writers, musicians, and artists who met regularly in the fall of 1871, only months after the fall of the Second Empire; Arthur Rimbaud's Commune-era poems; and Jules Verne's 1851 'Un voyage en ballon,' later reprinted as 'Un drame dans les airs' in 1874. Whidden concludes with a futuristic look at authority and auctority as it pertains to midcentury writers taking stock of the weakened authority still possible in a post-Second Empire France and envisioning what kind of auctority is still to come.

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.

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.

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.

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.

Between 1790 and 1910, Danish painters developed a national school of art that matched the artistic centres of France, Germany and Britain. The range of outstanding works created by Nicolai Abildgaard, Jens Juel, Christoffer Wilhelm Eckersberg, Christen Kobke, P. S. Kroyer and Vilhelm Hammershoi reflect and refract the great stylistic tendencies of European art of the 19th century, including Classicism, Romanticism, Impressionism and Symbolism. Illustrated with over two hundred key works of art drawn from the leading Danish collections, this is the only book available in English that surveys Danish painting across the 19th century. Written by a major scholar in the field, and featuring all the icons of the Danish Golden Age, this is an essential addition to all art libraries.

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.

This bibliography provides a source for reviews of the state-sponsored Parisian exhibitions of painting and sculpture (Salons) held during the period 1699-1827. It includes an extensive list of references, each presented in a standard format with titles, dates and ordering codes based upon the holdings of the Bibliotheque nationale in Paris. It is indexed both by authors and by periodicals. The essays and articles that are catalogued are of fundamental importance in establishing a picture of contemporary reactions to art in eighteenth- and early nineteenth-century France, and yet the standard work by Maurice Tourneux, Salons et expositions d'art a Paris, 1801-1870, has been out of print for several decades. By incorporating and correcting the relevant material from Tourneux, adding references from the Deloynes collection (together with full details of original sources) and incorporating a broad sample from the periodical press, the authors have achieved a substantial increase in the volume and range of criticism available for analysis by cultural and literary historians.

A revelatory study of one of the 18th century's greatest artists, which places him in relation to the darker side of the English Enlightenment Joseph Wright of Derby (1734-1797), though conventionally known as a 'painter of light', returned repeatedly to nocturnal images. His essential preoccupations were dark and melancholy, and he had an enduring concern with death, ruin, old age, loss of innocence, isolation and tragedy. In this long-awaited book, Matthew Craske adopts a fresh approach to Wright, which takes seriously contemporary reports of his melancholia and nervous disposition, and goes on to question accepted understandings of the artist. Long seen as a quintessentially modern and progressive figure - one of the artistic icons of the English Enlightenment - Craske overturns this traditional view of the artist. He demonstrates the extent to which Wright, rather than being a spokesman for scientific progress, was actually a melancholic and sceptical outsider, who increasingly retreated into a solitary, rural world of philosophical and poetic reflection, and whose artistic vision was correspondingly dark and meditative. Craske offers a succession of new and powerful interpretations of the artist's paintings, including some of his most famous masterpieces. In doing so, he recovers Wright's deep engagement with the landscape, with the pleasures and sufferings of solitude, and with the themes of time, history and mortality. In this book, Joseph Wright of Derby emerges not only as one of Britain's most ambitious and innovative artists, but also as one of its most profound. Distributed for the Paul Mellon Centre for Studies in British Art

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.

Dante Gabriel Rossetti is amongst the most famous figures of the late- Victorian era. An eminent artist and one of the founder members of the Pre-Raphaelite Brotherhood, his art and life have fascinated scholars for decades. His ideas have, however, been little studied, as specialists, while acknowledging his use of symbolism, have tended to avoid analysing its nature and its sources, as well as its content. In 'The Stream's Secret', the author highlights a facet of the artist's work not previously much explored. Rodger Drew offers a comprehensive analysis of the painting and poetry of Rossetti, showing that the artist widely employed themes and motifs drawn from the Hermetic magical system that later developed into Rosicrucianism and Freemasonry. Drew connects this symbolism with a comprehensive European tradition dating from Plato and Pythagoras, running through the Middle Ages and into the Renaissance and later periods. This deep insight into Rossetti's works allows the reader to gain a better understanding of the existing bond between Rossetti's paintings and his poetry, as well as to appreciate the importance of symbolism as a language in the artist's oeuvre. More generally, Drew gives his reader an overall view of the use of this symbolism in the art of the Aesthetic Movement. The book is a wholly original study of Rossetti's symbolism, and will be an essential resource for teachers, researchers, and Art History students, and for anyone interested in the Pre-Raphaelite Movement. This is a fundamental guide to a proper understanding English art in the late nineteenth-century. The Author: Rodger Drew was born in London in 1951, and obtained his PhD in Art History and English Literature at Glasgow University. The Stream's Secret develops ideas from his doctoral thesis. He has worked for many years as a designer, and currently divides his time between art and writing.

J.M.W. Turner and the Subject of History is an in-depth consideration of the artist's complex response to the challenge of creating history paintings in the early nineteenth century. Structured around the linked themes of making and unmaking, of creation and destruction, this book examines how Turner's history paintings reveal changing notions of individual and collective identity at a time when the British Empire was simultaneously developing and fragmenting. Turner similarly emerges as a conflicted subject, one whose artistic modernism emerged out of a desire to both continue and exceed his eighteenth-century aesthetic background by responding to the altered political and historical circumstances of the nineteenth century.

This book is an essential reference for all paperweight collectors. Hundreds of lovely paperweights, dating from 1870 to 1945, and unique items from Bohemia, Silesia, Thuringia, the Bavarian Forest, the "Solling" mountains, and other German areas are beautifully displayed. Pieces from other European areas including Belgium, France, and Scandinavia are vividly placed throughout the book, making it informative and easy to read. Classically designed paperweights from Baccarat, St. Louis, Clichy, English and American glassworks, as well as modern paperweights, are shown and discussed. The book includes 639 color pictures of 720 paperweights with detailed explanations, 131 illustrations of the exterior forms, and three illustrations of production procedures. A glossary, index and a value list of the paperweights shown complete the useful contents.

Looking past the apparent lack of a sustainable Irish display culture, this book demonstrates that there is a very full story to tell of the way Ireland displayed its art from the late eighteenth to the early twentieth century. Ireland on Show analyzes the impact of the display of art as a significant political and cultural feature in the make-up of nineteenth-century Ireland - and in how Ireland was viewed beyond its own shores, in particular in Great Britain and the United States. Fintan Cullen directs much-needed critical attention and analysis to a subject that has been largely overlooked from an Irish perspective. This study moves beyond museums, to address the range of art institutions in Irish cities that displayed art, from the Royal Hibernian Academy, founded in the 1820s, to Hugh Lane's Municipal Art Gallery, opened in Dublin in 1908. Throughout, the book explores the battle between the display of a unionist ethos and a nationalist point of view, a constant that resurfaces over the period. By highlighting the tension between unionist and nationalist viewpoints, Cullen uses the display of art to investigate the complexities of Irish cultural life before the founding of the Free State.

John La Farge, A Biographical and Critical Study is the first biography in a century of the American painter, illustrator, muralist, stained-glass artist, and writer. Examining La Farge's career from his youth to his late rebound as a decorative artist-from New York City and New England to Europe to Japan to the South Seas-this is also the only biography to date composed independently of the artist and his estate. Drawing on primary documentation culled from archives and contemporary newspapers and journals, the biography thoroughly documents La Farge's career and artwork. Earlier biographies avoided the darker aspects of his complex and conflicted life, which had dramatic effects on his work. The study also offers critical analysis of the artist's works, showing influences from other artists and giving contemporary and modern responses. La Farge authority James L. Yarnall scrutinizes how posterity has viewed the artist throughout the century since his death. The book is copiously illustrated with black-and-white and color images.

Using the tools of the "new" art history (feminism, Marxism, social context, etc.) An Introduction to Nineteenth-Century Art offers a richly textured, yet clear and logical, introduction to nineteenth-century art and culture. This textbook will provide readers with a basic historical framework of the period and the critical tools for interpreting and situating new and unfamiliar works of art. Michelle Facos goes beyond existing histories of nineteenth-century art, which often focus solely on France, Britain, and the United States, to incorporate artists and artworks from Scandinavia, Germany, and Eastern Europe. The book expertly balances its coverage of trends and individual artworks: where the salient trends are clear, trend-setting works are highlighted, and the complexity of the period is respected by situating all works in their proper social and historical context. In this way, the student reader achieves a more nuanced understanding of the way in which the story of nineteenth-century art is the story of the ways in which artists and society grappled with the problem of modernity. Key pedagogical features include: Data boxes provide statistics, timelines, charts, and historical information about the period to further situate artworks. Text boxes highlight extracts from original sources, citing the ideas of artists and their contemporaries, including historians, philosophers, critics, and theorists, to place artists and works in the broader context of aesthetic, cultural, intellectual, social, and political conditions in which artists were working. Beautifully illustrated with over 250 color images. Margin notes and glossary definitions. Online resources at www.routledge.com/textbooks/facos with access to a wealth of information, including original documents pertaining to artworks discussed in the textbook, contemporary criticism, timelines and maps to enrich your understanding of the period and allow for further comparison and exploration. Chapters take a thematic approach combined within an overarching chronology and more detailed discussions of individual works are always put in the context of the broader social picture, thus providing students with a sense of art history as a controversial and alive arena of study. Michelle Facos teaches art history at Indiana University, Bloomington. Her research explores the changing relationship between artists and society since the Enlightenment and issues of identity. Prior publications include Nationalism and the Nordic Imagination: Swedish Painting of the 1890s (1998), Art, Culture and National Identity in Fin-de-Siecle Europe, co-edited with Sharon Hirsh (2003), and Symbolist Art in Context (2009).

Reconstructing Empress Eugenie's position as a private collector and a public patron of a broad range of media, this study is the first to examine Eugenie (1826-1920), whose patronage of the arts has been overlooked even by her many biographers. The empress's patronage and collecting is considered within the context of her political roles in the development of France's institutions and international relations. Empress Eugenie and the Arts: Politics and Visual Culture in the Nineteenth Century also examines representations of the empress, and the artistic transformation of a Hispanic woman into a leading figure in French politics. Based on extensive research at architectural sites and in archives, museums, and libraries throughout Europe, and in Britain and the United States, this book offers in-depth analysis of many works that have never before received scholarly attention - including reconstruction and analysis of Eugenie's apartment at the Tuileries. From her self-definition as empress through her collections, to her later days in exile in England, art was integral to Eugenie's social and political position.

Providing a fresh perspective on an important but underappreciated group of late nineteenth-century French painters, this is the first book to provide an in-depth account of the Nabis' practice of the decorative, and its significance for twentieth-century modernism. Over the course of the ten years that define the Nabi movement (1890-1900), its principal artists included Edouard Vuillard, Pierre Bonnard, Maurice Denis, Paul Serusier, and Paul Ranson. The author reconstructs the Nabis' relationship to Impressionism, mass culture, literary Symbolism, Art Nouveau, Wagnerianism, and a revolutionary artistic tradition in order to show how their painterly practice emerges out of the pressing questions defining modernism around 1900. She shows that the Nabis were engaged, nonetheless, with issues that are always at stake in accounts of nineteenth-century modernist painting, issues such as the relationship of high and low art, of individual sensibility and collective identity, of the public and private spheres. The Nabis and Intimate Modernism is a rigorous study of the intellectual and artistic endeavors that inform the Nabis' decorative domestic paintings in the 1890s, and argues for their centrality to painterly modernism. The book ends up not only re-positioning the Nabis to occupy a crucial place in modernism's development from 1860 to 1914, but also challenges that narrative to place more emphasis on notions of decoration, totality and interiority.

Gustav Klimt is renowned as a quintessential artist of the art nouveau movement, but he was one of a number of Viennese artists who strove to break free of the constraints of the late 19th Century academic art establishment. The Secessionists were united, not in the style of their work, but their desire for freedom, so although there are echoes of similarity in the work of Klimt, Schiele, Kolomon Moser and the many other fine artists, their distinction lies in their magnificent difference. This new illustrated book focuses on the rich diversity of the movement and offers a sumptuous gift of colour and glamour for every art lover.

Were late nineteenth-century gender boundaries as restrictive as is generally held? In Redefining Gender in American Impressionist Studio Paintings: Work Place/Domestic Space, Kirstin Ringelberg argues that it is time to bring the current re-evaluation of the notion of separate spheres to these images. Focusing on studio paintings by American artists William Merritt Chase and Mary Fairchild MacMonnies Low, she explores how the home-based painting studio existed outside of entrenched gendered divisions of public and private space and argues that representations of these studios are at odds with standard perceptions of the images, their creators, and the concept of gender in the nineteenth century. Unlike most of their bourgeois contemporaries, Gilded Age artists, whether male or female, often melded the worlds of work and home. Through analysis of both paintings and literature of the time, Ringelberg reveals how art history continues to support a false dichotomy; that, in fact, paintings that show women negotiating a complex combination of professionalism and domesticity are still overlooked in favor of those that emphasize women as decorative objects. Redefining Gender in American Impressionist Studio Paintings challenges the dominant interpretation of American (and European) Impressionism, and considers both men and women artists as active performers of multivalent identities.

Vincent van Gogh's paintings and drawings are fabulously expensive. Millions of people admire his work, but are those masterpieces all genuine? To this day, the international art world struggles to separate the real Van Goghs from the fake ones, and the key question addressed in this book is what may happen to art experts when they publicly voice their opinions on a particular Van Gogh (or not). The story starts with art expert J.B. de la Faille who discovered to his own bewilderment that he had included dozens of fake Van Goghs in his 1928 catalogue raisonne. He wanted to set the record straight, but met with strong resistance from art dealers, collectors, critics, politicians and others, marking the beginning of a fierce clash of interests that had seized the art world for many decades of the twentieth century. In his fascinating account of the struggle for the genuine Vincent van Gogh, Tromp shows the less attractive side of the art world. His reconstruction of many such confrontations yields a host of intriguing and sometimes bewildering insights into the fates of art experts when they bring unwelcome news.

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.