This is the first modern scholarly edition of the letters and memoirs of Joseph Severn, English painter and deathbed companion of John Keats. It includes letters from a remarkable collection of never-before-published correspondence held by descendants of the Severn family. Scott's unprecedented access to hundreds of new letters has resulted in a major revisionist work that challenges traditional ideas about Severn's life and character. The edition includes new information about Severn's early artistic success in Italy, an extraordinarily thorough record of his day-to-day activities as a working artist in England, and surprising details about his experience as British Consul in Rome. The volume represents a significant work of recovery, printing in full three important memoirs that have until now appeared only in inaccurate excerpts and offering thirty-three illustrations that demonstrate the range of Severn's talents as a painter. Scott makes a compelling case for a revaluation of Severn, whose friends also included Charles Eastlake, William Gladstone, Leigh Hunt, John Ruskin, and Mary Shelley. This collection will prove valuable not only to literary biographers and Keats scholars, but also to art and cultural historians of the Romantic and Victorian eras. Adding significantly to the volume's usefulness are a detailed chronology of Severn's life and artwork, and appendices containing an index of the newly discovered letters and a ledger of Severn's patrons, paintings and commissions.

" ... The author's personal, beautiful, and discursive style will appeal to enthusiasts of art and English literature." Library Journal One of the greatest literary artists in history, Ford Madox Ford's childhood is brought to life in this collection of anecdotes from his many memoirs. Ford Madox Ford, best known today for Parade's End and The Good Soldier, was also a very fine memoirist. The grandson of Ford Madox Brown, he grew up surrounded by all the great figures of Victorian artistic life, whom he saw with the unflinching eye of a child. This collection brings together some of his most evocative, witty, and tender memories of an extraordinary youth. There are rich anecdotes about the Rossettis, Brown, Morris, Burne Jones, Ruskin, Oscar Wilde, Leighton, Swinburne, the accomplished con-man Charles Augustus Howell, and many of the minor but no less vivid characters that made up the bohemian life of London in the second half of the 19th century. Ford's elegiac but always penetrating prose is a constant delight, and his comic timing invariably immaculate. Selected from Ford's many volumes of memoirs (all now out of print), this is a superb and very funny introduction to one of the great periods of English art and poetry by a great writer at the very heart of all that was old and all that was new.

The only book available on Scottish painting, this book is now in its third edition with a new introduction and final chapter that brings the book up to date with the latest developments in Scottish painting (Richard Wright's win of the Turner Prize 2009). Illustrated throughout, the work is by acknowledged authority on Scottish painting William Hardie. Scottish society has been reflected through the strong colour and energetic brushwork of its artists. The book traces the beginnings of Scottish painting from the foundation of the Foulis Academy in 1753, with William Dyce and Scott Lauder establishing themselves in the south, followed by W Q Orchardson and John Pettie around 1860. European travel ensured Scottish painters were open to new techniques, and the explosion of the Glasgow Boys and then the Colourists onto the scene meant Scotland was respected for its innovation and imagination. Charles Rennie Mackintosh today is still internationally recognised for his work, and the painting of John Byrne, Curister, and Peter Howson bring the book to the present day.

Vincent van Gogh never owned a garden, but throughout his career he painted and drew outdoor spaces and natural objects frequently, both fascinated and stimulated by each location s unique character. In this book Ralph Skea surveys the gardens that were most dear to Van Gogh from the domestic havens of parsonage gardens in the Netherlands to the romance of Parisian city parks, from the blazing flower beds of Provence to the asylum gardens that provided the artist with seclusion and calm in his final months. Whether joyous paintings of plants in bloom or the intensely beautiful studies of lilacs, roses, irises, and pine trees that he produced in the asylum at Saint-Remy, all the oils and sketches included here are monuments to the artist s originality and poetic sensibility.

"Exploring for the very first time the hidden relationship between paintings and stereoscopic cards in Victorian times." The advent of a new painting by a great artist was big news in the 1850s, but few were able to access and enjoy directly the new works of art. Stereo cards, created by enterprising photographers of the day, reconstructed the scenes and gave an opportunity for the man in the street to enjoy these scenes, in magical life-like 3D. The Poor Man's Picture Gallery contains high-definition printed reproductions of well-known Victorian paintings in the Tate Gallery, and compares them with related stereo cards - photographs of scenes featuring real actors and models, staged to tell the same story as the corresponding paintings, all of which are the subject of an exhibition in the Tate Gallery in 2014.

Juxtaposing the albums of Lady Brassey, an overlooked figure among Victorian women travelers, with Brassey's travel books, Nancy Micklewright takes advantage of a unique opportunity to examine the role of photography in the 1870s and 1880s in constructing ideas about place and empire. This study draws on a range of source material to investigate aspects of the Brassey collection. The book begins with an overview of Lady Brassey's life and projects, as well as an examination of issues relevant to subsequent discussions of the travel literature, the photographs, and the albums in which the photographs are assembled. Lady Brassey is next considered as a traveler and public figure, and the author gives an overview of Brassey's travel literature, placing her in her social and political context. Micklewright then considers the seventy volumes of photographs which comprise the Brassey album collection, taking an especially close look at the eight albums devoted to the Middle East. Analyzing the specific contents and structure of the albums, and the interplay of text and image within, she explores how the Brasseys constructed their presentation of the region. While confirming some earlier work about constructions of the Orient by the British during the time, this book offers a much more detailed and nuanced understanding of how photographic and literary constructions were related to individual experience and identity within a larger British identity. The first appendix explores the illustrative relationship between the photograph albums and Lady Brassey's travel books, yielding an understanding of the processes involved in transferring the photographic image to a printed one, at a particular moment in the development of book illustration. A second appendix lists the contents and named photographers of all seventy albums in the Brassey collection. All in all, Micklewright's study makes a significant contribution to our understanding of the complex and unstable social, political and imperialist discourses in the nineteenth century.

The political and social turmoil of the twentieth century took Magda Nachman from a privileged childhood in St. Petersburg at the close of the nineteenth century, artistic studies with Leon Bakst and Kuzma Petrov-Vodkin at the Zvantseva Art Academy, and participation in the dynamic symbolist/modernist artistic ferment in pre-Revolutionary Russia to a refugee existence in the Russian countryside during the Russian Civil War followed by marriage to a prominent Indian nationalist, then with her husband to the hardships of emigre Berlin in the 1920s and 1930s, and finally to Bombay, where she established herself as an important artist and a mentor to a new generation of modern Indian artists.

The working women of Victorian and Edwardian Britain were fascinating but difficult subjects for artists, photographers, and illustrators. The cultural meanings of labour sat uncomfortably with conventional ideologies of femininity, and working women unsettled the boundaries between gender and class, selfhood and otherness. From paintings of servants in middle-class households, to exhibits of flower-makers on display for a shilling, the visual culture of women's labour offered a complex web of interior fantasy and exterior reality. The picture would become more challenging still when working women themselves began to use visual spectacle. In this first in-depth exploration of the representation of British working women, Kristina Huneault explores the rich meanings of female employment during a period of labour unrest, demands for women's enfranchisement, and mounting calls for social justice. In the course of her study she questions the investments of desire and the claims to power that reside in visual artifacts, drawing significant conclusions about the relationship between art and identity.

The Representation of the Struggling Artist in America, 1800-1865 analyzes how American painters, sculptors, and writers, active between 1800 and 1865, depicted their response to a democratic society that failed to adequately support them financially and intellectually. Without the traditional European forms of patronage from the church or the crown, American artists faced unsympathetic countrymen who were unaccustomed to playing the role of patron and less than generous in rewarding creativity. It was in this unrewarding landscape that American artists in the first half of the nineteenth century employed the "struggling" or "starving artist" image to satirize the country's lack of patronage and immortalize their own struggles. Through an examination of artists' journals, letters, and biographies as well as the development of art academies and exhibition venues, this study traces the evolution of a young nation that went from considering artists as mere craftsmen to recognizing them as important members of a civilized society.

15 beautiful embroidery projects from the era of Jane Austen. Jane Austen was as skilful with a needle as she was with a pen. This unique book from Jennie Batchelor and Alison Larkin showcases recently discovered 18th century embroidery patterns expertly repurposed into 15 exciting modern stitching projects. The patterns and projects are brought to life with glimpses into the world of Regency women and their domestic lives by lively historical features, quotes from Jane Austen's letters and novels, enchanting illustrations and inspirational project photography. The book opens with an illustrated introduction on historical embroidery. Next comes the materials and methods section, clearly explaining the key stitches, as well as providing information on threads, fabrics and frames. The practical section includes 15 projects for modern items. The projects are divided into three chapters according to the item the 18th century pattern was originally intended for with patterns for different skill levels: Embroidered Clothes: Dressed to Impress: Projects include Simple Sprig Pattern (Two Ways), Pencil Case, Clutch Purse, Apron, Housewife. Embroidered Accessories: How Do You Like My Trimming?: Projects include Napkin Set, Mobile Phone Pouch, Tablet Sleeve, Jewellery Pouch, Muslin Shawl. Embroidery for the Home: A 'Nest of Comforts': Projects include Tea Box Top, Work Bag, Cushion, Sewing Set, Tablecloth. It is more than likely that Jane herself would have used these very patterns for her own embroidery, and now, with Jennie and Alison's help, readers can stitch-a-long with Jane to make a selection of beautifully embroidered, practical items.

Towards the end of his life and much inspired by Japanese water gardens, Monet spent a great deal of time in his beloved Giverny. Adorned with poppies, blue sage, dahlias and irises, the waters were disturbed only by bamboos and water lilies. His water garden was originally created to satisfy a need to be near water, and to provide a visual feast that could be enjoyed from his house. The pond was fed by the river Ru, and weeping willow and silver birch hung over its edges, caressing the fronds of the greenery and blossoms below. Its famous green wooden footbridge was built across the water and it became the central focus of many of his works. He said, 'It took me some time to understand my water lilies. I planted them for pleasure.' and so he began to work on what is probably the most famous series of paintings the world has ever seen.

This authoritative visual guide to the artistic materials and painting techniques of J. M. W. Turner brings to life the skills of one of the world's greatest artists. Details of his watercolours and oil paintings, usually only available to small numbers of museum professionals, and an experienced artist's recreation of his core painting processes, combine with in-depth research into Turner's use of new materials to give unique insights into his creative processes. How Turner Painted brings new research and understanding to the subject since the publication of the author's earlier book Turner's Painting Techniques (1993). Joyce Townsend, senior conservation scientist at Tate, which houses the majority of Turner's work and is a centre of expertise on the artist, has revisited, updated and continued the examination of his innovative use of materials and early adoption of new colours. Comparisons are drawn across oil painting and watercolour to illustrate how Turner built up an image, and what his numerous unfinished works can tell us about his working methods. With a foreword by art historian Nicola Moorby and a chapter contributed by artist Tony Smibert, the book will coincide with two major new exhibitions planned for 2020, at Tate Britain and at the Queen Victoria Museum and Art Gallery in Tasmania.

The representation of children in modern European visual culture has often been marginalized by Art History as sentimental and trivial. For this reason the subject of childhood in relation to art and its production has largely been ignored. Confronting this dismissal, this unique collection of essays raises new and unexpected issues about the formation of childhood identity in the nineteenth century and makes a significant contribution to the development of inter-disciplinary studies within this area. Through a range of stimulating and insightful case studies, the book charts the development of the Romantic ideal of childhood, starting with Rousseau's Emile, and attends to its visual, social and psychological transformations during the historical period from which Freud's psychoanalytic theories eventually emerged. Foremost scholars such as Anne Higonnet, Carol Mavor, Susan Casteras and Linda A. Pollock uncover the means by which children became an important conduit for prevailing social anxieties and demonstrate that the apparently 'timeless' images of them that proliferated at the time should be understood as complex cultural documents. Over 50 illustrations enhance this rich and fascinating volume.

Compelling and troubling, colorful and dark, black figures served as the quintessential image of difference in nineteenth-century European art; the essays in this volume further the investigation of constructions of blackness during this period. This collection marks a phase in the scholarship on images of blacks that moves beyond undifferentiated binaries like 'negative' and 'positive' that fail to reveal complexities, contradictions, and ambiguities. Essays that cover the late eighteenth through the early twentieth century explore the visuality of blackness in anti-slavery imagery, black women in Orientalist art, race and beauty in fin-de-siecle photography, the French brand of blackface minstrelsy, and a set of little-known images of an African model by Edvard Munch. In spite of the difficulty of resurrecting black lives in nineteenth-century Europe, one essay chronicles the rare instance of an American artist of color in mid-nineteenth-century Europe. With analyses of works ranging from Gericault's Raft of the Medusa, to portraits of the American actor Ira Aldridge, this volume provides new interpretations of nineteenth-century representations of blacks.

The modernist aesthetic and, later, Nazi ideology split German Romantic painting into two opposed phases, an early progressive movement, represented by Caspar David Friedrich (1774-1840) and Philipp Otto Runge (1777-1810), and a later reactionary one - epitomized by Friedrich Overbeck (1789-1869) and Peter von Cornelius (1783-1867). In this rich and engaging book, Mitchell Frank explores the continuities between these two phases to reconstruct the historical position that existed in the nineteenth century and to look once again at the Nazarenes - and Overbeck in particular - as a fully integrated part of the Romantic movement. His innovative book is crucial to an understanding of German Romanticism and the legacy of this period in European art.

A perfect gift for art lovers or anyone interested in Impressionism, this collection of 365 pictures gathers the best of the genre's masterpieces from around the world. Covering a wide range of artists and countries associated with the movement, the book features double-page spreads with an Impressionist painting on one side and a blank page on the other, offering space for notes and reminders of significant events. The vibrant colors and dynamic brush strokes that characterize Impressionist art come fully to life in these beautifully reproduced pictures. Each day readers will encounter renowned works by Renoir, Gauguin, Degas, Cezanne, Monet, and Seurat as well as paintings by lesser- known practitioners such as Lovis Corinth, Childe Hassam, Lesser Ury, Peder Severin Kroyer, and Dame Laura Knight. Perfect for work, home, or studio this beautiful volume will brighten any room and offer inspiration every day.

William Morris Textiles was the first comprehensive survey of the many hundreds of original, colourful textiles produced by William Morris and the two commercial companies he founded and managed. To this day it remains the authority in the field, and this revised edition has been completely rewritten and expanded with beautiful new photography. Linda Parry provides new insight into the embroideries, printed and woven textiles, carpets and tapestries produced by Morris & Co., giving in-depth information about their design and manufacture. The varied, often highly specialized processes involved are discussed in detail, as are Morris's working methods.

Claude Monet's water lily paintings are among the most iconic and beloved works of art of the past century. Yet these entrancing images were created at a time of terrible private turmoil and sadness for the artist. The dramatic history behind these paintings is little known; Ross King's Mad Enchantment tells the full story for the first time and, in the process, presents a compelling and original portrait of one of our most popular and cherished artists. By the outbreak of war in 1914, Monet, then in his mid-seventies, was one of the world's most famous and successful painters, with a large house in the country, a fleet of automobiles and a colossal reputation. However, he had virtually given up painting following the death of his wife Alice in 1911 and the onset of blindness a year later. Nonetheless, it was during this period of sorrow, ill health and creative uncertainty that - as the guns roared on the Western Front - he began the most demanding and innovative paintings he had ever attempted. Encouraged by close friends such as Georges Clemenceau, France's dauntless prime minister, Monet would work on these magnificent paintings throughout the war years and then for the rest of his life. So obsessed with his monumental task that the village barber was summoned to clip his hair as he worked beside his pond, he covered hundreds of yards of canvas with shimmering layers of pigment. As his ambitions expanded with his paintings, he began planning what he intended to be his legacy to the world: the `Musee Claude Monet' in the Orangerie in Paris. Drawing on letters and memoirs and focusing on this remarkable period in the artist's life, Mad Enchantment gives an intimate portrayal of Claude Monet in all his tumultuous complexity, and firmly places his water lily paintings among the greatest achievements in the history of art.

Mackintosh is a celebration of the extraordinary career of one of the most intriguing and influential artists of his time, Charles Rennie Mackintosh. This book follows his artistic development, from his early architectural and interior designs in Glasgow to his eventual withdrawal into landscape painting in the South of France. Mackintosh was a man of daring vision, who mastered the decorative arts, architecture, design and painting with spirited determination and self-belief. Known internationally as the father of the 'Glasgow Style', he became a driving force behind a new approach to modern architecture and design, as well as the forerunner of Art Deco and the Modern Movement.

Rodin & Dance: The Essence of Movement is the first serious study of Rodin's late sculptural series known as the Dance Movements. Exploring the artist's fascination with dance and bodies in extreme acrobatic poses, the exhibition and accompanying catalogue give an account of Rodin's passion for new forms of dance - from south-asian dances to the music hall and the avant garde - which began appearing on the French stage around 1900. Rodin made hundreds of drawings and watercolours of dancers. From about 1911 he also gave sculptural expression to this fascination with dancers' bodies and movements in creating the Dance Movements, a series of small clay figure studies (each approx. 30 cm in height) that stretch and twist in unsettling ways. These leaping, turning figures in terracotta and plaster were found in the artist's studio after his death and were not exhibited during Rodin's lifetime or known beyond his close circle. Presented alongside the associated drawings and photographs of some of the dancers, they show a new side to Rodin's art, in which he pushed the boundaries of sculpture, expressing themes of flight and gravity. This exhibition catalogue aims to become the authoritative reference for Rodin's Dance Movements, comprising essays from leading scholars in the field of sculpture. It includes an introductory essay on the history of the bronze casting of the Dance Movements and the critical fortune of the series, an essay on the dancers Rodin admired, and an extensive technical essay. The Catalogue will comprise detailed entries on the works in the exhibition and new technical information on the drawings. Contributors include Alexandra Gerstein, Curator of Sculpture and Decorative Arts, The Courtauld Institute of Art; Antoinette Le Normand-Romain, Director, Institut National d'Histoire de l'Art, Paris; Juliet Bellow, Associate Professor of Art History, American University in Washington, DC and currently Resident Fellow, the Center for Ballet and the Arts, New York University; Francois Blanchetiere, Curator of Sculpture at the Musee Rodin; Agnes Cascio and Juliette Levy, distinguished sculpture conservators; Sophie Biass-Fabiani, Curator of Works on Paper at the Musee Rodin; and Kate Edmonson, Conservator of Works on Paper at The Courtauld Gallery.

An in-depth examination of William Blake's glorious and acclaimed series of twelve monoprints Among William Blake's (1757-1827) most widely recognized and highly regarded works as an artist are twelve color printed drawings, or monoprints, conceived and executed in 1795. This book investigates these masterworks, explaining Blake's technique-one he essentially reinvented, unaware of 17th-century precursors-to show that these works were produced as paintings, and played a crucial role in Blake's development as a painter. Using material and historical analyses, Joseph Viscomi argues that the monoprints were created as autonomous paintings rather than as illustrations for Blake's books with an intended viewing order. Enlivened with bountiful illustrations, the text approaches the works within the context of their time, not divorced from ideas expressed in Blake's writings but not illustrative of or determined by those writings. Distributed for the Paul Mellon Centre for Studies in British Art

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.

A fuller, richer picture of an artist at the height of his powers Thomas Gainsborough's (1727-88) London years, from 1774 to 1788, were the pinnacle and conclusion of his career. They coincided with the establishment of the Royal Academy, of which Gainsborough was a founding member, and the city's ascendance as a center for the arts. This is a meticulously researched and readable account of how Gainsborough designed his home and studio and maintained a growing schedule of influential patrons, making a place for himself in the art world of late-18th-century London. New material about Gainsborough's technique is based on examinations of his pictures and firsthand accounts by studio visitors. His fractious relationship with the Royal Academy and its exhibition culture is reexamined through the works he sent to its annual shows. The full range of Gainsborough's art, from fashionable portraits to landscapes and fancy pictures, is addressed in this major contribution, not just to the study of a great artist, but to 18th-century studies in general. Distributed for Modern Art Press