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.

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.

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.

A practical guide to effective grant writing for researchers at all stages of their academic careers Grant funding can be a major determinant of promotion and tenure at colleges and universities, yet many scholars receive no training in the crucial skill of grant writing. The Grant Writing Guide is an essential handbook for writing research grants, providing actionable strategies for professionals in every phase of their careers, from PhD students to seasoned researchers. This easy-to-use guide features writing samples, examples of how researchers use skills, helpful tips, and exercises. Drawing on interviews with scores of grant writers, program officers, researchers, administrators, and writers, it lays out best practices, common questions, and pitfalls to avoid. Betty Lai focuses on skills that are universal to all grant writers, not just specific skills for one type of grant or funder. She explains how to craft phenomenal pitches and align them with your values, structure timelines and drafts, communicate clearly in prose and images, solicit feedback to strengthen your proposals, and much more. Ideal for course use, The Grant Writing Guide is an indispensable road map to writing fundable grants. This incisive book walks you through every step along the way, from generating ideas to finding the right funder, determining which grants help you create the career you want, and writing in a way that excites reviewers and funders.

After a century of Rationalist scepticism and political upheaval, the nineteenth century awakened to a fierce battle between the forces of secularization and the crusaders of a Christian revival. From this battlefield arose an art movement that would become the torchbearer of a new religious art: Nazarenism. From its inception in the Lukasbund of 1809, this art was controversial. It nonetheless succeeded in becoming a lingua franca in religious circles throughout Europe, America, and the world at large. This is the first major study of the evolution, structure, and conceptual complexity of this archetypically nineteenth-century language of belief. The Nazarene quest for a modern religious idiom evolved around a return to pre-modern forms of biblical exegesis and the adaptation of traditional systems of iconography. Reflecting the era's historicist sensibility as much as the general revival of orthodoxy in the various Christian denominations, the Nazarenes responded with great acumen to pressing contemporary concerns. Consequently, the artists did not simply revive Christian iconography, but rather reconceptualized what it could do and say. This creativity and flexibility enabled them to intervene forcefully in key debates of post-revolutionary European society: the function of eroticism in a Christian life, the role of women and the social question, devotional practice and the nature of the Church, childhood education and bible study, and the burning issue of anti-Judaism and modern anti-Semitism. What makes Nazarene art essentially Romantic is the meditation on the conditions of art-making inscribed into their appropriation and reinvention of artistic tradition. Far from being a reactionary move, this self-reflexivity expresses the modernity of Nazarene art. This study explores Nazarenism in a series of detailed excavations of central works in the Nazarene corpus produced between 1808 and the 1860s. The result is a book about the possibility of religious meaning in modern art. It will reinvigorate scholarship in the fields of nineteenth-century art, romanticism, and religion and the arts, and restore the Nazarene artists to their rightful place at the forefront of romantic art history.

Art Nouveau was a style for a new age, but it was also one that continued to look back to the past. This new study shows how in expressing many of their most essential concerns - sexuality, death and the nature of art - its artists drew heavily upon classical literature and the iconography of classical art. It challenges the conventional view that Art Nouveau's adherents turned their backs on Classicism in their quest for new forms. Across Europe and North America, artists continued to turn back to the ancient world, and in particular to Greece, for the vitality with which they sought to infuse their creations. The works of many well-known artists are considered through this prism, including those of Gustav Klimt, Aubrey Beardsley and Louis Comfort Tiffany. But, breaking new ground in its comparative approach, this study also considers some of the movement's less well-known painters, sculptors, jewellers and architects, including in central and eastern Europe, and their use of classical iconography to express new ideas of nationhood. Across the world, while Art Nouveau was a plural style drawing on multiple influences, the Classics remained a key artistic vocabulary for its artists, whether blended with Orientalist and other iconographies, or preserving the purity of classical form.

What is a 'symbolic revolution'? What happens when a symbolic revolutions occurs, how can it succeed and prevail and why is it so difficult to understand? Using the exemplary case of Edouard Manet, Pierre Bourdieu began to ponder these questions as early as the 1980s, before making it the focus of his lectures in his last years at the College de France. This volume of Bourdieu's previously unpublished lectures provides his most sustained contribution to the sociology of art and the analysis of cultural fields. It is also a major contribution to our understanding of impressionism and the works of Manet. Bourdieu treats the paintings of Manet as so many challenges to the conservative academicism of the pompier painters, the populism of the Realists, the commercial eclecticism of genre painting, and even the 'Impressionists', showing that such a revolution is inseparable from the conditions that allow fields of cultural production to emerge. At a time when the Academy was in crisis and when the increase in the number of painters challenged the role of the state in defining artistic value, the break that Manet inaugurated revolutionised the aesthetic order. The new vision of the world that emerged from this upheaval still shapes our categories of perception and judgement today the very categories that we use every day to understand the representations of the world and the world itself. This major work by one of the greatest sociologists of the last 50 years will be welcomed by students and scholars in sociology, art history and the social sciences and humanities generally. It will also appeal to a wide readership interested in art, in impressionism and in the works of Manet.

The joy that permeates Renoir's paintings was created by a complicated person. Even close friends and family members were often baffled by the multi-faceted and contradictory artist. Having known Renoir for over twenty years, Camille Pissarro complained in a letter to his son Lucien: `Nor can I understand Renoir's mind - but who can fathom the most changeable of men?' Here, the world's leading authority on the life and work of Auguste Renoir presents an intimate biography of this great Impressionist artist. Her narrative is interspersed with over a thousand extracts from letters by, to, and about Renoir, of which 452 come from unpublished letters. Through these words, the reader gains direct contact with Renoir, as an artist, friend and father. Renoir became hugely popular despite great obstacles: thirty years of poverty followed by thirty years of progressive paralysis of his fingers. Close friendships with scores of people who helped him with money, contacts and companionship enabled him to overcome these challenges to create more than 4,000 optimistic, life-affirming paintings. Barbara Ehrlich White brings a lifetime of research to bear in her biography to provide an unparalleled and intimate portrait of this complex artist.

Inspired by the works of French Post-Impressionist and Fauvist artists, the Scottish Colourists (Samuel Peploe, J.D. Fergusson, Leslie Hunter and F.C.B. Cadell) introduced 1920s Britain to a whole new style of painting. While they did not regard themselves as a collective, they are known for their bold use of colour, vigorous brushwork and affinity for painting en plein air. Though each had a distinct style and focus, they were united by pioneering efforts to buck the prevailing artistic conventions of their time, creating works of art that burst with life and beauty. With over 80 images and a broad introduction, this is a fine addition to Flame Tree's ever-increasing series on painting and illustration, Masterpieces of Art.

This volume celebrates the scholarly and curatorial vision of Kirk Varnedoe (1946-2003). As Chief Curator of Painting and Sculpture at The Museum of Modern Art, N.Y. Varnedoe was one of the most distinguished curators in the United States, and as Professor of Fine Arts at New York University's Institute of Fine Arts, a famously dynamic teacher. The nineteen essays, written by Varnedoe's most distinguished doctoral students (now noted art historians in their own right), highlight the wide range of subjects in 19th- and 20th-century art introduced in his pedagogy. Several derive from the collaboration of their authors with Dr. Varnedoe on major exhibitions at the Museum of Modern Art and elsewhere and offer new insight into these projects. The volume includes introductory essays by the editors and by Varnedoe's colleagues Robert Storr and Robert Rosenblum as well as a full bibliography of Varnedoe's writings.

Kimberly Rhodes's interdisciplinary book is the first to explore fully the complicated representational history of Shakespeare's Ophelia during the Victorian period. In nineteenth-century Britain, the shape, function and representation of women's bodies were typically regulated and interpreted by public and private institutions, while emblematic fictional female figures like Ophelia functioned as idealized templates of Victorian womanhood. Rhodes examines the widely disseminated representations of Ophelia, from works by visual artists and writers, to interpretations of her character in contemporary productions of Hamlet, revealing her as a nexus of the struggle for the female body's subjugation. By considering a broad range of materials, including works by Anna Lea Merritt, Elizabeth Siddal, Dante Gabriel Rossetti, and John Everett Millais, and paying special attention to images women produced, Rhodes illuminates Ophelia as a figure whose importance crossed class and national boundaries. Her analysis yields fascinating insights into 'high' and mass culture and enables transnational comparisons that reveal the compelling associations among Ophelia, gender roles, body image and national identity.

This work is an introduction to an ingeniously designed collection of accordion-style books, each focusing on a thematic series of paintings by one of the world's greatest masters - and illuminating the artist's true intentions when creating that special body of work. Each volume folds out: one side showcases eight panels of large colour reproductions, while the other features an essay by a noted art historian that provides expert background on the paintings, along with reproductions of additional works in the series. The Post-Impressionist artist Vincent van Gogh painted some of the most vibrant and beautifully textured flowers in art history. Van Gogh's genius is on gorgeous display in this fold-out collection of some of his finest floral paintings.

Providing a comprehensive interdisciplinary assessment, and with a particular focus on expressions of tension and anxiety about modernity, this collection examines visual culture in nineteenth-century Europe as it attempted to redefine itself in the face of social change and new technologies. Contributing scholars from the fields of history, art, literature and the history of science investigate the role of visual representation and the dominance of the image by looking at changing ideas expressed in representations of science, technology, politics, and culture in advertising, art, periodicals, and novels. They investigate how, during the period, new emphasis was placed on the visual with emerging forms of mass communication"photography, lithography, newspapers, advertising, and cinema"while older forms as varied as poetry, the novel, painting, interior decoration, and architecture became transformed. The volume includes investigations into new innovations and scientific development such as the steam engine, transportation and engineering, the microscope, "spirit photography," and the orrery, as well as how this new technology is reproduced in illustrated periodicals. The essays also look at more traditional forms of creative expression to show that the same concerns and anxieties about science, technology and the changing perceptions of the natural world can be seen in the art of Armand Guillaumin, Auguste Rodin, Gustave Caillebotte, and Camille Pissarro, in colonial nineteenth-century novels, in design manuals, in museums, and in the decorations of domestic interior spaces. Visions of the Industrial Age, 1830-1914 offers a thorough exploration of both the nature of modernity, and the nature of the visual.

This volume lists more than 4,800 European and 400 Australian, South African, and Japanese artists who worked from 1800 to 1990, and offers 9,000 signature examples. Five special categories in the back of this volume help to identify signatures that are difficult to read. In the front of this volume is a listing of 69 sources of information, which can also lead the researcher to more than 100 additional sources transcribed into key letters.

ONE OF THE TIMES AND SUNDAY TIMES' BEST BOOKS FOR 2022 'Eye-opening and full of surprises . . . A treasure' Sunday Times 'A biography as rich with colourful characters as any novel' Telegraph John Constable, the revolutionary nineteenth-century painter of the landscapes and skies of southern England, is Britain's best-loved but perhaps least understood artist. His paintings reflect visions of landscape that shocked and perplexed his contemporaries: attentive to detail, spontaneous in gesture, brave in their use of colour. What we learn from his landscapes is that Constable had sharp local knowledge of Suffolk, a clarity of expression of the skyscapes above Hampstead, an understanding of the human tides in London and Brighton, and a rare ability in his late paintings of Salisbury Cathedral to transform silent suppressed passion into paint. Yet Constable was also an active and energetic correspondent. His letters and diaries - there are over one thousand letters from and to him - reveal a man of passion, opinion and discord, while his character and personality is concealed behind the high shimmering colour of his paintings. They reveal too the lives and circumstances of his brothers and his sisters, his cousins and his aunts, who serve to define the social and economic landscape against which he can be most clearly seen. These multifaceted reflections draw a sharp picture of the person, as well as the painter. James Hamilton's biography reveals a complex, troubled man, and explodes previous mythologies about this timeless artist, and establishes him in his proper context as a giant of European art.

Iconic views of Glasgow in the latest of Birlinn's series of colouring books, all featuring Eilidh Muldoon's inimitable artwork. Includes: Glasgow Cathedral * Kelvingrove Museum * Riverside Museum * Gallery of Modern Art * Pollok House * People's Palace * CCA* Tramway * The Lighthouse * Museum of Transport * Glasgow Science Centre * Glasgow Film Theatre * Theatre Royal * SEC Hydro and Finnieston Crane * Oran Mor * Barrowland Ballroom * Ashton Lane * Merchant City * George Square and City Chambers * Buchanan Street * Botanic Gardens * Holmwood House * Templeton on the Green * Tenement House * Kelvingrove Park * Central Station * Glasgow University * The Squinty Bridge Eilidh Muldoon's are ideal for all levels of colouring - plenty of intricate detail for those who like a colouring challenge, yet simple enough for those with less patience to create beautiful colour artwork in a short time.

Many people know that Vincent van Gogh (1853-90) was a 19th-century Dutch artist, a leading light of the Post-Impressionist movement who painted 'Sunflowers' and cut off his own ear. What, perhaps, they don't know is that he sold, in his lifetime, only one of the 2,100 artworks he painted; that, in 1998, his work 'Self- Portrait Without Beard' sold for $71.5 million; that he wrote over 800 letters; and that he sent that famous ear wrapped in brown paper to a brothel. Biographic: Van Gogh presents an instant impression of his life and work, with an array of irresistible facts and figures converted into infographics to reveal the artist behind the pictures.

This new study examines how nineteenth-century industrial Lancashire became a leading national and international art centre. By the end of the century almost every major town possessed an art gallery, while Lancashire art schools and artists were recognised at home and abroad. The book documents the remarkable rise of visual art across the county, along with the rise of the commercial and professional classes who supported it. It examines how Lancashire looked to great civilisations of the past for inspiration while also embracing new industrial technologies and distinctively modern art movements. This volume will be essential reading for all those with an interest in the new industrial society of the nineteenth century, from art lovers and collectors to urban and social historians. -- .

Painting the Bible is the first book to investigate the transformations that religious painting underwent in mid-Victorian England. It charts the emergence of a Protestant realist painting in a period of increasing doubt, scientific discovery and biblical criticism. The book analyzes the position of religious painting in academic discourse and assesses the important role Pre-Raphaelite work played in redefining painting for mid-Victorian audiences. This original study brings together a wide range of material from high art and popular culture. It locates the controversy over the religious works of the Pre-Raphaelite Brotherhood in debates about academicism, revivalism and caricature. It also investigates William Holman Hunt's radical, orientalist-realist approach to biblical subject matter which offered an important updating of the image of Christ that chimed with the principles of liberal Protestantism. The book will appeal to scholars and students across disciplines such as art history, literature, history and cultural studies. Its original research, rigorous analysis and accessible style will make it essential reading for anyone interested in questions of representation and belief in mid-Victorian England.

Patricia Zakreski's interdisciplinary study draws on fiction, prose, painting, and the periodical press to expand and redefine our understanding of women's relationship to paid work during the Victorian period. While the idea of 'separate spheres' has largely gone uncontested by feminist critics studying female labour during the nineteenth century, Zakreski challenges this distinction by showing that the divisions between public and private were, in fact, surprisingly flexible, with homes described as workplaces and workplaces as homes. By combining art with forms of industrial or mass production in representations of the respectable woman worker, writers projected a form of paid creative work that was not violated or profaned by the public world of the market in which it was traded. Looking specifically at sewing, art, writing, and acting, Zakreski shows how these professions increasingly came to be defined as 'artistic' and thus as suitable professions for middle-class women, and argues that the supposedly degrading activity of paid work could be transformed into a refining experience for women. Rather than consigning working women to the margins of patriarchal culture, then, her study shows how representations of creative women, by authors such as Elizabeth Barrett Browning, Dinah Craik, Charles Dickens, Anthony Trollope, and Charlotte Yonge, participated in and shaped new forms of mainstream culture.