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Books > Arts & Architecture > History of art / art & design styles > 1800 to 1900
The parlor was the center of the Victorian home and, as Thad Logan shows, the place where contemporary conflicts about domesticity and gender relations were frequently played out. In The Victorian Parlour: A Cultural Study, Logan uses an interdisciplinary approach that combines the perspectives of art history, social history, and literary theory to describe and analyze the parlor as a highly significant cultural space. The book concludes with a discussion of how representations of the parlor in literature and art reveal the pleasures and anxieties associated with Victorian domestic life.
John Peters investigates the impact of Impressionism on Conrad and links this to his literary techniques as well as his philosophical and political views. Impressionism, Peters argues, enabled Conrad to encompass both surface and depth not only in visually perceived phenomena but also in his narratives and objects of consciousness, be they physical objects, human subjects, events or ideas. Conrad and Impressionism investigates the sources and implications of Conrad's impressionism in order to argue for a consistent link among his literary technique, philosophical presuppositions and socio-political views.
The French Impressionist painters discovered new means for painting
light - they used a "solar palette", the pigments matched to the
colours the eyes see. They are the colours of a ray of light. This
little book reproduces palettes by 8 of the plein-air painters -
Cezanne, Manet, Monet, Pissarro, Renoir, Seurat, Signac, and Van
Gogh. It describes the pigments they used, and includes short
excerpts by the scientists whose work was the foundation of the new
painting - complementary colours, optical mixing, and the
pigment-colour correspondences.
More than an index to the nine volumes of letters, this volume is a
concise guide to an entire cultural era seen through the lens of
Dante Gabriel Rossetti. Volume 10 of The Correspondence of Dante
Gabriel Rossetti is the first ever analytical and biographical
index to all Rossetti's letters from 1835-82. It gives readers the
widest possible contextual access to all names of persons, places,
works of art, writings, movements, organizations and activities,
both physical and intellectual, mentioned in these letters with
their annotations and appendices. But this index, augmenting the
partial ones in Vols2 and 5, is far more than a simple listing of
names: it also serves as a subject index, providing mini-precis
descriptions of the information detailed in the annotated letter
texts. Subheadings within entries depend on the complexity of the
subject and may include letters to/from (for recipients) and lists
of artistic and literary works by Rossetti's correspondents, or
predecessors such as Blake, Keats and Coleridge. It is a concise
guide to an entire cultural era. Since Rossetti is the lens through
which all other entries are filtered, his own entry is divided into
multiple subheadings to facilitate easy access. The researcher can
quickly locate all references to the sonnet sequence The House of
Life, the various versions of the Proserpine picture or the complex
relationship of his drug use to Rossetti's life and work.
Inspired satire on religion and morality, including 70 aphorisms of "Proverbs of Hell." 27 full-color plates, full text.
Originally published in 1999, Visualizing Labor in American
Sculpture focuses on representations of work in American sculpture,
from the decade in which the American Federation of Labor was
formed, to the inauguration of the federal works project that
subsidized American artists during the Great Depression. Monumental
in form and commemorative in function, these sculptural works
provide a public record of attitudes toward labor in a transitional
moment in the history of relations between labor and management.
Melissa Dabakis argues that sculptural imagery of industrial labor
shaped attitudes towards work and the role of the worker in modern
society. Restoring a group of important monuments to the history of
labor, gender studies and American art history, her book focuses on
key monuments and small-scale works in which labor was often
constituted as 'manly' and where the work ethic mediated both
production and reception.
John Leslie Breck (1860-1899) was one of the founders of the
American art colony at Giverny and was among the earliest American
artists to embrace the Impressionist style. He was also one of the
first to exhibit his Impressionist paintings in America and helped
to popularize the style during his years working in the Boston area
in the 1890s. Between 1887 and 1888 he and a handful of his
American colleagues began visiting the French village of Giverny,
where they met Claude Monet and subsequently explored the new
approach to painting that Monet had helped to pioneer. Breck's
canvases from this period, loosely brushed and filled with light
and color, are a marked departure from his earlier works that are
characterized by darker tonalities and tighter brushwork that
typified the preferred style of the era. When Breck returned to
America in 1892, he applied what he had learned to paintings of the
New England landscape and frequently exhibited his work. Inspired
by The Mint Museum's 2016 acquisition of John Leslie Breck's canvas
Suzanne Hoschede-Monet Sewing, this volume includes approximately
70 of Breck's finest works, drawn from public and private
collections. Along with his scenes of Giverny and America, this
volume features a selection of paintings from his sojourn in Venice
in 1897. Always interested exploring in new ways of seeing the
world, Breck had begun to explore aspects of post-Impressionism and
Asian aesthetics in the years before his early death, at the age of
39, in 1899. This volume also features up to 36 additional
comparative images, including details, photographs, and paintings
by Monet and other leading American impressionists including
Willard Metcalf, Theodore Robinson, Lila Cabot Perry, Childe
Hassam, and Arthur Wesley Dow, presented throughout the main essays
and chronology and appendices.
Edouard Manet's controversial painting "Le Déjeuner sur l'herbe" is one of the best known images in French art. The subject of critical analysis for more than a century, it still defies singular interpretations. These essays, written specially for this volume by the leading scholars of French modern art, therefore offer six different readings of the painting, incorporating close examinations of its radical style and novel subject, relevant historical developments and archival material, as well as biographical evidence that prompts psychological inquiries.
First published in 1983. This anthology of sixty-nine essays drawn
from fourteen different journals was assembled in order to
reproduce in convenient form some of the more important articles on
British painting published from 1849 to 1860 in Great Britain.
Reviews of major exhibitions form a large part of the collection,
but essays treating individual artists, discussions of the effect
of state patronage of the arts and attempts to assess the
uniqueness of the English tradition of painting are also included.
This title will be of great interest to students of Art History.
Combining a unique overview of metropolitan visual culture with
detailed textual analysis, this interdisciplinary study explores
the relationship between the two cities which Londoners inhabited:
the physical spaces of the metropolis, whose socially stratified
and gendered topography was shaped by consumer culture and
unregulated capitalism and an imaginary 'London', an 'Unreal City'
which reflected and influenced their understanding of, and actions
in, the 'real' environment. MARKET 1: Scholars, graduate and
undergraduate student in Literary Studies; Victorian Studies MARKET
2: General reader and students/scholars of Cultural Studies; Art
History; Urban and Social History; Visual Culture; Gender Studies;
British Histor y
First published in 1980. This anthology of fifty-three essays drawn
from eleven weekly, monthly, and quarterly periodicals was
assembled in order to reproduce in convenient form some of the more
important articles on British painting published from 1832 to 1848
in Great Britain. Reviews of major exhibitions form a large part of
the collection, but essays treating individual artists, discussions
of the effect of state patronage of the arts and attempts to assess
the uniqueness of the English tradition of painting are also
included. This title will be of great interest to students of Art
History
The Stripy Bird. The Scroobius Bird. The Obsequious Ornamental
Ostrich who wore boots to keep his feet quite dry. Of all the
animals that sprang from the idiosyncratic imagination of Edward
Lear, few feature as frequently as birds, which appear throughout
his work, from the flamboyant flock in the Nonsense Alphabet to the
quirky avian characters of his limericks, stories, and songs. Lear
drew himself as a bird on numerous occasions. In a popular
self-portrait-later reproduced on a postage stamp-Lear even
represented himself as a portly, bespectacled bird. Edward Lear's
Nonsense Birds collects more than sixty of Lear's bird
illustrations from across his entire body of work. Often, the birds
have hilariously human characteristics. There is, for instance, a
Good-Natured Grey Gull, a Hasty Hen, and a Querulous Quail. The
Judicious Jay is chiefly concerned with good grooming. The Vicious
Vulture, meanwhile, turns out to be a wordsmith whose verses on
vellum celebrate veal. Each bird is endowed with a unique
personality, while collectively they form a wonderfully amusing
flock. Also included are a series of twenty-four hand-colored
illustrations. Bright and beautifully illustrated, this book will
make a perfect gift for children of all ages and will also be
welcomed by all who love Lear's work or are interested in learning
more about his fascination with birds.
This book reframes the formative years of three significant
artists: Henri Fantin-Latour, Alphonse Legros, and James McNeill
Whistler. The trio's coming together as the Societe des trois
occurred during the emergence of the artistic avant-garde-a
movement toward individualism and self-expression. Though their
oeuvres appear dissimilar, it is imperative that the three artists'
early work and letters be viewed in light of the Societe, as it
informed many of their decisions in both London and Paris. Each
artist actively cultivated a translocal presence, creating artistic
networks that transcended national borders. Thus, this book will
serve as a comprehensive resource on the development, production,
implications, and eventual end of the Societe.
Known as the "Audubon of Botany," Philadelphia, Quaker Mary Morris
Vaux Walcott (1860-1940) was a gifted artist whose stunning
watercolors comprise a catalog of North American wildflowers.
Walcott was catapulted to the highest levels of society and
national politics by a late and bold marriage to the secretary of
the Smithsonian. Along with an early (1887) transcontinental
travelogue, never-before published correspondence with fellow
Quaker and First Lady Lou Henry Hoover, and Commissioner Mary
Walcott's reports for the Bureau of Indian Affairs, this biography
reveals rich intersections of history, religion, politics, women's
studies, science, and art during the transformative times in which
she lived. Walcott, and other intrepid women like her, who sought
escape from Victorian social conventions and opportunity for
adventure and self-expression in the American West, were gifted
artists, writers, and historians.
"Unfolding the South" presents a new vision of Anglo-Italian
cultural relations in the late Romantic and Victorian periods.
Responding to recent developments in the fields of literary
criticism and art history, the book covers a stimulating range of
canonical and non-canonical writers and artists. Eleven essays
offer new perspectives on well-known figures such as Elizabeth
Barrett Browning, George Eliot, and Mary Shelley, together with
discussions of writers and artists of newly-emerging importance. --
.
The End of the Salon examines the cultural forces that contributed
to the demise of an important exhibition centre for art in Europe
and America in the late 19th century. Tracing the history of the
salon from the French Revolution, when it was taken away from the
Academy and opened to all artists, to the 1880s, Patricia Mainardi
shows that its contradictory purposes, as didactic exhibition venue
and art marketplace resulted in its collapse. She also situates the
salon within the shifting currents of art movements, from modern to
traditional, and the evolving politics of the Third Republic, when
France definitively chose a republican over a monarchic form of
government. An overview of the spectrum of art production at the
end of the 19th century, government attitudes toward the arts in
the early Third Republic, and the institution of exhibitions as
they were redefined by free-market economics in the 19th century,
are also provided. The book demonstrates how all artists were
forced to function within the framework of the social, economic,
and cultural changes then taking place and how art and social
history are inextricably linked.
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.
Waiting for the millennium was a major feature of British society at the endof the 18th century. But how exactly did this preoccupation shape—and how was it shaped by—the literature, art, and politics of the period we now call Romantic? These essays investigate a series of millenarians both famous and forgotten, from Coleridge to Cowper, Blake to Byron; and explore the artistic and political subcultures of radical London; the religious sects surrounding Richard Brothers and Joanna Southcott, and the poetics of feminism and Orientalism. Romanticism and Millenarianism presents an expanded and rehistoricized canon of writers and artists who shaped key debates about revolution, empire, gender, and sexuality.
Fascinated by them, unable to ignore them, and imaginatively
stimulated by them, Charles Dickens was an acute and unsentimental
reporter on the dogs he kept and encountered during a time when
they were a burgeoning part of the nineteenth-century urban and
domestic scene. As dogs inhabited Dickens's city, so too did they
populate his fiction, journalism, and letters. In the first
book-length work of criticism on Dickens's relationship to canines,
Beryl Gray shows that dogs, real and invented, were intrinsic to
Dickens's vision and experience of London and to his
representations of its life. Gray draws on an array of
reminiscences by Dickens's friends, family, and fellow writers, and
also situates her book within the context of nineteenth-century
attitudes towards dogs as revealed in the periodical press,
newspapers, and institutional archives. Integral to her study is
her analysis of Dickens's texts in relationship to their
illustrations by George Cruikshank and Hablot Knight Browne and to
portraiture by late eighteenth- and nineteenth-century artists like
Thomas Gainsborough and Edwin Landseer. The Dog in the Dickensian
Imagination will not only enlighten readers and critics of Dickens
and those interested in his life but will serve as an important
resource for scholars interested in the Victorian city, the
treatment of animals in literature and art, and attitudes towards
animals in nineteenth-century Britain.
Manet, Pissarro, Morisot, Cezanne, Seurat, Gauguin, Van Gogh and
their colleagues made some of the most beautiful drawings in the
history of art. This book sets drawings by the Impressionists and
Post-Impressionists in the context of late nineteenth-century
France and explains why these particular works are as important as
their paintings in the representation of modernity. A new approach
to materials and a wholly inclusive attitude to exhibitions gave
drawings a more elevated status in this period than ever before,
which avant-garde artists welcomed in their preference for scenes
from contemporary life. For the first time also, painting and
drawing shared the same stylistic principles of spontaneity, freer
handling and lack of finish. Pastels by Degas, watercolors by
Cezanne, pen-and-ink drawings by Van Gogh and mixed media works by
Toulouse-Lautrec have an autonomy of their own, which proved
instrumental in the development of modern art. The distinguished
art historian Christopher Lloyd examines the drawings of twenty of
the leading Impressionist and Post-Impressionist artists,
highlighting an aspect of French avant-garde art that remains
relatively unexplored and was of immense importance for the art
movements that followed
"This year, the Fondation Vuitton strikes again with an exhibition
of the Morozov Collection, about 200 French and Russian works
bought by two other textile magnates, the brothers Mikhail and Ivan
Morozov, who also made multiple Paris shopping trips" - New York
Times The Morozov brothers, wealthy Moscow textile merchants
Mikhail (1870-1903) and Ivan (1871-1921), played a key role in
bringing Impressionist and Post-Impressionist art to Russia in the
first decades of the 20th century. Along with Sergei Shchukin, a
fellow industrialist and art collector, they created an
international audience for French art and had a transformative
effect on Russian cultural life. Between the years 1903 and 1914,
Ivan Morozov spent more money than any other collector of his time,
amassing a stunning collection of works by Matisse, Monet, Picasso,
Bonnard, Sisley, Renoir, Signac, Vuillard, Gauguin, Van Gogh,
Degas, Pissarro, and, most especially, Cezanne (17 paintings, all
of which will be on display). On his bi-annual trips to Paris, he
bought from the most discerning dealers, including Paul
Durand-Ruel, Ambroise Vollard, and Daniel-Henri Kahnweiler, as well
as directly from the artists themselves. His collection comprises
278 paintings, not including 300 paintings by Russian artists
(Chagall, Malevich, Serov, Vrubel, Levitan, Larionov, Goncharova)
and 28 sculptures. The Morozov collection was nationalised after
the October 1917 Revolution, and after World War II it was divided
among the Hermitage Museum, the Pushkin State Museum of Fine Arts,
and the Tretyakov State Museum. This stunning catalogue has been
published for a show of 100 highlights from the Morozov Collection
that will run from 22 September 2021 - 22 February 2022 at the
Louis Vuitton Foundation in Paris. It is the first time that works
from the collection will travel abroad since they were acquired.
This landmark exhibition will be the only stop for the show outside
of Russia.
A discussion of sensibility, sensation, perception and painting,
Scotland and the Origins of Modern Art is an original work which
argues that the eighteenth-century Scottish philosophy of moral
sense played a central role in shaping ideas explored by figures
such as Cezanne and Monet over one hundred years later. Proposing
that sensibility not reason was the basis of morality, the
philosophy of moral sense gave birth to the idea of the supremacy
of the imagination. Allied to the belief that the imagination
flourished more freely in the primitive history of humanity, this
idea became a potent inspiration for artists. The author also
highlights Thomas Reid's method in his philosophy of common sense
of using art and artists to illustrate how perception and
expression are intuitive. To be truly expressive, artists should
unlearn what they have learned and record their raw sensations,
rather than the perceptions that derive from them. Exploring the
work of key philosophical and artistic protagonists, this
thought-provoking book unearths the fascinating exchanges between
art, philosophy and literature during Enlightenment in Scotland
that provided the blueprint for modernism.
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Discovery Miles 4 010
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