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

Beginning with the premise that the portrait was undergoing a shift in both form and function during the Romantic age, Joe Bray examines how these changes are reflected in the fiction of writers such as Maria Edgeworth, Jane Austen, Sir Walter Scott, Elizabeth Hamilton and Amelia Opie. Bray considers portraiture in a broad sense as encompassing caricature and the miniature, as well as the classic portraits of Sir Joshua Reynolds and others. He argues that the portrait in fiction often functions not as a transparent index to character or as a means of producing a straightforward likeness, but rather as a cue for misreading and a sign of the slipperiness and subjectivity of interpretation. The book is concerned with more than simply the appearance of portraits in Romantic fiction, however. More broadly, The Portrait in Fiction of the Romantic Period investigates how the language of portraiture pervades the novel in this period and how the two art forms exert mutual stylistic influence on each other.

Robert Louis Stevenson and the Pictorial Text explores the genesis, production and the critical appreciation of the illustrations to the fiction of Robert Louis Stevenson. Stevenson is one of the most copied and interpreted authors of the late nineteenth century, especially his novels Treasure Island and Strange Case of Dr Jekyll and Mr Hyde. These interpretations began with the illustration of his texts in their early editions, often with Stevenson's express consent, and this book traces Stevenson's understanding and critical responses to the artists employed to illustrate his texts. In doing so, it attempts to position Stevenson as an important thinker and writer on the subject of illustrated literature, and on the marriage of literature and visual arts, at a moment preceding the dawn of cinema, and the rejection of such popular tropes by modernist writers of the early twentieth century.

As a result of Napoleon's campaigns in Italy, Old Master art flooded into Britain and its acquisition became an index of national prestige. Maureen McCue argues that their responses to these works informed the writing of Romantic period authors, enabling them to forge often surprising connections between Italian art, the imagination and the period's political, social and commercial realities. Dr McCue examines poetry, plays, novels, travel writing, exhibition catalogues, early guidebooks and private experiences recorded in letters and diaries by canonical and noncanonical authors, including Felicia Hemans, William Buchanan, Henry Sass, Pierce Egan, William Hazlitt, Percy Shelley, Lord Byron, Anna Jameson, Maria Graham Callcott and Samuel Rogers. Her exploration of the idea of connoisseurship shows the ways in which a knowledge of Italian art became a key marker of cultural standing that was no longer limited to artists and aristocrats, while her chapter on the literary production of post-Waterloo Britain traces the development of a critical vocabulary equally applicable to the visual arts and literature. In offering cultural, historical and literary readings of the responses to Italian art by early nineteenth-century writers, Dr McCue illuminates the important role they played in shaping the themes that are central to our understanding of Romanticism.

In 1967, sex between consenting men in England and Wales was finally decriminalised - an entire century after the death penalty was abolished for sodomy in Britain in 1861. Between these legal landmarks lies a century of seismic shifts in gender and sexuality which found expression across the arts as artists, collectors and consumers explored transgressive identities, experiences and perspectives. Some of the resulting artworks were intensely personal, celebrating lovers or expressing private desires. Others addressed a wider public, helping to forge a sense of community at a time when the modern categories of gay, lesbian, bisexual and transgender were largely unrecognised. Ranging from the playful to the political, the explicit to the domestic, these works reveal the rich diversity of queer British art. This beautiful book explores coded desires in aestheticism; the impact of the new science of sexology; queer domesticities; eroticism in the artist's studio; intersections of gender and sexuality; seedy dives and visions of Arcadia; and love and lust in sixties Soho. Featuring works by major artists such as Simeon Solomon, Clare Atwood, Ethel Sands, Duncan Grant, Francis Bacon and David Hockney among others, Queer British Art pays homage to the wealth of queer creativity in Britain between the 1860s and the 1960s.

In the work of Joseph Mallord William Turner (1775-1851) lies an impact akin to a sudden acquisition of sight. His landscapes and seascapes scorch the eye with such ravishing light and color, with such elemental force, it is as if the sun itself were gleaming out of the frame. Appropriately known as "the painter of light," Turner worked in print, watercolor, and oils to transform landscape from serene contemplative scenes to pictures pulsating with life. He anchored his work to the River Thames and to the sea, but in the historical context of the Industrial Revolution, also integrated boats, trains, and other markers of human activity, which juxtaposes the thrust of civilization against the forces of nature. This book covers Turner's illustrious, wide-ranging repertoire to introduce an artist who combined a traditional genre with a radical modernism. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

The work of Samuel Palmer (1805-1881) received mixed critical success during his lifetime, and his later life was overshadowed by the death of his elder son. Largely forgotten after his own death in 1881, Palmer began to attract renewed interest in the mid-twentieth century and he is now recognised as a key figure in English Romanticism. First published in 1892, this combination of a biography and a collection of Samuel Palmer's letters was written and compiled by his surviving son, A. H. Palmer, who later, in 1909, burned large quantities of his father's sketchbooks and notebooks. The letters published here, which date from 1829 to 1881, include correspondence with other members of 'the Ancients', such as John Linnell, George Richmond and Edward Calvert. The book also includes a range of sketches and etchings, as well as a catalogue of exhibited works.

As a little boy of seven or eight, Jacques Henri Lartigue was given his first camera, and soon was developing his own photographs. Born into a prosperous family, from childhood Lartigue acutely observed the social rituals of the upper echelons of society through his photography. The hand-held Kodak camera, first introduced in 1888, granted the young photographer flexibility to capture the fine details of eccentric family members at home, the elaborate social parade in the Bois de Boulogne, on the beach in Normandy and beyond. Classic images of motor cars and high fashion sit alongside previously unpublished photographs from the Lartigue archive. These images of family beau-monde and demi-monde life are not only evidence of a prodigious talent, but also offer an intimate, adolescent perspective of Belle-Epoque Paris, the world of Proust, Debussy and the Nabis, before the outbreak of the First World War. At a young age Lartigue mastered the medium of photography: this exploration of his extraordinary childhood is interwoven with a social and cultural portrait of the Belle Epoque. Bonnard and Vuillard used the camera as a reference point for painting, Eugene Atget documented the architecture of the old Paris ahead of its developers, but Lartigue was the first to harness the immediacy of the snapshot, often capturing his subjects mid-gesture as in real life, creating a new visual language for the 20th century.

In the late 19th century, numerous Russian artists found inspiration in the style of French Impressionist painters. Often, a journey to Paris acted as a catalyst for their burgeoning interest in the movement. They developed a preference for working en plein air and aimed to capture transitory effects through a spontaneous and free handling of the brush. Many leading painters of the later Russian avant-garde arrived at their individual styles due to studying the Impressionist use of light. This lavishly illustrated volume explores the many-layered ways French Impressionism influenced the evolution of Russian art from the 1880s to the 1920s, including the work of painters as diverse as Ilya Repin, Valentin Serov, Konstantin Korovin, Natalia Goncharova, and Kazimir Malevich. Essays by many of the leading scholars in the field provide rich new insights into one of the most intriguing chapters of Russian modernism.

This book is about encounters between art and industry in nineteenth-century Britain. It looks beyond the oppositions established by later interpretations of the work of John Ruskin, William Morris and the Arts and Crafts movement to reveal surprising examples of collaboration – between artists, craftspeople, designers, inventors, curators, engineers and educators – during a crucial period in the formation of the cultural and commercial identity of Britain and its colonies. Across thirteen chapters by fourteen contributors, Art versus industry? explores such diverse subjects as the production of lace, the mechanical translation of sculpture, the display of stained glass, the use of the kaleidoscope in painting and pattern design, the emergence of domestic electric lighting and the development of art and design education and international exhibitions in India. -- .

W. D. Richmond's The Grammar of Lithography (1878) is a comprehensive and instructive work on the many varieties of lithography - with all their attendant materials and instruments - described and explained in practical terms for the active participant and the amateur enthusiast alike. Richmond's Grammar should also be understood as part of a wider movement of nineteenth-century industrial disclosure, where pockets of masterly knowledge previously available to apprentices and company employees alone were being made much more widely available through impartial manuals and guides. This noble cause was intended to bring down the walls of ignorance and trade secrecy and to foster an open atmosphere of mutual understanding. In the realm of lithography, Richmond's Grammar was the first treatise to achieve this. While the work forgoes any historical or overly theoretical discussion, it does provide an excellent example of practically oriented expertise in the graphic arts.

This book traces the influence of the changing political environment on Czech art, criticism, history, and theory between 1895 and 1939, looking beyond the avant-garde to the peripheries of modern art. The period is marked by radical political changes, the formation of national and regional identities, and the rise of modernism in Central Europe - specifically, the collapse of Austria-Hungary and the creation of the new democratic state of Czechoslovakia. Marta Filipova studies the way in which narratives of modern art were formed in a constant negotiation and dialogue between an effort to be international and a desire to remain authentically local.

Before publishing the sensuous and scandalous poems of Les Fleurs du Mal, Charles Baudelaire (1821-67) had already earned respect as a forthright and witty critic of art and literature. This stimulating selection of criticism reveals him as a worshipper at the altar of beauty, illuminating his belief that the pursuit of this ideal must be paramount in artistic expression. Reviews of exhibitions discuss works by great painters such as Delacroix and Ingres in fascinating detail, and 'Of Virtuous Plays and Novels' sees Baudelaire as an avenging angel in defence of true art. Writings on Poe, Flaubert and Gautier evoke a profound understanding of fellow artists, while his single excursion into musical criticism, 'Richard Wagner and Tannhauser in Paris', displays an incisive awareness of the magical power of suggestion in music.

"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.

Swiss artist Sophie Taeuber-Arp (1889-1943) was a pioneer of 20th-century avant-garde. Remarkably versatile and immensely gifted, she produced an oeuvre that encompasses the entire range of the modernist movement from applied and fine art and dance to architecture, interior design, and teaching. Equlibre, created in 1931, marks the beginning of Taeuber-Arp's career as an accomplished painter. She moves away from figuration to focus on shape and colour. Circle, square, and rectangle define her future vocabulary. While in her earlier textiles she used multiple shades and hues, she now reduces her palette to primary colours alongside black and white, signalling a markedly changed sense of colour. The painting's posthumous title emphasises Taeuber-Arp's constant striving for an ideal balance of colour, shape, and indeed all the elements in her paintings. From here, she sets out to explore movement, circles, and spaces, and later gradations and lines. Equilibre, a landmark of Taeuber-Arp's oeuvre, looks ahead to her future subject matter, while at the same time referencing her earlier work. Text in English and German.

This is the story of Faberge's Imperial Easter eggs - of their maker, of the tsars who commissioned them, of the middlemen who sold them and of the collectors who fell in love with them. It's a story of meticulous craftsmanship and unimaginable wealth, of lucky escapes and mysterious disappearances, and ultimately of greed, tragedy and devotion. Moreover, it is a story that mirrors the history of twentieth-century Russia - a satisfying arc that sees eggs made for the tsars, sold by Stalin, bought by Americans and now, finally, returned to post-communist Russia. There is also an intriguing element of mystery surrounding the masterpieces. Of the fifty 'Tsar Imperial' eggs known to have been made, eight are currently unaccounted for, providing endless scope for speculation and forgeries. This is the first book to tell the complete history of the eggs, encompassing the love and opulence in which they were conceived, the war and revolution that scattered them, and the collectors who preserved them.

Create 45 simple projects with a Scandinavian flavour, including home decorations, garlands and beautiful gifts. Christiane Bellstedt Myers has developed a beautiful collection of decorative makes using rustic fabrics and natural materials. The four chapters – Spring, Summer, Autumn and Winter – cover a wide range of crafts, including collage, embroidery, painting and sewing, and take inspiration from Scandinavian seasonal traditions to bring magic to your year. Celebrate the coming of Spring with a lovely Clematis wreath, share the joy of Mid-Summer with your friends by setting the table outdoors using a handmade tablecloth, decorate your home for Autumn by bringing the harvest indoors, and make Winter a time for hygge by lighting plenty of candles and hanging some vintage chandelier crystals to capture the soft glow. Try out some simple embroidery on the lavender cushions, which would make great gifts, or make a pretty garland to hang on the mantelpiece at Christmas. So why not get the family involved and make each season really special by making decorations together? You can then relive those happy memories each year as you decorate your home.

Dublin has held an important place throughout Ireland's cultural history. The shifting configurations of the city's streetscapes have been marked by the ideological frameworks of imperialism, its architecture embedded within the cultural politics of the nation, and its monuments and sculptures mobilized to envision the economic ambitions of the state. This book examines the relationship of Dublin to Ireland's social history through the city's visual culture. Through specific case studies of Dublin's streetscapes, architecture and sculpture and its depiction in literature, photography and cinema, the contributors discuss the significance of visual experiences and representations of the city to our understanding of Irish cultural life, both past and present. Drawing together scholars from across the arts, humanities and social sciences, the collection addresses two emerging themes in Irish studies: the intersection of the city with cultural politics, and the role of the visual in projecting Irish cultural identity. The essays not only ask new questions of existing cultural histories but also identify previously unexplored visual representations of the city. The book's interdisciplinary approach seeks to broaden established understandings of visual culture within Irish studies to incorporate not only visual artefacts, but also textual descriptions and ocular experiences that contribute to how we come to look at, see and experience both Dublin and Ireland.

This volume explores the early history of the photographic studio and portrait in China and Japan. The institution of the photographic studio has received relatively little attention in the history of photography; contributors here investigate various manifestations of the studio as a place and as a space that was cultural, economic, and creative. Its authors also look closely at the studio portrait not as images alone, but also as collaborative ventures between studio operators and sitters, opportunities to invent new roles, images that merged the new medium with "traditional" visual practices, as well as the portrait's part in devising modern, gendered, nationalistic, and public identities for its subjects. As the first collection of its kind, Portraiture and Early Studio Photography in China and Japan analyzes the photographic likeness-its producers, subjects, viewers, and pictorial forms-and argues for the historical significance of the photographic studio as a specific and new space central to the formation of new identities and communities. Photography's identity as a transnational technology is thus explored through the local uses, adaptations, and assimilations of the imported medium, presenting modern images of their subjects in specific Japanese and Chinese contexts.

Tracing the arc of van Gogh's career, this volume presents his portraits and self-portraits, landscapes, and haunting interiors. Readers will learn details of van Gogh's complicated personal life including his struggles with mental illness and his close but difficult relationship with his brother, Theo. Also included here are an anthology of paintings, information on the museums where they reside, a timeline of the painter's personal and artistic highlights, and bibliography. Overflowing with impeccably reproduced images, this book offers full-page spreads of masterpieces as well as highlights of smaller details - allowing the viewer to appreciate every aspect of the artist's technique and oeuvre. Chronologically arranged, the book covers important biographical and historic events that reflect the latest scholarship. Additional information includes a list of works, timeline, and suggestions for further reading.

A gorgeous new edition with the cover printed on silver. Tiffany was highly skilled in jewellery design, ceramics, enamels, and metalwork but he is best known for his beautiful stained-glass designs. Using opalescent glass in a variety of colours and textures, he created a stunning range of jewel-like Art Nouveau works, many of them presented here in this luxurious volume.

Crowning Glories integrates Louis XIV's propaganda campaigns, the transmission of Northern art into France, and the rise of empiricism in the eighteenth century - three historical touchstones - to examine what it would have meant for France's elite to experience the arts in France simultaneously with Netherlandish realist painting. In an expansive study of cultural life under the Sun King, Harriet Stone considers the monarchy's elaborate palace decors, the court's official records, and the classical theatre alongside Northern images of daily life in private homes, urban markets, and country fields. Stone argues that Netherlandish art assumes an unobtrusive yet, for the history of ideas, surprisingly dramatic role within the flourishing of the arts, both visual and textual, in France during Louis XIV's reign. Netherlandish realist art represented thinking about knowledge that challenged the monarchy's hold on the French imagination, and its efforts to impose the king's portrait as an ideal and proof of his authority. As objects appreciated for their aesthetic and market value, Northern realist paintings assumed an uncontroversial place in French royal and elite collections. Flemish and Dutch still lifes, genre paintings, and cityscapes, however, were not merely accoutrements of power, acquisitions made by those with influence and money. Crowning Glories reveals how the empirical orientation of Netherlandish realism exposed French court society to a radically different mode of thought, one that would gain full expression in the Encyclopedie of Diderot and d'Alembert.

Vincent van Gogh's career lasted just a decade, but in this short time he created more than two thousand paintings, including some of the most famous and influential works of Western art. He was also prolific writer, penning hundreds of letters to his brother, Theo, that form an unusually rich record of his life and work, from his early development as an artist to his struggles with mental illness that sadly cut short a promising career. This book draws on Van Gogh's letters to provide a powerful and poignant account of his life and work. Lively, accessible, and lavishly illustrated, this new book offers a concise introduction to this great master of art.

Hailed the "Prince of the Impressionists", Claude Monet (1840-1926) transformed expectations for the purpose of paint on canvas. Defying the precedent of centuries, Monet did not seek to render only reality, but the act of perception itself. Working "en plein air" with rapid, impetuous brush strokes, he interrogated the play of light on the hues, patterns, and contours and the way in which these visual impressions fall upon the eye. Monet's interest in this space "between the motif and the artist" encompassed too the ephemeral nature of each image we see. In his beloved water lily series, as well as in paintings of poplars, grain stacks, and the Rouen cathedral, he returned to the same motif in different seasons, different weather conditions, and at different times of the day, to explore the constant mutability of our visual environment. This book offers the essential introduction to an artist whose works simultaneously reflected upon the purpose of a picture and the passage of time, and in so doing transformed irrevocably the story of art. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

This book examines Theodore Gericault's images of black men, women and children who suffered slavery's trans-Atlantic passage in the late eighteenth and early nineteenth centuries, including his 1819 painting The Raft of the Medusa. The book focuses on Gericault's depiction of black people, his approach towards slavery, and the voices that advanced or denigrated them. By turning to documents, essays and critiques, both before and after Waterloo (1815), and, most importantly, Gericault's own oeuvre, this study explores the fetters of slavery that Gericault challenged-alongside a growing number of abolitionists-overtly or covertly. This book will be of interest to scholars in art history, race and ethnic studies and students of modernism.