A newly expanded edition of the defining book on one of French Romanticism's most influential and elusive painters Eugene Delacroix (1798-1863) was a solitary genius who produced stormy Romantic works like The Death of Sardanapalus as well as more classically inspired paintings such as Liberty Leading the People. Over the long span of his career, he responded to the literary fascination with Orientalism, the politics of French imperialism, and the popular interest in travel, painting everything from sweeping, epic tales to intimate interiors. In this beautifully illustrated book, Barthelemy Jobert delves into all facets of Delacroix's life and art, providing an unforgettable portrait of perhaps the greatest and most elusive painter of the French Romantic movement. Bringing together large canvases, decorative cycles, watercolors, and engravings, Jobert explores the inner tensions and contradictions that drove the artist, re-creating the political and cultural arenas in which Delacroix thrived and enabling readers to fully appreciate the extraordinary range of his artistic production. He reveals how Delacroix successfully navigated the Salons of Paris and the halls of government, socialized with George Sand and Victor Hugo, engaged in intense philosophical discussions about art with Baudelaire, and maintained a lively repartee with the press. He vividly describes Delacroix's journey to Morocco, which unexpectedly led him to rediscover his classical roots, and shows how Delacroix profoundly influenced later painters such as Cezanne and Picasso. This new and expanded edition of Jobert's acclaimed book includes a thoroughly updated introduction and conclusion, and a wealth of new information and illustrations throughout.

The Cleghorn Collection reproduces more than 200 of the drawings from the Cleghorn Collection in colour, for the first time. These include drawings from nature, copies based on European prints, and Nature Prints made from herbarium specimens. They are the work of several South Indian artists and of pupils of the pioneering Madras School of Art.

How can art, how can prose and poetry originate in spite of the restraints of manipulation, propaganda, and censorship? This study explores such issues by focusing on the cultural trajectory of Japanese American internment, both during and after World War II. Previously unknown documents as well as interviews with friends and family reveal new aspects of John Okada's (1923-1971) life and writing, providing a comprehensive biographical outline of the author. The book refutes the assumption that Okada's novel No-No Boy was all but shunned when first published in 1957. A close reading as well as a comparative study involving Italo Calvino's (1923-1985) Six Memos for the Next Millennium (1985) position Okada's only book as world literature.

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.

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.

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.

Now available in a paperback edition, this comprehensive volume on the great Danish painter Hammershoi places him within the context of his European contemporaries. This generously illustrated volume examines Hammershoi's work as a whole and in relation to the artists of his generation. Hammershoi's enigmatic paintings, with their rich and muted palettes, have always enjoyed enormous popularity in Scandinavia, and recently his work has received renewed attention across the globe. Thematically arranged, this volume includes beautiful reproductions and essays that focus on Hammershoi's isolated private life and travels; his time in London and Germany; and comparisons between him and such notable painters as Seurat, Gauguin, and Whistler. Fans of this remarkable painter, and anyone interested in modern art, will enjoy this celebration of Hammershoi as a part of the pantheon of great European painters."

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.

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 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.

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.

Now available again, this visually stunning collection of Gustav Klimt's landscape paintings brings to light a lesser-known aspect of the Viennese painter's oeuvre. While Gustav Klimt is largely revered for his opulent, symbolladen portraits of the Viennese bourgeoisie, these works were just one aspect of his artistic expression. His landscapes represent an important facet of his career and are a valuable contribution to the school of European nature painting. For many years the artist travelled to the Austrian and Italian countryside during the summer, where he took advantage of the extraordinary light and spectacular hues to paint and sketch landscapes. Among the most exquisite of Klimt's landscapes are those in which he experimented with composition and style. Accompanied by scholarly essays, the images reproduced in this book comprise all extant landscapes from this brilliant artist, proving that his mastery extends beyond portraiture and revealing themes that appeared throughout his life's work.

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 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.

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.

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.

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.

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.

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.

This absorbing book tells the story of Empress Eugenie (1826-1920), the wife of Napoleon III and the last Empress-Consort of France. Today she is remembered for her physical beauty, for her influence as a taste maker and for her glittering contribution to the second imperial court - but she outlived the Second Empire by half a century and lived in exile in England. The Empress bought the Farnborough Hill estate in 1880, following a decade of personal tragedy: the collapse of the Second Empire (1852-70), the death of Napoleon III, and the loss of her only child. The death of the Prince Imperial in 1879, aged 23, ended all hope of a Bonapartist restoration. With the imperial succession removed to another branch of the family, Eugenie resolved to create a permanent monument to her husband and son. This was her primary reason for moving to Farnborough. This book describes the little-known assemblage of art and architecture that she created there in the 1880s. Geraghty analyses the principal buildings on the imperial estate: Farnborough Hill itself, which was extensively remodelled for the court-in-exile that Eugenie maintained there from 1880 to 1920; and St Michael's Abbey, the spectacular domed mausoleum that the Empress built on an adjacent hill in 1883-88. These projects were entrusted to a French architect, Hippolyte Destailleur (1822-93), whose erudite designs situated the history of the Second Empire within the longer history of French architecture and design. Geraghty also provides the fi rst detailed account of the lost interiors of Farnborough Hill. He traces the origins of the collection back to the Second Empire, and - drawing upon historic photos, inventories, and sale catalogues - he shows how the collection was displayed in the principal rooms of the house. Primarily dynastic in purpose, the display included a major sequence of Bonaparte family portraits, including works by David, Gerard, Winterhalter, and Carpeaux. Eugenie also had an important collection of decorative arts, including Gobelins tapestries, Sevres porcelain, and royal French furniture. Composed by the Empress herself, the display at Farnborough Hill was the last manifestation of the 'Louis XVI-Imperatrice' mode of interior decoration that she had popularised in the 1850s. It was also, in its juxtaposition of modern and historic pieces, the final expression of the nouvelle sociabilite of the second imperial court. Finally, the book describes the breakup of the estate in 1927, when the house was sold to a convent school and the collection was dispersed at auction. Today, only the Mausoleum functions as Eugenie originally envisaged. Geraghty, however, recovers the totality of Eugenie's vision for Farnborough. In so doing, he describes how the Napoleonic ideal, for one final time, was made visible through art, architecture, and collecting.

"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.