A long-awaited reprint of an important illustrated reference work on the general history of the watch from 1500 to 1980. When Watches was first published in 1965 it quickly gained for itself a reputation as the foremost general history of the subject and, following the expanded edition in 1979 which covered recent years past 1830, this has remained unchallenged in horological history. In this long-awaited reprinted edition, collectors and horological students can again make use of the reference illustrations and history in this work as approached by the leading horology historians and clockmakers of the twentieth century. Clutton and Daniels write expertly on the vast history of watches, through the changing tastes and styles of collectors and makers, as well as imparting their own knowledge on various technical aspects within the watches. The expansive historical section encompasses both decorative and mechanical aspects of mid-sixteenth to late twentieth century watches, including those by George Daniels himself, detailing the rich history behind more modern designs and fascinations. These later years include a variety of semi-experimental escapements, as well as covering the development of the precision watch and work leading to it by Ferdinand Berthoud and Pierre Le Roy, discussed alongside John Arnold in England, to satisfy the technical-minded collector. Horology and collecting have grown with the changing technologies, and watches continue to be produced to an exceptional technological standard. Precision watches from the 1730-1930 period are covered in detail, as well as high standard Swiss and American watches of the last hundred years; these highly complicated watches benefit greatly from having both colour and mono illustrations to clarify the details. For a truly comprehensive understanding of escapements, photographs of these have been included alongside a critical approach to this essential mechanism. Since its first publication, Watches has provided an essential work of reference and history behind some of the most renowned minds and creations. Now reprinted for a new generation of collectors and students, and featuring over 600 illustrations, the technical and decorative elements of historical watches can be studied and enjoyed once more.

This book explores Symbolist artists' fascination with ancient Greek art and myth, and how the erotic played a major role in this. For a brief period at the end of the 19th century the Symbolist movement inspired artists to turn inwards to the unconscious mind, endeavouring to unveil the secrets of human nature through their symbolic art. But above all their greatest interest, and fear, was man (and woman's) sexuality. Building upon the traditions of Academic neoclassicism, but fired with a new zeal, they turned back to Greek art and myth for inspiration. That classical legacy was once again a vehicle for artists to express their dreams, ideas and revelries. And so too their anxieties. For at times the frightening spectre of the sexual unconscious drove them to a new and innovative engagement with antiquity, including in ways never before tried in the history of the classical tradition. The unnerving sirens of Gustave Moreau, unearthly heroines of Odilon Redon, or leering fauns of Felicien Rops all played their role, among others, in this novel and unprecedented chapter in that tradition. This book shows how in their painting, drawing and sculpture the Symbolists re-invented Greek statuary and transposed it to new and unwonted contexts, as the imaginary inner worlds of artists were mapped onto the landscapes of Greek myth. It shows how they made of the Greek body, whether female, male, androgyne or sexual other, at once an object of beauty, desire, fear, and - at times - of horror.

Learn about key movements like impressionism, cubism and symbolism in The Art Book. Part of the fascinating Big Ideas series, this book tackles tricky topics and themes in a simple and easy to follow format. Learn about Art in this overview guide to the subject, brilliant for novices looking to find out more and experts wishing to refresh their knowledge alike! The Art Book brings a fresh and vibrant take on the topic through eye-catching graphics and diagrams to immerse yourself in. This captivating book will broaden your understanding of Art, with: - More than 80 of the world's most remarkable artworks - Packed with facts, charts, timelines and graphs to help explain core concepts - A visual approach to big subjects with striking illustrations and graphics throughout - Easy to follow text makes topics accessible for people at any level of understanding The Art Book is a captivating introduction to painting, drawing, printing, sculpture, conceptual art, and performance art - from ancient history to the modern day - aimed at adults with an interest in the subject and students wanting to gain more of an overview. Here you'll discover more than 80 of the world's most groundbreaking artworks by history's most influential painters, sculptors and artists, through exciting text and bold graphics. Your Art Questions, Simply Explained This fresh new guide examines the ideas that inspired masterpieces by Van Gogh, Rembrandt, Klimt, Matisse, Picasso, and dozens more! If you thought it was difficult to learn about the defining movements, The Art Book presents key information in a clear layout. Find out about subject matters, techniques, and materials, and learn about the talented artists behind the great works, through superb mind maps and step-by-step summaries. The Big Ideas Series With millions of copies sold worldwide, The Art Book is part of the award-winning Big Ideas series from DK. The series uses striking graphics along with engaging writing, making big topics easy to understand.

The Centennial decade was an era of ambivalence, the United States still unresolved about the incomprehensible damage it had wrought over four years of Civil War, and why. Philadelphia's 1876 Centennial Exhibition -- a spectacular international event celebrating one hundred years of American strength, unity, and freedom -- took place in the immediate wake of this trauma of war and the failures of Reconstruction as a means to restore power and patriotism in the nation's struggle to rebuild itself. The Unfinished Exhibition, the first comprehensive examination of American art at the Centennial, explains the critical role of visual culture in negotiating memories of the nation's past that conflicted with the optimism that Exhibition officials promoted. Supporting novel iconographical interpretations with myriad primary source material, author Susanna W. Gold demonstrates how the art galleries and the audiences who visited them addressed the lingering traumas of battle, the uneasy re-unification of North and South, and the persisting racial tensions in the post-Emancipation era. This careful consideration of the visual record exposes the complexities of the war's impact on Americans and clarifies how the Centennial art exhibition affected a nation still finding its direction at a critical moment in its history.

A beautifully produced, pocket-sized near-facsimile edition of J.M.W. Turner's illuminating 'Wilson' sketchbook.  Turner's sketchbooks were private things which he kept to himself. They might live for some time in his coat pockets or travel bags, to be pulled out as need arose. In the studio, they served as memory banks for future work. Of the nearly three hundred sketchbooks in Turner's house at the time of his death and now in the care of the Clore Gallery, the little book here reproduced is one of the most delightful and fascinating. It marks an important stage in the development of Turner's practice as a draughtsman and was in use when he was only twenty-one years old. It is a working notebook in which the pressing demands of an increasingly fertile imagination are given expression as it forges a new language for itself: a language that was radically to affect the history of both water-colour and oil painting in the romantic period and long afterwards.  Originally marked with 'Copies of Wilson' on the cover, this charming little book is a testimony to the phase of student hood in Turner's development, Richard Wilson being the supreme exponent of landscape painting in the eighteenth-century in Britain. For Turner, whose lifelong ambition was to show the world that landscape paintings could be a vehicle for the noblest and most ideas, Wilson was, as this book shows, his hero and chief model. This edition of the sketchbook reproduces all these beautiful drawings and watercolours in facsimile, with an illustrated introduction by Turner expert Andrew Wilton discussing their background and impact.

This book aims to present trompe-l'oeil painting, which epitomizes the myth of the illusionistic image - an early modern way of thinking about pictures, according to which it is possible to create an image identical to what it represents that at the same time preserves its own pictorial identity. Trompe-l'oeil, despite being a marginal genre, embodied an ideal that painting should attain, and therefore is a good point of departure for analyzing issues such as (aesthetic) illusion in art. As the myth undermines Plato's aesthetics, it is his philosophy of art, with its dichotomies of appearance/reality or mimesis/diegesis that offers the most useful context for the discussion of this topic and shows that trompe-l'oeil is a playful and ironic genre, which has cognitive value as well.

A history of the evolving field of African art. This book examines the invention and development of African art as an art historical category. It starts with a simple question: What do we mean when we talk about African art? By confronting the historically shifting answers to this question, Peter Probst identifies "African art" as a conceptual vessel that manifests wider societal transformations. What Is African Art? covers three key stages in the field's history. Starting with the late nineteenth through the mid-twentieth centuries, the book first discusses the colonial formation of the field by focusing on the role of museums, collectors, and photography in disseminating visual cultures as relations of power. It then explores the remaking of the field at the dawn of African independence with the shift toward contemporary art and the rise of Black Atlantic studies in the 1970s and 1980s. Finally, it examines the post- and decolonial reconfiguration of the field driven by questions of representation, repair, and restitution.

This book examines the domains of public space and the private, domestic realm and the interstices between them by focusing on ways that women enter the public arena while using the domestic politics of the private one to propel them forward in their cause for social justice, equality, and citizenship. The subject is unique not only in its focus on the visual culture of first-wave feminists in Edwardian England with a comparator analysis, where appropriate, on feminist developments in France, but also in its attention to women's movements into the public arena in the late 20th/21st century more globally in the context of how they continue to honor this first-wave suffrage history. Women's bodies were and are at the center of every debate on women's rights worldwide. The present study connects the hard work of women activists in the streets of London, Paris and beyond in making their desires known.

Emily Carr, often called Canada's Van Gogh, was a post-impressionist explorer, artist and writer. In Artist Emily Carr and the Spirit of the Land Phyllis Marie Jensen draws on analytical psychology and the theories of feminism and social constructionism for insights into Carr's life in the late Victorian period and early twentieth century. Presented in two parts, the book introduces Carr's emigre English family and childhood on the "edge of nowhere" and her art education in San Francisco, London and Paris. Travels in the wilderness introduced her to the totem art of the Pacific Northwest coast at a time Aboriginal art was undervalued and believed to be disappearing. Carr vowed to document it before turning to spirited landscapes of forest, sea and sky. The second part of the book presents a Jungian portrait of Carr, including typology, psychological complexes, and archetypal features of personality. An examination the individuation process and Carr's embracement of transcendental philosophy reveals the richness of her personality and artistic genius. Artist Emily Carr and the Spirit of the Land provides captivating reading for analytical psychologists, academics and students of Jungian studies, art history, health, gender and women's studies.

In this new study of art in fin-de-siecle Hamburg, Carolyn Kay examines the career of the city's art gallery director, Alfred Lichtwark, one of Imperial Germany's most influential museum directors and a renowned cultural critic. A champion of modern art, Lichtwark stirred controversy among the city's bourgeoisie by commissioning contemporary German paintings for the Kunsthalle by secession artists and supporting the formation of an independent art movement in Hamburg influenced by French impressionism. Drawing on an extensive amount of archival research, and combining both historical and art historical approaches, Kay examines Lichtwark's cultural politics, their effect on the Hamburg bourgeoisie, and the subsequent changes to the cultural scene in Hamburg.

Kay focuses her study on two modern art scandals in Hamburg and shows that Lichtwark faced strong public resistance in the 1890s, winning significant support from the city's bourgeoisie only after 1900. Lichtwark's struggle to gain acceptance for impressionism highlights conflicts within the city's middle class as to what constituted acceptable styles and subjects of German art, with opposition groups demanding a traditional and 'pure' German culture. The author also considers who within the Hamburg bourgeoisie supported Lichtwark, and why. Kay's local study of the debate over cultural modernism in Imperial Germany makes a significant contribution both to the study of modernism and to the history of German culture.

Garden Cities: the phrase is redolent of Arts and Crafts values and nineteenth-century utopianism. But despite being the culmination of a range of influential movements, and their own influence, in fact there were only ever two true garden cities in England - far more numerous were garden suburbs and villages. Crystallised in England by social visionary Ebenezer Howard and designed in many cases by Barry Parker and Raymond Unwin, the concept arose from industrial settlements like Port Sunlight, and also from the American City Beautiful movement. Designed to promote healthy and comfortable individual and community life, as well as commerce and industry, they remain instantly recognisable. This book is a beautifully illustrated guide to the movement and to the communities which are its legacy. Sarah Rutherford has an MA in the conservation of historic parks and gardens and a PhD. She was Head of the English Heritage Historic Parks and Gardens Register and is now a freelance consultant, creating conservation plans.

Japonisme, the 19th-century fascination for Japanese art, has generated an enormous body of scholarship since the beginning of the 21st-first century, but most of it neglects the women who acquired objects from the Far East and sold them to clients or displayed them in their homes before bequeathing them to museums. The stories of women shopkeepers, collectors, and artists rarely appear in memoirs left by those associated with the japoniste movement. This volume brings to light the culturally important, yet largely forgotten activities of women such as Clemence d'Ennery (1823-98), who began collecting Japanese and Chinese chimeras in the 1840s, built and decorated a house for them in the 1870s, and bequeathed the "Musee d'Ennery" to the state as a free public museum in 1893. A friend of the Goncourt brothers and a 50-year patron of Parisian dealers of Asian art, d'Ennery's struggles to gain recognition as a collector and curator serve as a lens through which to examine the collecting and display practices of other women of her day. Travelers to Japan such as the Duchesse de Persigny, Isabella Stewart Gardner, and Laure Durand-Fardel returned with souvenirs that they shared with friends and family. Salon hostesses including Juliette Adam, Louise Cahen d'Anvers, Princesse Mathilde, and Marguerite Charpentier provided venues for the discussion and examination of Japanese art objects, as did well-known art dealers Madame Desoye, Madame Malinet, Madame Hatty, and Madame Langweil. Writers, actresses, and artists-Judith Gautier, Therese Bentzon, Sarah Bernhardt, and Mary Cassatt, to name just a few- took inspiration from the Japanese material in circulation to create their own unique works of art. Largely absent from the history of Japonisme, these women-and many others-actively collected Japanese art, interacted with auction houses and art dealers, and formed collections now at the heart of museums such as the Louvre, the Musee Guimet, the Musee Cernuschi, the Musee Unterlinden, and the Metropolitan Museum of Art.

As we approach the bicentennial, in 2017, of the birth of Henry David Thoreau, there is considerable debate and confusion as to what he may, or may not have, contributed to American life and culture. Almost every American has heard of Thoreau, but only a few are aware that he was deeply engaged with most of the important issues of his day, from slavery to "Manifest Destiny" and the rights of the individual in a democratic society. Many of these issues are still affecting us today, as we move toward the second quarter of the twenty-first century. By studying how various American artists have chosen to portray Thoreau over the years since the publication of Walden in 1854, we can gain a clear understanding of how he has been interpreted (or misinterpreted) throughout the years since his death in 1862. But along the way, we might also find something useful, for our times, in the insights that Thoreau gained as he wrestled with the most urgent problems being experienced by American society in his day.

Painted screens have long been synonymous in the popular imagination with the Baltimore row house. Picturesque, practical, and quirky, window and door screens adorned with scenic views simultaneously offer privacy and ventilation in crowded neighborhoods. As an urban folk art, painted screens flourished in Baltimore, though they did not originate there--precursors date to early eighteenth-century London. They were a fixture on fine homes and businesses in Europe and America throughout the Victorian era. But as the handmade screen yielded to industrial production, the whimsical artifact of the elite classes was suddenly transformed into an item for mass consumption. Historic examples are now a rarity, but in Baltimore the folk art is still very much alive.

"The Painted Screens of Baltimore" takes a first look at this beloved icon of one major American city through the words and images of dozens of self-taught artists who trace their creations to the capable and unlikely brush of one Bohemian immigrant, William Oktavec. In 1913, this corner grocer began a family dynasty inspired generations of artists who continue his craft to this day. The book examines the roots of painted wire cloth, the ethnic communities where painted screens have been at home for a century, and the future of this art form.

Modernism, referring to the period dating roughly from the late 19th century to 1970, is regarded as a crucial moment in the history of American art. Although Modernist artists adopted a wide range of styles, they were linked by a desire to interpret a rapidly changing society and to cast aside the conventions of representational art. Some, such as Stuart Davis and Joseph Stella, responded to consumerism, urbanism and industrial technology; others, such as Arthur Dove and Georgia O'Keeffe, found inspiration in nature and the Native American culture of the Southwest. This magnificent new book presents the works of the Vilcek Collection, an unparalleled private collection of American Modernist paintings, drawings and sculpture. Art historian Lewis Kachur explores almost 100 rarely seen works by 20 leading artists active during the first half of the last century, while William C. Agee contributes an incisive introduction. Lavishly illustrated throughout, Masterpieces of American Modernism provides an outstanding overview of the radical shift in art driven by this major aesthetic movement.

From jewellery designers to scientists, graphic artists to naturalists, the range of people inspired by Ernst Haeckel's illustrations continues to grow. Following up on Prestel's Art Forms in Nature and Art Forms from the Ocean, this new collection features startlingly beautiful images created by Haeckel, who was commissioned to contribute to the report of the HMS Challenger expedition, which circumnavigated the world from 1872-76. The Challenger's achievements were unparalleled, with nearly 5,000 new species discovered and catalogued from the depths of Earth's oceans. Full-page reproductions bring these organisms colourfully to life, drawing readers into a world at once hypnotic and highly ordered. Divided into three sections-Siphonophores, Medusae and Radiolarians-these illustrations display Haeckel's remarkable artistic skill and understanding of the architecture of organic matter. The authors provide a brief history of the Challenger expedition, background on Haeckel's scientific and artistic accomplishments, as well as informative texts on each group of organisms.A guide to the natural world and an inspiration to artists of every stripe, this collection of Haeckel's work is a fitting tribute to a 19th century genius.

Novel Craft explores an intriguing and under-studied aspect of cultural life in Victorian England: domestic handicrafts, the decorative pursuit that predated the Arts and Crafts movement. Talia Schaffer argues that the handicraft movement served as a way to critique the modern mass-produced commodity and the rapidly emerging industrial capitalism of the nineteenth century. Her argument is illustrated with the four pivotal novels that form her study's core-Gaskell's Cranford, Yonge's The Daisy Chain, Dickens's Our Mutual Friend, and Oliphant's Phoebe Junior. Each features various handicrafts that subtly aim to subvert the socioeconomic changes being wrought by industrialization. Schaffer goes beyond straightforward textual analysis by shaping each chapter around the individual craft at the center of each novel (paper for Cranford, flowers and related arts in The Daisy Chain, rubbish and salvage in Our Mutual Friend, and the contrasting ethos of arts and crafts connoisseurship in Phoebe Junior). The domestic handicraft also allows for self-referential analysis of the text itself; in scenes of craft production (and destruction), the authors articulate the work they hope their own fictions perform. The handicraft also becomes a locus for critiquing contemporary aesthetic trends, with the novels putting forward an alternative vision of making value and understanding art. A work that combines cultural history and literary studies, Novel Craft highlights how attention to the handicraft movement's radically alternative views of materiality, consumption, production, representation, and subjectivity provides a fresh perspective on the major changes that shaped the Victorian novel as a whole.

This book constitutes the first comprehensive history of the network of women who worked at the heart of the English Arts and Crafts movement from the 1870s to the 1930s. Challenging the long-standing assumption that the Arts and Crafts simply revolved around celebrated male designers like William Morris, it instead offers a new social and cultural account of the movement, which simultaneously reveals the breadth of the imprint of women art workers upon the making of modern society. Thomas provides unprecedented insight into how women navigated authoritative roles as 'art workers' by asserting expertise across a range of interconnected cultures: from the artistic to the professional, intellectual, entrepreneurial and domestic. Through examination of newly discovered institutional archives and private papers, Thomas elucidates the critical importance of the spaces around which women conceptualised alternative creative and professional lifestyles. -- .

The beauty of nature and man's loneliness are dominant themes in the work of Caspar David Friedrich (1774-1840). The artist often places a small human figure in a broad landscape, as in his famous paintings Monk by the Sea and The Wanderer above the Sea of Fog. For a long time the importance and influence of this great Romantic painter were underestimated. When he died, Friedrich had already been forgotten by his contemporaries and was only rediscovered in the early 20th century. Today he is considered to be the most important German painter of his generation and a precursor of Expressionism. Once Friedrich gave the following advice to an artist-colleague of his who was constricted by academic rules: "Shut your physical eye so that you first see your painting with your spiritual eye. Then bring to light what you saw in the dark so that it has an effect on others, shining inwards from outside." In other words, concentration and not imitation, essence and not frivolous brushwork. 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

Republics and empires provides transnational perspectives on the significance of Italy to American art and visual culture and the impact of the United States on Italian art and popular culture. Covering the period from the Risorgimento to the Cold War, it reveals the complexity of the visual discourses that bound two relatively new nations together. It also gives substantial attention to literary and critical texts that addressed the evolving cultural relationship between Italy and the United States. While American art history has tended to privilege French, British and German ties, these chapters highlight a rich body of contemporary research by Italian and American scholars that moves beyond a discussion of influence as a one-way directive towards a deeper understanding of cultural transactions that profoundly affected the artistic expression of both nations. -- .

Never collected together before, this volume brings together all of Ruskin's writings about the Pre-Raphaelites, writings that helped turn this obscure movement into one of the most important movements in British art

"The author makes an eloquent plea for marine biodiversity conservation."-Library Journal "Harvell seems to channel the devotion that motivated the Blaschkas."-The Guardian Winner of the 2016 National Outdoor Book Award, Environment Category It started with a glass octopus. Dusty, broken, and all but forgotten, it caught Drew Harvell's eye. Fashioned in intricate detail by the father-son glassmaking team of Leopold and Rudolf Blaschka, the octopus belonged to a menagerie of unusual marine creatures that had been packed away for decades in a storage unit. More than 150 years earlier, the Blaschkas had been captivated by marine invertebrates and spun their likenesses into glass, documenting the life of oceans untouched by climate change and human impacts. Inspired by the Blaschkas' uncanny replicas, Harvell set out in search of their living counterparts. In A Sea of Glass, she recounts this journey of a lifetime, taking readers along as she dives beneath the ocean's surface to a rarely seen world, revealing the surprising and unusual biology of some of the most ancient animals on the tree of life. On the way, we glimpse a century of change in our ocean ecosystems and learn which of the living matches for the Blaschkas' creations are, indeed, as fragile as glass. Drew Harvell and the Blaschka menagerie are the subjects of the documentary Fragile Legacy, which won the Best Short Film award at the 2015 Blue Ocean Film Festival & Conservation Summit. Learn more about the film and check out the trailer here.

The career of Vincent Van Gogh (1853-90) as a painter was short, but his paintings revolutionized artistic practice and styles. The intensity of his vision, his wonderful sense of colour and the extraordinary boldness of his technique created masterpieces that exercised a profound influence on the art of the twentieth century. There are also enormously popular, and paintings such as The Yellow Chair, The Drawbridge and The Sower are among the most the best-loved images of our time. Wilhelm Uhde was an outstanding art critic and dealer who was born during Van Gogh's lifetime and witnessed at first hand his rise to fame at the beginning of the twentieth century. His masterly essay was first published in 1937 and remains one of the best introductions to Van Gogh's work. For this revised and expanded edition, the notes to the plates were added by Griselda Pollock, Professor of Social and Critical Histories of Art at the University of Leeds.

Gregory Dart expands upon existing notions of Cockneys and the 'Cockney School' in the late Romantic period by exploring some of the broader ramifications of the phenomenon in art and periodical literature. He argues that the term was not confined to discussion of the Leigh Hunt circle, but was fast becoming a way of gesturing towards everything in modern metropolitan life that seemed discrepant and disturbing. Covering the ground between Romanticism and Victorianism, Dart presents Cockneyism as a powerful critical currency in this period, which helps provide a link between the works of Leigh Hunt and Keats in the 1810s and the early works of Charles Dickens in the 1830s. Through an examination of literary history, art history, urban history and social history, this book identifies the early nineteenth century figure of the Cockney as the true ancestor of modernity.

Post-Impressionism is a movement in France that represented both an extension of Impressionism and a rejection of that style's inherent limitations. The term Post-Impressionism was coined by the English art critic Roger Fry for the work of such late 19th-century painters as Paul Cezanne, Georges Seurat, Paul Gauguin, Vincent van Gogh, Henri de Toulouse-Lautrec, and others. Most of these painters began as Impressionists; each of them abandoned the style, however, to form his own highly personal art. Impressionism was based, in its strictest sense, on the objective recording of nature in terms of the fugitive effects of colour and light. The Post-Impressionists rejected this limited aim in favour of more ambitious expression, admitting their debt, however, to the pure, brilliant colours of Impressionism, its freedom from traditional subject matter, and its technique of defining form with short brushstrokes of broken colour. The work of these painters formed a basis for several contemporary trends and for early 20th-century modernism.