This unique book proposes a re-reading of the relationship between artists and the contemporary museum. In Australia in particular, the museum has played a significant role in the colonial project and this has generally been considered as the predominant mode of artists' engagement with such institutions and collections. Australian Artists in the Contemporary Museum expands the post-colonial frame of reference used to interpret this work, to demonstrate the broader implications of the relationship between artists and the museum, and thus to offer an alternative way of understanding recent contemporary practices. The authors' central argument is that artists' engagement with the museum has shifted from politically motivated critique taking place in museums of fine art, towards interventions taking place in non-art museums that focus on the creation of knowledge more broadly. Such interventions assume a number of forms, including the artist acting as curator, art works that highlight the use of taxonomic modes of display and categorization, and the re-consideration of the aesthetics of collections to suggest different ways of interpreting objects and their history. Central to these interventions is the challenge to better connect the museum and its public. The book will be essential reading for scholars, professionals and students in the fields of contemporary art and museum studies, art history, and in the museum sector. These include artists, curators, museum and gallery professionals, postgraduate researchers, art historians, designers and design scholars, art and museum educators, and students of visual art, art history, and museum studies. This project has been assisted by the Australian government through the Australia Council for the Arts, its arts funding and advisory body.

INDIEFAB Book of the Year Awards -- 2014 Finalist A monumental new monograph accompanying the first major retrospective in fifty years of the work of William Glackens, an important American realist painter. This richly illustrated volume provides a comprehensive introduction to William Glackens (1870-1938), one of the liveliest and most influential American painters of the early twentieth century. A founder of the Ashcan School, along with painters such as Robert Henri and John Sloan, Glackens was crucial to the introduction of modern art in the United States through his collaboration with Albert C. Barnes and his championing of landmark exhibitions of American and European avant-garde art. The finest examples of his works over a fifty-year career, including paintings previously unknown to the general public, are reproduced here-from intimate nudes, portraits, and figure studies to vivid still lifes, vibrant street scenes, and landscapes, in which he captured people and their surroundings with matchless spontaneity and spirit. The book features essays by important scholars examining the artist's relationship with French painting, his social observation and interest in costume, his depiction of women, and his role as a tastemaker.

In honor of the fortieth anniversary of the Center for the Arts at Wesleyan University, The Alumni Show II looks back at four decades of Wesleyan artists. Building on the first Alumni Show held in November/December 2003 in celebration of the 30th anniversary of the CFA, this exhibition (September 6 - December 8, 2013) features an entirely new selection of seventeen alumni artists. Their work spans a broad range of contemporary practice and media, including painting, sculpture, drawing, installation art, video art, performance, and film. The artists featured in this exhibition are Ian H. Boyden '95, Stephanie Calvert '08, Rutherford Chang '02, Nicolas Collins '76 MA '79, Renee Green '81, Raphael Griswold '06, John N. Hatleberg '79, Gabriela Herman '03, Elsie Kagan '99, Liz Magic Laser '03, Danielle Mysliwiec '98, Ed Osborn '87, Juliana Romano '04, Aki Sasamoto '04, Arturo Vidich '03, Stephanie Washburn '03, and Ben Weiner '03. The full-color catalog includes a foreword by Michael S. Roth and an essay by John B. Ravenal. It was designed by Cathy Waters, and includes an exhibition checklist.

From the late 1910s through the 1950s, particularly, the Caribbean nation of Haiti drew the attention and imaginations of many key U.S. artists, yet curiously, while significant studies have been published on Haiti's history and inter-American exchanges, none analyze visual representations with any depth. The author calls not only on the methodologies of art history, but also on the interdisciplinary eye of visual culture studies, anthropology, literary theory, and tourism studies to examine the fine arts in relation to popular arts, media, social beliefs, and institutional structures. Twa emphasizes close visual readings of photographs, illustrations, paintings, and theatre. Extensive textual and archival research also supports her visual analysis, such as scrutinizing the personal papers of this study's artists, writers, and intellectuals. Among the literary and artistic luminaries of the twentieth century that Twa includes in her discussion are Richmond Barthe, Eldzier Cortor, Aaron Douglas, Katherine Dunham, Langston Hughes, Zora Neale Hurston, Alexander King, Jacob Lawrence, James Weldon Johnson, LoA-s Mailou Jones, Eugene O'Neill, and William Edouard Scott. Twa argues that their choice of Haiti as subject matter was a highly charged decision by these American artists to use their artwork to engage racial, social, and political issues.

West Rock and East Rock are bold and beautiful features around New Haven, Connecticut. They resemble monumental gateways (or time-tried sentinels) and represent a moment in geologic time when the North American and African continents began to separate and volcanism affected much of Connecticut. The rocks attracted the attention of poets, painters, and naturalists when beliefs rose about the spiritual dimensions of nature in the early 19th century. More than two dozen artists, including Frederick Church, George Durrie, and John Weir, captured their magic and produced an assortment of classic American landscapes. In the same period, the science of geology evolved rapidly, triggered by the controversy between proponents and opponents of biblical explanations for the origin of rocks. Lavishly illustrated, featuring over sixty paintings and prints, this book is a perfect introduction to understanding the relationship of geology and art. It will delight those who appreciate landscape painting, and anyone who has seen the grandeur of East and West Rock.

Internal criticism of the Bauhaus For a long time, the topic of far-left currents within Bauhaus was one of controversy. Thanks to recent research on the Communist Student Fraction (Kostufra), the leftist students are finally coming into focus. Their magazine: bauhaus. sprachrohr der studierenden. organ der kostufra was a venue for unsparing critique of events, curricula, and teachers. The journal was published between 1930 and 1932 in Dessau and Berlin in 15 hectographed issues in a loose-leaf collection and is critically discussed here for the first time by researchers from art and cultural studies, architecture, and editorial studies. It clearly demonstrates that the experimental value of Bauhaus cannot be separated from its political radicalism. First detailed reappraisal of communism in Bauhaus With contributions by Peter Bernhard, Marcel Bois, Magdalena Droste, Elizabeth Otto, Patrick Roessler, and others

Alfred Hutty (1877-1954) was a master painter and printmaker whose evocative landscapes and realistic studies of the human condition represent the best aspects of the Woodstock and Charleston art traditions of his era. Edited by Sara C. Arnold and Stephen G. Hoffius, this illustrated survey of Hutty's career offers the first comprehensive examination of his impact on American art in the South and beyond. The text and catalogue of prints offer authoritative documentation of more than 250 of Hutty's works.
Among the first artists to settle in the Art Students League colony at Woodstock, New York, in the early 1900s, Hutty established himself as a leading painter of the town's natural environs. For more than a decade, he honed his skills in oil and watercolor, producing intimate portrayals of Woodstock's mountains, lakes, and streams before his career took him to South Carolina. Hutty first visited Charleston in 1920 and, according to one of the staple legends of the Charleston Renaissance, he excitedly wired his wife back in Woodstock: "Come quickly, have found heaven." Hutty began dividing his time seasonally between homes and studios in Charleston and Woodstock, teaching art classes for the Carolina Art Association at what is now the Gibbes Museum of Art--a relationship that eventually led to the Gibbes's status as the largest public repository of Hutty's work. In Charleston, Hutty was inspired to try his hand at printmaking for the first time, and it is this artistic medium for which he is best known. His skillful prints depicting the city's surviving colonial and antebellum architecture, its rural environs, and its African American population drew unprecedented national attention both to Hutty and to Charleston.
Published in cooperation with the Gibbes Museum of Art, The Life and Art of Alfred Hutty features essays by Sara C. Arnold, Alexis L. Boylan, Harlan Greene, Edith Howle, a foreword by Gibbes executive director Angela D. Mack, and a catalogue of known prints by Hutty.

Maximum Embodiment presents a compelling thesis articulating the historical character of Yoga, literally the "Western painting" of Japan. The term designates what was arguably the most important movement in modern Japanese art from the late nineteenth to the mid-twentieth centuries. Perhaps the most critical marker of Yoga was its association with the medium of oil-on-canvas, which differed greatly from the water-based pigments and inks of earlier Japanese painting. Yoga encompassed both establishment fine art and avant-gardist insurgencies, but in both cases, as the term suggests, it was typically focused on techniques, motifs, canons, or iconographies that were obtained in Europe and deployed by Japanese artists. Despite recent advances in Yoga studies, important questions remain unanswered: What specific visuality did the protagonists of Yoga seek from Europe and contribute to modern Japanese society? What qualities of representation were so dearly coveted as to stimulate dedication to the pursuit of Yoga? What distinguished Yoga in Japanese visual culture? This study answers these questions by defining a paradigm of embodied representation unique to Yoga painting that may be conceptualized in four registers: first, the distinctive materiality of oil paint pigments on the picture surface; second, the depiction of palpable human bodies; third, the identification of the act and product of painting with a somatic expression of the artist's physical being; and finally, rhetorical metaphors of political and social incorporation. The so-called Western painters of Japan were driven to strengthen subjectivity by maximizing a Japanese sense of embodiment through the technical, aesthetic, and political means suggested by these interactive registers of embodiment. Balancing critique and sympathy for the twelve Yoga painters who are its principal protagonists, Maximum Embodiment investigates the quest for embodiment in some of the most compelling images of modern Japanese art. The valiant struggles of artists to garner strongly embodied positions of subjectivity in the 1910s and 1930s gave way to despairing attempts at fathoming and mediating the horrifying experiences of real life during and after the war in the 1940s and 1950s. The very properties of Yoga that had been so conducive to expressing forceful embodiment now produced often gruesome imagery of the destruction of bodies. Combining acute visual analysis within a convincing conceptual framework, this volume provides an original account of how the drive toward maximum embodiment in early twentieth-century Yoga was derailed by an impulse toward maximum disembodiment.

"Imagining Resistance: Visual Culture and Activism in Canada" offers two separate but interconnected strategies for reading alternative culture in Canada from the 1940s through to the present: first, a history of radical artistic practice in Canada and, second, a collection of eleven essays that focus on a range of institutions, artists, events, and actions. The history of radical practice is spread through the book in a series of short interventions, ranging from the "Refus global" to anarchist-inspired art, and from Aboriginal curatorial interventions to culture jamming. In each, the historical record is mined to rewrite and reverse Canadian art history--reworked here to illuminate the series of oppositional artistic endeavours that are often mentioned in discussions of Canadian art but rarely acknowledged as having an alternative history of their own.

Alongside, authors consider case studies as diverse as the anti-war work done by John Lennon and Yoko Ono in Montreal and Toronto, recent exhibitions of activist art in Canadian institutions, radical films, performance art, protests against the Olympics, interventions into anti-immigrant sentiment in Montreal, and work by Iroquois photographer Jeff Thomas. Taken together, the writings in "Imagining Resistance" touch on the local, the global, the national, and post-national to imagine a very different landscape of cultural practice in Canada.

In this examination of Samuel Bak's most recent collection of paintings inspired by the little boy from the famous Stroop Report photo taken in the Warsaw Ghetto in April 1943, Gary A. Phillips and Danna Nolan Fewell consider the historical and visual implications of this iconic image and its contemporary evocations. A survivor of the Vilna liquidation and a child prodigy whose first exhibition was held in the Vilna Ghetto at age nine, Bak weaves together personal history and Jewish history to articulate an iconography of his Holocaust experience. Bak's art preserves memory of the twentieth-century ruination of Jewish life and culture by way of an artistic passion and precision that stubbornly announces the creativity of the human spirit.

Between 1940 and 1960, many Native American artists made bold departures from what was considered the traditional style of Indian painting. They drew on European and other non-Native American aesthetic innovations to create hybrid works that complicated notions of identity, authenticity, and tradition. This richly illustrated volume focuses on the work of these pioneering Native artists, including Pueblo painters Jose Lente and Jimmy Byrnes, Ojibwe painters Patrick DesJarlait and George Morrison, Cheyenne painter Dick West, and Dakota painter Oscar Howe. Bill Anthes argues for recognizing the transformative work of these Native American artists as distinctly modern, and he explains how bringing Native American modernism to the foreground rewrites the broader canon of American modernism.In the mid-twentieth century, Native artists began to produce work that reflected the accelerating integration of Indian communities into the national mainstream as well as, in many instances, their own experiences beyond Indian reservations as soldiers or students. During this period, a dynamic exchange among Native and non-Native collectors, artists, and writers emerged. Anthes describes the roles of several anthropologists in promoting modern Native art, the treatment of Native American "Primitivism" in the writing of the Jewish American critic and painter Barnett Newman, and the painter Yeffe Kimball's brazen appropriation of a Native identity. While much attention has been paid to the inspiration Native American culture provided to non-Native modern artists, Anthes reveals a mutual cross-cultural exchange that enriched and transformed the art of both Natives and non-Natives.

Born in 1881 in a small village north of Montreal, Clarence Gagnon is best known for his paintings of sun-drenched winter landscapes and for the colorful illustrations for Louis Hemon's novel, "Maria Chapdelaine."

Clarence Gagnon: An Introduction to His Life and Art is a richly illustrated, insightful look at a complex individual.

Despite living in France for much of his adult life, Gagnon's love for his native Quebec is evident in his art. His simple, realistic style of painting captures the old traditions and peaceful rural splendor of Quebec's Laurentian Mountains and Charlevoix region at the end of the 19th century.

The book traces Gagnon's early life and influences, examining his career as an illustrator and his development as an artist. Included here are excerpts from Gagnon's personal letters, which reveal his astute observations of life, art and politics.

Liberally illustrated with Gagnon's sublimely executed paintings -- many never before published together in one volume -- Clarence Gagnon is a superb tribute to an international artist who always remained passionate about his simple origins.

The first collection of writings on the entire history of Abstract Expressionism--a movement that has inspired six decades of heated rhetoric Abstract Expressionism is arguably the most important art movement in postwar America. Many of its creators and critics became celebrities, participating in heated public debates that were published in newspapers, magazines, and exhibition catalogues. This up-to-date anthology is the first comprehensive collection of key critical writings about Abstract Expressionism from its inception in the 1940s to the present day. Ellen G. Landau's masterful introduction presents and analyzes the major arguments and crucial points of view that have surrounded the movement decade by decade. She then offers a selection of readings, also organized by decade, including influential statements by such artists as Mark Rothko, Robert Motherwell, Jackson Pollock, and Barnett Newman as well as the commentary of diverse critics. Offering new insights into the development of Abstract Expressionism, this rich anthology also demonstrates the ongoing impact of this revolutionary and controversial movement. Reading Abstract Expressionism is essential for the library of any curator, scholar, or student of twentieth-century art.

The life and times of one of our most enchanting artists; a twentieth-century fairy tale, lovingly remembered and luminously told. Fourteen years ago, the artist Dorothea Tanning published Birthday, a collection of reminiscences. Now she has expanded it into a memoir of her journey through the last century as confidant, collaborator, and muse to some of its most inspired minds and personalities: a diverse assemblage that ranges from the fathers of dada and surrealism to Virgil Thompson, George Balanchine, Alberto Giacometti, Dylan Thomas, Truman Capote, Joan Miro, James Merrill, and many more. At its center is the relationship, tenderly rendered, between Tanning and her famed husband, the enigmatic surrealist Max Ernst. Whether recalling the poignant presence of her friend Joseph Cornell or simply marveling at the facades along a Venice canal, "their filmy reflections fluttering in the dirty canal like fragile altar cloths hung out to dry," Tanning's writing is beguiling, wry, and shot through with the same eye for pregnant detail and immanent magic that marks her art.

My Life was written in Moscow in 1921-1922, when Chagall was thirty-five years old. Although long out-of-print, it remains one of the most extraordinarily inventive and beautifully told of all autobiographies. The text is accompanied by twenty plates which Chagall prepared especially to illustrate his life story. Together, the words and pictures paint an incomparable portrait of one of the greatest painters of this century, and of the now vanished milieu which inspired him.

No Italian painter of this century has aroused so much comment, from eulogy to outright condemnation, as Giorgio de Chirico (1888-1978). One of the initiators of surrealism, he is a key figure in modern art; his influence on later painters, particularly during his metaphysical period, is second only to Picasso's. De Chirico relied on imagery from the unconscious to create art with mythological, philosophical, and historical overtones.

Politics of art under National Socialism This publication deals with the most powerful Nazi institution for the political control of artists in the Third Reich, the Reich Chamber of Fine Arts. This scholarly examination of the almost 3,000 member files offers a unique insight into the political power structures, processes, networks, and artistic attitudes of the Nazi regime in Vienna. Beginning with the rise of Austrian fascism before 1938, the book goes on to discuss the consequences of the Anschluss for painting, sculpture, arts and crafts, architecture, and graphic art in Vienna. The book describes the most important players in Nazi art, the commissioning institutions, and the propaganda exhibitions. The book also takes a critical look at the situation after 1945 and questions artistic and personal continuities. Publication and exhibition catalog of the Wien Museum - one of the most beautiful books of Austria 2021 Filling a gap in the historiography of the 20th century Remembering those artists who fell victim to the National Socialist regime

Dolores Soldevilla Nieto was a passionate Cuban artist whose career blossomed in the 1950s. Following early professional turns, she emerged later in life as a prolific artist and fervent advocate for culture. She became Cuba's cultural attache to Europe, embarking on a path that would dramatically alter the course of her life and the discourse surrounding Cuban abstraction at mid-century. Residing in Paris, she studied in the ateliers of prominent European and American artists, and, after returning to Cuba, she played an active role as a vital link between the European avant-garde and the new voices of abstraction emerging throughout Latin America and Cuba. Lolo Soldevilla: Constructing Her Universe is the first monograph devoted to her remarkable achievements, providing compelling insight into the life and work of this exceptional artist.

Les collections d'&#156uvres d'art racontent des histoires qui refletent les interets du collectionneur et de son epoque. Chefs-d'&#156uvre de la Galerie d'art Beaverbrook relate la vie rocambolesque de sir William Maxwell (Max) Aitken, aussi connu sous le nom de lord Beaverbrook, magnat de la presse multimillionnaire, editeur de journaux arrogant, habile politicien, maitre de la propagande, auteur et grand philanthrope.

En 1959, sir Max Aitken inaugure a Fredericton, au Nouveau-Brunswick, la Galerie d'art Beaverbrook pour abriter une collection exemplaire de tableaux. Constitue par lord Beaverbrook lui-meme et son entourage de conservateurs et de collegues, ce noyau initial d'&#156uvres deviendra l'une des plus belles et des plus importantes collections d'art britannique en Amerique du Nord. Il comprend notamment des &#156uvres de J.M.W. Turner, Lucian Freud, Graham Sutherland et Walter Sickert, ainsi que des tableaux representatifs de Thomas Gainsborough, John Constable, John Singleton Copley, Eugene Delacroix, Joshua Reynolds et Salvador Dali, qui temoignent du caractere distinctif et de la qualite de la remarquable collection de la Galerie.

Ces &#156uvres importantes sont reunies pour la premiere fois dans cette publication luxueuse comprenant plus de 75 reproductions en couleur, ainsi que des essais sur l'histoire de la collection et les chefs-d'&#156uvre, signes par six critiques renommes?: Elliott H. King, historien de l'art et specialiste de Dali; James Hamilton, auteur de "Turner: A Life"; Richard Calvocoressi, directeur de la fondation Henry Moore; l'auteur et conservateur Angus Stewart; l'historienne de l'art Katharine Eustace; ainsi que Terry Graff, conservateur de la Galerie d'art Beaverbrook et principal auteur de cet ouvrage.

Pour clore l'ouvrage, le journaliste Marty Klinkenberg et le directeur general de la Galerie d'art Beaverbrook, Bernard Riordon, retracent les peripeties du differend opposant le musee et les deux fondations Beaverbrook.

A new understanding of Marcel Duchamp and his significance as an artist through an investigation of his non-art activities-archiving, art-dealing, and, most persistently, curating. This groundbreaking and richly illustrated book tells a new story of the twentieth century's most influential artist, recounted not so much through his artwork as through his "non-art" work. Marcel Duchamp is largely understood in critical and popular discourse in terms of the objects he produced, whether readymade or meticulously fabricated. Elena Filipovic asks us instead to understand Duchamp's art through activities not normally seen as artistic-from exhibition making and art dealing to administrating and publicizing. These were no occasional pursuits; Filipovic argues that for Duchamp, these fugitive tasks were a veritable lifework. Drawing on many rarely seen images, Filipovic traces a variety of practices and projects undertaken by Duchamp from 1913 to 1969, from his invention of the readymade to the release of his last, posthumous work. She examines Duchamp's note writing, archiving, and quasi-photographic activities, which resulted in the Box of 1914 and the Green Box; his art dealing, marketing, and curating that culminated in experimental exhibitions for the Surrealists and his miniature museum, The Boite-en-valise; and his administrative efforts and clandestine maneuvering in order to posthumously embed his Etant donnes into a museum. Demonstrating how those activities reflect the artist's questioning of reproduction and originality, as well as photography and the exhibition, Filipovic proposes that Duchamp's "non-art" labor, and in particular his curatorial strategies, more than merely accompanied his more famous artworks; in a certain sense, they made them. Through Duchamp's elusive but vital activities he revised the idea of what a modern artist could be. With this fascinating book, Filipovic in turn revises the very idea of Duchamp

Robert Lebel, French art critic and collector, was instrumental in rendering Marcel Duchamp s often hermetic life, art, and ideas accessible to a wider public across Europe and the United States, principally with his 1959 publication "Sur Marcel Duchamp," the first monograph and catalogue raisonne devoted to the artist. Duchamp was a willing partner in the book s creation. In fact, his active participation in both its conception and layout was so substantial that the book is considered part of the artist s oeuvre. But the project took six years to complete. The trials, tribulations, quarrels, and machinations that plagued the production, publication, and publicity of "Sur Marcel Duchamp" are the focus of this correspondence between two lifelong friends. Translated and printed in full together for the first time, and including the original French texts, these letters, postcards, and telegrams from the collection of the Getty Research Institute offer uncensored access to the evolution of the relationship between Lebel and Duchamp from December 1946 to April 1967. They provide valuable information about their daily activities as well as those of friends and colleagues, vital details concerning their various collective projects, and illuminating insights into their thinking about art and life. These documents, witty and sincere, bear witness to the art of friendship and a friendship in art."

Featuring thirty-five outstanding abstract paintings made between 1950 and 1975 from the collection of the National Gallery of Art, Washington, this fascinating book casts a new glance at a renowned period in the history of art, including works by Lynda Benglis, Jasper Johns, Yayoi Kusama, Jackson Pollock, and Mark Rothko. A groundbreaking essay by Harry Cooper explores Pollock's preeminent role for these and other artists, analyzes artistic influence, and discusses what it means to be original. Focusing on Frank Stella, Helen Frankenthaler, Morris Louis, Robert Ryman, Cy Twombly, and Simon Hantai, and viewing their relationships to Pollock through the lens of Harold Bloom's seminal text The Anxiety of Influence, Cooper addresses the material, psychological, and thematic ties between Pollock's work and theirs and expands the circle of artists that we might consider his artistic heirs. Distributed for the Clark Art Institute and the National Gallery of Art, Washington Exhibition Schedule: The Clark Art Institute (07/04/14-10/13/14)

"A few short days has changed my status in this country, although I myself have not changed at all." On December 8, 1941, artist Yasuo Kuniyoshi (1889-1953) awoke to find himself branded an "enemy alien" by the U.S. government in the aftermath of Japan's attack on Pearl Harbor. The historical crisis forced Kuniyoshi, an emigre Japanese with a distinguished career in American art, to rethink his pictorial strategies and to confront questions of loyalty, assimilation, national and racial identity that he had carefully avoided in his prewar art. As an immigrant who had proclaimed himself to be as "American as the next fellow," the realization of his now fractured and precarious status catalyzed the development of an emphatic and conscious identity construct that would underlie Kuniyoshi's art and public image for the remainder of his life. Drawing on previously unexamined primary sources, Becoming American? is the first scholarly book in over two decades to offer an in-depth and critical analysis of Yasuo Kuniyoshi's pivotal works, including his "anti-Japan" posters and radio broadcasts for U.S. propaganda, and his coded and increasingly enigmatic paintings, within their historical contexts. Through the prism of an identity crisis, the book examines Kuniyoshi's imagery and writings as vital means for him to engage, albeit often reluctantly and ambivalently, in discussions about American democracy and ideals at a time when racial and national origins were grounds for mass incarceration and discrimination. It is also among the first scholarly studies to investigate the activities of Americans of Japanese descent outside the internment camps and the intense pressures with which they had to deal in the aftermath of Pearl Harbor. As an art historical book, Becoming American? foregrounds broader historical debates of what constituted American art, a central preoccupation of Kuniyoshi's artistic milieu. It illuminates the complicating factors of race, diasporas, and ideology in the construction of an American cultural identity. Timely and provocative, the book historicizes and elucidates the ways in which "minority" artists have been, and continue to be, both championed and marginalized for their cultural and ethnic "difference" within the twentieth-century American art canon.

From 1802, when the young artist William Edward West began painting portraits on a downriver trip to New Orleans, to 1918, when John Alberts, the last of Frank Duveneck's students, worked in Louisville, a wide variety of portrait artists were active in Kentucky and the Ohio River Valley. Lessons in Likeness: Portrait Painters in Kentucky and the Ohio River Valley, 1802--1920 charts the course of those artists as they painted the mighty and the lowly, statesmen and business magnates as well as country folk living far from urban centers. Paintings by each artist are illustrated, when possible, from The Filson Historical Society collection of some 400 portraits representing one of the most extensive holdings available for study in the region. This volume begins with a cultural chronology -- a backdrop of critical events that shaped the taste and times of both artist and sitter. The chronology is followed by brief biographies of the artists, both legends and recent discoveries, illustrated by their work. Matthew Harris Jouett, who studied with Gilbert Stuart, William Edward West, who painted Lord Byron, and Frank Duveneck are well-known; far less so are James T. Poindexter, who painted charming children's portraits in western Kentucky, Reason Croft, a recently discovered itinerant in the Louisville area, and Oliver Frazer, the last resident portrait artist in Lexington during the romantic era. Pennington's study offers a captivating history of portraiture not only as a cherished possession but also representing a period of cultural and artistic transitions in the history of the Ohio River Valley region.

This anthology outlines a strong vitalistic movement in Denmark with considerably broader dimensions than has previously been recognised. The contributions examine a number of art-historical perspectives ranging from sports and dance motifs, the cultivation of the healthy and athletic body to the vibrant landscapes framing ideal outdoor life for men, women and children. Vitalism's prismatic nature is traced across a wide range of disciplines, including philosophy, music, dance, literature and architecture. Additionally, the volume highlights the prevalence of the interest in health, beauty and strength in the culture of everyday life during the period 1890-1940: exemplified, for example, by the reintroduction of the Olympic Games in 1896, the emergence of a vast number of sports clubs, and an increased attentiveness to hygiene and nutrition. Although the Vitalistic themes emanated from modern life, they also drew artistic sustenance from Nordic mythology and Greek antiquity, which served as the most important ideals in the modern pursuit of both physical and spiritual beauty.