Indian art, increasingly popular in the west, cannot be fully appreciated without some knowledge of the religious and philosophical background. This book, first published in 1985, covers all aspects of Hindu iconography, and explains that its roots lie far back in the style of prehistoric art. The dictionary demonstrates the rich profusion of cults, divinities, symbols, sects and philosophical views encompassed by the Hindu religious tradition.

This interdisciplinary collection of essays brings together scholars in the fields of art history, theatre, visual culture, and literature to explore intersections between the European avant-garde (c. 1880–1945) and themes of health and hygiene, such as illness, contagion, cleanliness, and contamination. Examining the artistic oeuvres of some of the canonical names of modern art – including Edgar Degas, Edvard Munch, Pablo Picasso, George Orwell, Marcel Duchamp, and Antonin Artaud – this book investigates instances where the heightened political, social, and cultural currencies embedded within issues of hygiene and contagion have been mobilised, and subversively exploited, to fuel the critical strategy at play. This edited volume promotes an interdisciplinary and socio-historically contextualised understanding of the criticality of the avant-garde gesture and cultivates scholarship that moves beyond the limits of traditional academic subjects to produce innovative and thought-provoking connections and interrelations across various fields. The book will be of interest to scholars working in art history, literature, theatre, cultural studies, modern history, medical humanities, and visual culture.

This collective volume aims to highlight the philosophical and literary idea of apocalypse, within some key examples in the Slavic world during the nineteenth and twentieth centuries. From Russian realism to avant-garde painting, from the classic fiction of the nineteenth century to twentieth-century philosophy, and not omitting theatre, cinema or music, there is a specific examination of the concepts of "end of history" and "end of present time" as conditions for a redemptive image of the world. To understand this idea means to understand an essential part of Slavic culture, which, however divergent and variegated it may be in general, converges on this specific myth in a surprising manner.

The first full-length and comprehensive study of the illustrations of Sterne's work, this book explores the ability of Sterne's texts to inspire the visual imagination. It helps to explain why scores of editions of his fiction have been illustrated, some profusely: to fulfill the reader's desire, as well as the artist's compulsion, to visualize Sterne's words. Gerard places his subject in a clear and innovative theoretical framework which opens the field to general word and image studies. The author begins by examining the distinct varieties of pictorialism in Sterne's texts. The remainder of the study takes into account three remarkable series of illustrations-representing Trim reading the sermon, didactic sentimentalism in A Sentimental Journey and Henry Mackenzie's Man of Feeling, and the many and diverse portrayals of 'poor Maria' - to demonstrate the ways in which culture projects these texts differently through the various artists.

Though Bartolomeo Scappi's Opera (1570), the first illustrated cookbook, is well known to historians of food, up to now there has been no study of its illustrations, unique in printed books through the early seventeenth century. In Food and Knowledge in Renaissance Italy, Krohn both treats the illustrations in Scappi's cookbook as visual evidence for a lost material reality; and through the illustrations, including several newly-discovered hand-colored examples, connects Scappi's Opera with other types of late Renaissance illustrated books. What emerges from both of these approaches is a new way of thinking about the place of cookbooks in the history of knowledge. Krohn argues that with the increasing professionalization of many skills and trades, Scappi was at the vanguard of a new way of looking not just at the kitchen-as workshop or laboratory-but at the ways in which artisanal knowledge was visualized and disseminated by a range of craftsmen, from engineers to architects. The recipes in Scappi's Opera belong on the one hand to a genre of cookery books, household manuals, and courtesy books that was well established by the middle of the sixteenth century, but the illustrations suggest connections to an entirely different and emergent world of knowledge. It is through study of the illustrations that these connections are discerned, explained, and interpreted. As one of the most important cookbooks for early modern Europe, the time is ripe for a focused study of Scappi's Opera in the various contexts in which Krohn frames it: book history, antiquarianism, and visual studies.

Many well-known male writers produced fictions about colonial spaces and discussed the advantages of realism over romance, and vice versa, in the 'art of fiction' debate of the 1880s; but how did female writers contribute to colonial fiction? This volume links fictional, non-fictional and pictorial representations of a colonial otherness with the late nineteenth-century artistic concerns about representational conventions and possibilities. The author explores these texts and images through the postcolonial framework of 'exoticism', arguing that the epistemological dilemma of a 'self' encountering an 'other' results in the interrelated predicament to find poetic modalities - mimetic, realistic and documentary on the one hand; romantic, fantastic and picturesque on the other - that befit an 'exotic' representation. Thus women writers did not only participate in the making of colonial fictions but also in the late nineteenth-century artistic debate about the nature of fiction. This book maps the epistemological concerns of exoticism and of difference - self and other, home and away, familiarity and strangeness - onto the representational modes of realism and romance. The author focuses exclusively on female novelists, travel writers and painters of the turn-of-the-century exotic, and especially on neglected authors of academically under-researched genres such as the bestselling novel and the travelogue.

"Taken as a trilogy, consent not to be a single being is a monumental accomplishment: a brilliant theoretical intervention that might be best described as a powerful case for blackness as a category of analysis."-Brent Hayes Edwards, author of Epistrophies: Jazz and the Literary Imagination In Black and Blur-the first volume in his sublime and compelling trilogy consent not to be a single being-Fred Moten engages in a capacious consideration of the place and force of blackness in African diaspora arts, politics, and life. In these interrelated essays, Moten attends to entanglement, the blurring of borders, and other practices that trouble notions of self-determination and sovereignty within political and aesthetic realms. Black and Blur is marked by unlikely juxtapositions: Althusser informs analyses of rappers Pras and Ol' Dirty Bastard; Shakespeare encounters Stokely Carmichael; thinkers like Kant, Adorno, and Jose Esteban Munoz and artists and musicians including Thornton Dial and Cecil Taylor play off each other. Moten holds that blackness encompasses a range of social, aesthetic, and theoretical insurgencies that respond to a shared modernity founded upon the sociological catastrophe of the transatlantic slave trade and settler colonialism. In so doing, he unsettles normative ways of reading, hearing, and seeing, thereby reordering the senses to create new means of knowing.

This book provides a comprehensive assessment of Dürer’s depictions of human diversity, focusing particularly on his depictions of figures from outside his Western European milieu. Heather Madar contextualizes those depictions within their broader artistic and historical context and assesses them in light of current theories about early modern concepts of cultural, ethnic, religious and racial diversity. The book also explores Dürer’s connections with contemporaries, his later legacy with respect to his imagery of the other and the broader significance of Nuremberg to early modern engagements with the world beyond Europe. The book will be of interest to scholars working in art history, Renaissance studies and Renaissance history.

Challenging distinctions between fine and decorative art, this book begins with a critique of the Rodin scholarship, to establish how the selective study of his oeuvre has limited our understanding of French nineteenth-century sculpture. The book's central argument is that we need to include the decorative in the study of sculpture, in order to present a more accurate and comprehensive account of the practice and profession of sculpture in this period. Drawing on new archival sources, sculptors and objects, this is the first sustained study of how and why French sculptors collaborated with state and private luxury goods manufacturers between 1848 and 1895. Organised chronologically, the book identifies three historically-situated frameworks, through which sculptors attempted to validate themselves and their work in relation to industry: industrial art, decorative art and objet d'art. Detailed readings are offered of sculptors who operated within and outside the Salon, including Sevin, Cheret, Carrier-Belleuse and Rodin; and of diverse objects and materials, from Sevres vases, to pewter plates by Desbois, and furniture by Barbedienne and Carabin. By contesting the false separation of art from industry, Claire Jones's study restores the importance of the sculptor-manufacturer relationship, and of the decorative, to the history of sculpture.

'Timed out' is a pioneering study of modern and contemporary art in the aftermath of empire. It addresses the current 'global turn' in the study of art by way of the transnational Caribbean, offering an in-depth account of the Atlantic world in relation to the mainstream history of art. It looks at why art of the Anglophone Caribbean and its diaspora have been placed not only 'outside' but 'behind' the dominant art canons, and how the politics of space and time can be used to rethink the global geography of art. This is an essential addition to the growing field of 'world art studies', bringing concerns around temporality together with cross-cultural issues and debates. It shows how art and artists of the Caribbean have encountered and challenged the charges of belatedness, anachronism, provincialism and marginalisation that are fundamental to the time-space logic of art history. -- .

The ultimate illustrated guide to the sculpture parks and trails of England, Scotland, Ireland and Wales. This exciting guide to the sculpture parks, trails and gardens of England, Ireland, Scotland and Wales is the perfect book for those who like art and the outdoors. Divided up into countries and regions, the book is informative as well as beautifully illustrated with fabulous images of sculptures by a broad array of international artists. It provides information on all the major sculpture venues of interest, featuring the best and most established, while also providing a wide range of other interesting places to visit and explore. Each feature provides directions of how to get there, along with an overview of the park or trail, and lists sculptures of particular interest and quality, while maps of each area will help you find places close by to visit. This makes it easy to see which places are suited to you depending on your preferences, level of interest and time available. This fully revised 2nd edition provides updated information and new entries for England, as well as brand new sections providing thorough coverage of Scotland, Ireland and Wales. The ideal guide for those with a passion for both nature and sculptures.

The first English-language monograph on Il Fronte Nuovo delle Arti, this study explores the rise and fall of this postwar Italian artists' group as a representative instance of the tensions facing Italian painting during the transition out of two decades of Fascism and into the global divisions of the Cold War. Adrian Duran argues that the binary structures of the era - realism vs. abstraction, Communism vs. democracy, conformism vs. freedom - have monopolized the discourse surrounding the Fronte Nuovo and, with it, the historiography of Italian painting during this period, 1944-50. Beginning with the dialogues that framed the formation of the Fronte Nuovo, this book reconsiders artists' works, correspondence, critical writings, and manifestos. These are married to examinations of specific exhibitions, the most important of which are the group's 1947 inaugural exhibition and the 1948 and 1950 Venice Biennali. The critical responses to these exhibitions are reconsidered in light of their groundings in the heated political debates of the period. In total, these diverse sources reveal the vast divide between the internal discourse of the arts, generated by the participant artists and their works, and the surrounding politics of Cold War Italy.

In Collective Situations scholars, artists, and art collectives present a range of socially engaged art practices that emerged in Latin America during the Pink Tide period, between 1995 and 2010. This volume's essays, interviews, and artist's statements-many of which are appearing in English for the first time-demonstrate the complex relationship between moments of political transformation and artistic production. Whether addressing human rights in Colombia, the politics of urban spaces in Brazil, the violent legacy of military dictatorships in the region, or art's intersection with public policy, health, and the environment, the contributors outline the region's long-standing tradition of challenging ideas about art and the social sphere through experimentation. Introducing English-language readers to some of the most dynamic and innovative contemporary art in Latin America, Collective Situations documents new possibilities for artistic practice, collaboration, and creativity in ways that have the capacity to foster vibrant forms of democratic citizenship. Contributors Gavin Adams, Mariola V. Alvarez, Gustavo Buntinx, Maria Fernanda Cartagena, David Gutierrez Castaneda, Fabian Cereijido, Paloma Checa-Gismero, Kency Cornejo, Raquel de Anda, Bill Kelley Jr., Grant H. Kester, Suzanne Lacy, Ana Longoni, Rodrigo Marti, Elize Mazadiego, Annie Mendoza, Alberto Muenala, Prerana Reddy, Maria Reyes Franco, Pilar Riano-Alcala, Juan Carlos Rodriguez

This fully revised and updated third edition offers students and artists valuable insights into traditional color theory and its practical application using today's cutting-edge technology. The text is lavishly illustrated, stressing issues of contemporary color use and examining how today's artists and designers are using color in a multitude of mediums in their work. It is the only book that has parity between the male and female artists and designers represented, while containing more multicultural and global examples of art and design than any other text. This book begins with how we see color and its biological basis, progressing to the various theories about color and delving into the psychological meaning of color and its use. There are individual chapters on color use in art and design, as well as global and multicultural color use. One chapter investigates cross cultural life events such as marriages and funerals, while examining the six major religions' conceptual and psychological underpinnings of color use. The final chapter explores the future of color. Contemporary Color is the ideal text for color theory courses, but also for beginning art and design students, no matter what their future major discipline or emphasis may be. It provides the foundation on which to build their career and develop their own personal artistic voice and vision.

Once the US was the only country in the world to offer a doctorate for studio artists, however the PhD in fine art disappeared after pressures established the MFA as the terminal degree for visual artists. Subsequently, the PhD in fine art emerged in the UK and is now offered by approximately 40 universities. Today the doctorate is offered in most English-speaking nations, much of the EU, and countries such as China and Brazil. Using historical, political, and social frameworks, this book investigates the evolution of the fine art doctorate in the UK, what the concept of a PhD means to practicing artists from the US, and why this degree disappeared in the US when it is so vigorously embraced in the UK and other countries. Data collected through in-depth interviews examine the perspectives of professional artists in the US who teach graduate level fine art. These interviews disclose conflicting attitudes toward this advanced degree and reveal the possibilities and challenges of developing a potential doctorate in studio art in the US.

Living through the Covid-19 global pandemic has changed the way that we experience our lives, the way that we relate to one-another, and the way that we engage with the world. Focusing contextually on the initial lockdowns of the pandemic in 2020, this book proposes that art-based research has a central, illuminative role to play in our understanding of unfolding crises. The changes brought on by the global event may not be readily accessible or expressible through traditional academic research. Art-based research offers the opportunity to explore, document, and reflect on the emerging and often ineffable qualities of transformed lives by drawing on emotional, bodily, and interactive aspects of experience. Such an approach allows for meaning-making that makes room for reflexive, interpersonal, and dialogical engagement. The contributions aim to capture and explore lived experiences of the pandemic, as well as begin a discussion about how meaning-making is changing through and beyond the pandemic. This book further explores how the nature and practice of art-based research in itself has been challenged and transformed. The book will be of interest to scholars working in art education, art psychotherapy, consumer research, visual studies, cultural studies, and sociology.

Presenting a radically different picture of Egon Schiele's work, this study documents (in one-to-one comparisons) the extent of the artist's visual borrowings from the Viennese humoristic journal, Die Muskete. Claude Cernuschi analyzes each comparison on a case-by-case basis, primarily because the interpretation of cartoons and caricatures is highly contingent on their specific historical and cultural context. Although this connection has gone unnoticed in the literature, in retrospect, this correlation makes perfect sense. Not only was Schiele's artistic production frequently compared to caricature (and derided for being "grotesque"), but Expressionism and caricature are natural allies. One may belong to "high" art and the other to "popular" culture, yet both presuppose similar assumptions and deploy a similar rhetorical position: namely, that the exaggeration of human physiognomy allows deeper psychological "truths" to emerge. The book will be of interest to scholars working in art history, visual culture, popular culture, and politics.

The institution of the pantheon has come a long way from its classical origins. Invented to describe a temple dedicated to many deities, the term later became so far removed from its original meaning, that by the twentieth century, it has been able to exist independently of any architectural and sculptural monument. This collection of essays is the first to trace the transformation of the monumental idea of the pantheon from its origins in Greek and Roman antiquity to its later appearance as a means of commemorating and enshrining the ideals of national identity and statehood. Illuminating the emergence of the pantheon in a range of different cultures and periods by exploring its different manifestations and implementations, the essays open new historical perspectives on the formation of national and civic identities.

The notion that the practice of abstraction was confined to Western Europe while a stereotyped form of figuration defined the art of the Eastern bloc continues to dominate art historical accounts of public sculpture of the post-war period. This book offers a number of alternative readings, and demonstrates strategic uses of figuration and abstraction across East and West. Encompassing sites of memory (including war memorials and Holocaust memorials), state, civic and corporate sculpture, as well as temporary and unexecuted projects, the book shows that persuasive advocates of figuration were to be found in the West, while in the East imaginative experiments in abstraction were proposed in the name of Social Realism. Presenting fresh insights into sculptural practice in the period between 1945 and 1968, this book brings together a wide range of authors, some of whom have never before been published in English. Their essays are complemented by extracts from documentary texts, which give a flavour of contemporary debates, and a biographical section includes entries on many sculptors who will be unfamiliar to an English-speaking audience.

With the words 'A new manifestation of art was ... expected, necessary, inevitable,' Jean Moreas announced the advent of the Symbolist movement in 1886. When Symbolist artists began experimenting in order to invent new visual languages appropriate for representing modern life in all its complexity, they set the stage for innovation in twentieth-century art. Rejecting what they perceived as the superficial descriptive quality of Impressionism, Naturalism, and Realism, Symbolist artists delved beneath the surface to express feelings, ideas, scientific processes, and universal truths. By privileging intangible concepts over perceived realities and by asserting their creative autonomy, Symbolist artists broke with the past and paved the way for the heterogeneity and penchant for risk-taking that characterizes modern art. The essays collected here, which consider artists from France to Russia and Finland to Greece, argue persuasively that Symbolist approaches to content, form, and subject helped to shape twentieth-century Modernism. Well-known figures such as Kandinsky, Khnopff, Matisse, and Munch are considered alongside lesser-known artists such as Fini, Gyzis, Koen, and Vrubel in order to demonstrate that Symbolist art did not constitute an isolated moment of wild experimentation, but rather an inspirational point of departure for twentieth-century developments.

Vitrines and glass cabinets are familiar apparatuses that have in large part defined modern modes of display and visibility, both within and beyond the museum. They separate objects from their contexts, group them with other objects, both similar and dissimilar, and often serve to reinforce their intrinsic or aesthetic values. The vitrine has much in common with the picture frame, the plinth and the gallery, but it has not yet received the kind of detailed art historical and theoretical discussion that has been brought to these other modes of formal display. The twelve contributions to this volume examine some of the points of origin of the vitrine and the various relations it brokers with sculpture, first in the Wunderkammer and cabinet of curiosities and then in dialog with the development of glazed architecture beginning with Paxton's Crystal Palace (1851). The collection offers close discussions of the role of the vitrine and shop window in the rise of commodity culture and their apposition with Constructivist design in the work of Frederick Kiesler; as well as original readings of the use of vitrines in Surrealism and Fluxus, and in work by Joseph Beuys, Paul Thek, Claes Oldenburg and his collaborators, Jeff Koons, Mike Kelley, Dan Graham, Vito Acconci, Damien Hirst and Josephine Meckseper, among others. Sculpture and the Vitrine also raises key questions about the nature and implications of vitrinous space, including its fronts onto desire and the spectacle; transparency and legibility; and onto ideas and practices associated with the archive: collecting, preserving and ordering.

Even before the upheaval of the Revolution, France sought a new formal language for a regenerated nation. Nowhere is this clearer than in its tombs, some among its most famous modern sculpture-rarely discussed as funerary projects. Unlike other art-historical studies of tombs, this one frames sculptural examples within the full spectrum of the material funerary arts of the period, along with architecture and landscape. This book further widens the standard scope to shed new and needed light on the interplay of the funerary arts, tomb cult, and the mentalities that shaped them in France, over a period famous for profound and often violent change. Suzanne Glover Lindsay also brings the abundant recent work on the body to the funerary arts and tomb cult for the first time, confronting cultural and aesthetic issues through her examination of a celebrated sculptural type, the recumbent effigy of the deceased in death. Using many unfamiliar period sources, this study reinterprets several famous tombs and funerals and introduces significant enterprises that are little known today to suggest the prominent place held by tomb cult in nineteenth-century France. Images of the tombs complement the text to underline sculpture's unique formal power in funerary mode.

Just what do psychoanalysis and modern sculpture have to do with one another? The present collection of essays, unique in its field, shows how key metaphors of Freudian and Kleinian psychoanalysis - splitting, projection, sublimation, identification, the schizoid and reparative mechanisms - as well as Lacan's concepts of the stade du mirroir and the objet petit a, can be fruitfully applied to a range of modern three-dimensional art, from Surrealism to the present day. As these essays show, figures such as Barbara Hepworth, Eva Hesse, Jean-Jacques Lebel, Robert Morris, Donald Judd, Gilbert and George, Rebecca Horn and others have often approached the material of sculpture with something like these mechanisms in mind. The need to unlock the levels of psychoanalytic connection between artist, object and viewer in recent debate has fuelled the diverse proposals of this original and important book.

Art and Public History: Approaches, Opportunities, and Challenges examines the relationship between art and public history, outlining opportunities, challenges, and insights drawn from recent initiatives. With a special eye towards audience engagement and challenging historical narratives, all of the case studies and projects combine historical interpretation with contemporary and historical forms of visual art in unique and insightful ways. In addition to emphasizing the kind of practical advice found in the best case studies, this volume also offers a critical discussion of the concepts, tools, skills and technologies that contribute to fruitful interdisciplinary collaboration. These issues are addressed through sections on projects related to historical artworks; contemporary art and artists; and public art and the built environment. It addresses how public historians can incorporate art into their practice by outlining opportunities, challenges, and insights drawn from recent projects in the United States and Britain. These projects have taken place across a variety of platforms, including local and national history museums; art galleries; digital archives; classrooms; historical markers; and public art projects. The case studies incorporate the perspectives of different stakeholders, including public historians, artists, and audiences. The book will provide both public history practitioners and academics with useful guidance on how art can be integrated into public history initiatives, through critical discussion of tools, strategies, and technologies that contribute to fruitful collaboration and audience engagement across a variety of platforms. Readers will walk away with new ideas, strategies, and practical considerations for interdisciplinary projects to attract audiences in new ways.