Bringing into relief the singularity of Barry's unswerving commitment to his vision for history painting despite adverse cultural, political and commercial currents, these essays on Barry and his contemporaries offer new perspectives on the painter's life and career. Contributors, including some of the best known experts in the field of British eighteenth-century studies, set Barry's works and writings into a rich political and social context, particularly in Britain. Among other notable achievements, the essays shed new light on the influence which Barry's radical ideology and his Catholicism had on his art; they explore his relationship with Reynolds and Blake, and discuss his aesthetics in the context of Burke and Wollstonecraft as well as Fuseli and Payne Knight. The volume is an indispensable resource for scholars of eighteenth-century British painting, patronage, aesthetics, and political history.

Painting and Politics in Northern Europe offers a chronological account of political engagement in works by the early modern Northern European painters Jan van Eyck, Pieter Bruegel the Elder, Peter Paul Rubens, and Frans Snyders. Offering fresh interpretations of canonical paintings, Margaret Carroll illustrates how these artists registered their pictorial responses to the political events and debates of their day. The imagery of gender and power was often intertwined with these debates. Considering a range of works, including Van Eyck's Arnolfini Portrait, Bruegel's Netherlandish Proverbs, and Rubens's Life of Marie de Medicis series, Carroll examines the ways in which these Netherlandish painters seized on that imagery and creatively transformed it into the materials of art.

The narrative follows the way painters responded to the emergence of "modern" theories of politics and natural law from the classical and medieval tradition. Carroll begins by addressing paintings that identify the natural order with consensual social relations in a stable political hierarchy, then turns to paintings that stress the struggle for mastery in a perilous and unstable world. These paintings may be valued not merely as historical artifacts of a bygone era but as interventions in a cultural discourse that continues to this day.

Boucher and Chardin examines the relationship between two iconic images of French art of the 18th century: Woman Taking Tea (1735) by Jean-Simeon Chardin and its pair, Madame Boucher (1743) by Francois Boucher. Both paintings are believed to represent the respective artists' wives. When considered together, the two paintings acquire a new resonance, showing the imaginative and Parisian response of two very different painters to a new interest in scenes from everyday life. The paintings are examined in the context of a dozen further works by the artists, and prints, drawings, books, and decorative art objects including oriental textiles and porcelain. This provides an opportunity to address undercurrent social history themes, such as the artists' attitudes toward fashion, interior decoration, and even the consumption of tea. Christoph Martin Vogtherr writes on genre painting of the period, and Ann Eatwell on the fashion for tea and its "equipage" in London and Paris.

Volume III in the 'Studies in the History of Collection' series, published in association with the Beazley Archive in the University of Oxford. 14 papers on The Mechanisms of the Art Market 1660-1830 presented at a symposium at the Wallace Collection, London in December 2003. Contents: Introduction (Neil De Marchi); 1) The Art Trade and its Urban Context: England and the Netherlands compared, 1550-1750 (David Ormrod); 2) The Auction Duty Act of 1777: the beginning of institutionalisation of auctions in Britain (Satomi Ohashi); 3) The Almoneda: the second-hand art market in Spain (Mari-Tere Alvarez); 4) The Market for Netherlandish Paintings in Paris, 1750-1815 (Hans J. Van Miegroet); 5) Le tableau et son prix a Paris, 1760-80 (Patrick Michel); 6) The System Governing Appraised Value in Ancien Regime France (Alden R. Gordon); 7) The Marquis de Vasse Against the Art Dealer Jacques Lenglier: a case-study of an eighteenth-century Parisian auction (Francois Marandet); 8) Pierre Sirois (1665-1726): le premier marchand de Watteau (Guillaume Glorieux); 9) The Purchase of the Past: Dr Richard Rawlinson (1690-1755) and the collecting of history (John Cherry); 10) John Anderson and John Bouttats: picture dealers in eighteenth-century London (David Connell); 11) Sir Godfrey Copley as Patron and Consumer, 1685-1705 (David Mitchell); 12) The Rise and Fall of a British Connoisseur: the career of Michael Bryan (1757-1821), picture dealer extraordinaire (Julia Armstrong-Totten); 13) 'In Keeping with the Truth': the German art market and its role in the development of connoisseurship in the eighteenth century (Thomas Ketelsen); 14) Abraham Hume e Giovanni Maria Sasso: il mercato artistico tra Venezia e Londra nel settecento (Linda Borean).

The Artist and the State, 1777-1855: The Politics of Universal History in British & French Painting is the first book-length study to examine political uses of 'universal history', or the philosophy of history, in European art from 1777 to 1855. Daniel R. Guernsey discusses a range of mural paintings and sculptural works produced in England and France between the American Revolution and the Universal Exposition of 1855, comparing the ways artists such as James Barry, Eugene Delacroix, Paul Chenavard, David d'Angers, and Gustave Courbet expressed linear or cyclical histories of progress and decline. By considering the work of these important European artists together, he reveals not only the rich artistic interaction that took place between England and France - as well as Germany - at this time, but also how the notion of 'universal history' was to become a major preoccupation in the work of these individual artists, each one participating in shaping a highly significant mode of eighteenth- and nineteenth-century political art.

In 1600 Rome was the center of the artistic world. This fascinating book offers a new look at the art and architecture of the great Baroque city at this time of major innovation-especially in painting, largely owing to the presence of Annibale Carracci (1560-1609) and Caravaggio (1571-1610). Rome was a magnet for artists and architects from all over Europe; they came to study the remains of antiquity and the works of Michelangelo, Raphael, and Bramante. The sheer variety of artists working in the city ensured a diversity of styles and innovative cross-influences. Moreover, 1600 was a Jubilee year, offering numerous opportunities for artistic patronage, whether in major projects like St. Peter's, or in lesser schemes such as the restoration of older churches. Clare Robertson examines these developments as well as the patronage of the pope and of major Roman families, drawing on a range of contemporary sources and images to reconstruct a snapshot of Rome at this thrilling time.

Faith and Power in Japanese Buddhist Art explores the transformation of Buddhism from the premodern to the contemporary era in Japan and the central role its visual culture has played in this transformation. Although Buddhism is generally regarded as peripheral to modern Japanese society, this book demonstrates otherwise. Its chapters elucidate the thread of change over time in the practice of Buddhism as revealed in temple worship halls and other sites of devotion and in imagery representing the religion's most popular deities and religious practices.

From the neoclassicism of Thomas Jefferson's design of Monticello and sketches of the White House, to "al'italiana" gardens and parks, to the strong Roman classicism of the Jefferson Memorial, to Constantino Brumidi's frescoes in Congress and the National Library, to the striking composition of Luigi Moretti's Watergate Complex--America's capital is infused with the influences of a culture that laid the foundations of Western society. Extensively illustrated with both archival black and white photos, drawings, and sketches, as well as new photographs by Max Mackenzie, this book is an homage to this strong and still alive relationship and essential reading for all those interested in architecture and the visual arts.

The British monarchy's abiding connection to the sea during the age of exploration was a critical factor in the establishment of Britain's first colonies in the New World. It is unsurprising, then, that, alongside grand portraiture, a strong tradition of maritime painting was established in the royal court during the seventeenth century. Rule Britannia explores the rich artistic culture of Elizabethan and Stuart England and the artists who forged their reputations in the alternately violent and decadent circles of some of the last exponents of absolute monarchy. Although trade wars with the Dutch featured large in the period, it was to be Dutch and Flemish artists who dominated the artistic landscape. Lely, van Dyck, Rubens, Willaerts, and the van de Veldes found ample opportunity for patronage from both king and courtiers and some of their finest works are featured here. Paintings from the Royal Collection, the National Maritime Museum, and other private and museum collections in England, Ireland, and the United States bring alive an era of grandeur in which the first tentative steps of imperial expansion occurred.

The fruits of knowledge--such as books, data, and ideas--tend to generate far more attention than the ways in which knowledge is produced and acquired. Correcting this imbalance, "Making Knowledge in Early Modern Europe" brings together a wide-ranging yet tightly integrated series of essays that explore how knowledge was obtained and demonstrated in Europe during an intellectually explosive four centuries, when standard methods of inquiry took shape across several fields of intellectual pursuit.
Composed by scholars in disciplines ranging from the history of science to art history to religious studies, the pieces collected here look at the production and consumption of knowledge as a social process within many different communities. They focus, in particular, on how the methods employed by scientists and intellectuals came to interact with the practices of craftspeople and practitioners to create new ways of knowing. Examining the role of texts, reading habits, painting methods, and countless other forms of knowledge making, this volume brilliantly illuminates the myriad ways these processes affected and were affected by the period's monumental shifts in culture and learning.

" A]n impressive and original work of synthetic scholarship that one hopes will be emulated by others." Phillip B. Wagoner, Wesleyan University

" A]n excellent and important work... with] a wonderful sophistication of method." Padma Kaimal, Colgate University

The patrons and artists of Bijapur, an Islamic kingdom that flourished in the Deccan region of India in the 16th and 17th centuries, produced lush paintings and elaborately carved architecture, evidence of a highly cosmopolitan Indo-Islamic culture. Bijapur s most celebrated monument, the Ibrahim Rauza tomb complex, is carved with elegant calligraphy and lotus flowers and was once dubbed "the Taj Mahal of the South." This stunningly illustrated study traces the development of Bijapuri art and courtly identity through detailed examination of selected paintings and architecture, many of which have never before been published. They deserve our attention for their aesthetic qualities as well as for the ways they expand our understanding of the rich synthesis of cultures and religions in South Asian and Islamic art."

For half a century after its introduction in Europe, printmaking remained the province of a specially trained group of professionals. What changed this situation was the invention of etching, which allowed for print designs to be drawn directly onto a plate so that any competent draftsman could try his hand at it. Many artists did, and as a result, we now have a wide-ranging corpus of major Renaissance and Baroque graphics made by artists who, though famous in other fields, were novices in the print medium.

Featuring essays by Michael Cole, Larry Silver, Susan Dackerman, Graham Larkin, and exhibit co-curator Madeleine Viljoen, The Early Modern Painter-Etcher spans three centuries, roughly from the time of Durer to that of Goya, and looks at works executed by some seventy painters for whom printmaking was primarily an experimental field. The book accompanies an exhibition that opened in April 2006 at the University of Pennsylvania and will travel to the Ringling Museum of Art and to the Smith College Museum of Art.

Hogarth has long been viewed as an insular and chauvinistic individual, with a particular aversion to all things French. On the contrary, while Hogarth himself liked to project this image, his effective invention of British art was founded upon a profound knowledge of contemporary French art and theory. This lavishly illustrated book conjures up in great detail the French and wider European context within which Hogarth's art was formed. Robin Simon examines the ways in which Hogarth interacted with and influenced his contemporaries not only in painting and printmaking, but also in sculpture, poetry, the novel, the theater, public life, art education, copyright law, music and opera. In this wide-ranging but richly detailed book, full of analyses of individual works, the author draws upon a mass of new material, with fresh analyses of Hogarth's most famous and less well-known works alike, opening a window on to one of the most creative and formative periods in British life. Robin Simon, FSA, is Editor of The British Art Journal, having been Editor of Apollo magazine and a tenured university academic for many years before that. He is the author of many scholarly articles on British art, and his books include The Portrait in Britain and America (1987).

"Style" has been one of the cornerstones not only of the modern discipline of art history but also of social and cultural history. In this volume, the writers consider the inadequacy of the concept of style as essential to a person, people, place, or period. While the subject matter of this book is specific to religious practices and artifacts from New Mexico between the eighteenth and twentieth centuries, the implications of these investigations are far reaching historically, methodologically, and theoretically.

The essays collected here explore the Catholic instruments of religious devotion produced in New Mexico from around 1760 until the radical transformation of the tradition in the twentieth century. The writers in this volume make three key arguments. First, they make a case for bringing new theoretical perspectives and research strategies to bear on the New Mexican materials and other colonial contexts. Second, they demonstrate that the New Mexican materials provide an excellent case study for rethinking many of the most fundamental questions in art-historical and anthropological study. Third, the authors collectively argue that the New Mexican images had, and still have, importance to diverse audiences and makers.

The distinctiveness of New Mexican santos consists not only in their subjects (which conformed to Catholic Reformation tastes) but also in elements that may appear to have been "merely decorative" graphically striking and frequently elaborate abstract design motifs and landscape references. Despite their anonymity, the images are, as a group, readily distinguished from local products anywhere else in the Spanish colonial world. This distinctiveness suggests that we should inquire not so much about the individual identities of their makers as about the collective identity of the society and place that produced and used them.

Robert L. McGrath surveys -- often at an exhilarating pace -- the topographic and metaphoric landscape of New Hampshire's White Mountains through the artistic and tourist life of the region as it appears in paintings and illustrations. Extending from the late eighteenth to the late twentieth century, he includes by far the most extensive collection of pictorial works relating to the White Mountains to date.

Although the scenic beauty of the White Mountains attracted many of America's most significant artists during the nineteenth and twentieth centuries, such as Thomas Cole, Frank Stella, Winslow Homer, Fernand Leger, John Marin, and Marsden Hartley, no comprehensive account of this region's rich contribution to the history of American art has ever been published.

Written in a vital, concise prose style, full of fresh insights, comparisons and juxtapositions, this study promises to command and hold the attention of anyone with an interest in the interplay of art, nature, and American culture.

"This book is mind-blowing. Nemerov is a groundbreaking thinker in his field."--John Wilmerding, Princeton University

"This is a book for all serious Americanists."--Jay Fliegelman, author of "Declaring Independence

"Each haunting and delicately wrought canvas expands as Nemerov writes about it, so that his interpretive work both mirrors and supplements the wondrous intensity of the paintings themselves."--Ellen Handler Spitz, "Museums of the Mind

"Underneath their apparent simplicity, Raphaelle Peale's still lifes glow mysteriously in the dark light of their making. Peale transformed the common items of the early-nineteenth-century kitchen and market into explorations of the American unconscious. Now, writing as coolly and lucidly as Peale painted, Alexander Nemerov has unpeeled those still lifes in a tour de force of formalistic analysis. Through close interrogation of these small, hermetic images, Nemerov's book reveals the whole world of early America, in the process bringing us as close as possible to the genius of Raphaelle Peale."--David C. Ward, National Portrait Gallery, Smithsonian Institution.

"This is a dazzling study, lively and imaginative, of an important body of work. Nemerov's novel arguments regarding still life in general and Raphaelle Peale in particular reveal much about the art, the man, and the times. It is a thoughtful and provocative book, certain to generate interest and debate. "--Charles C. Eldredge, Hall Distinguished Professor of American Art and Culture, University of Kansas

"A triumph of interpretation! Not since Michael Fried's groundbreaking account of Thomas Eakins has a critic so reimagined the very terms by which we see painting.Nemerov's account singlehandedly catapults a painter we had previously considered to be interesting, but minor, into the forefront of discussions about American art during the early National Period. "The Body of Raphaelle Peale will no doubt spark the beginning of an exciting revival of scholarship in American Romantic painting."--Bryan J. Wolf, author of "Romantic Re-Vision

G. B. Piranesi is one of the most inventive artists of the eighteenth century. The Carceri, or Prisons, are a set of etchings believed by many to be Piranesi's most original work. The extraordinary evocative power of the Carceri has fascinated many writers. Some have interpreted the Carceri as dreams, as nightmares, as disturbing allegories of human life. In this book, mostly through an analysis of the Latin quotations contained in the etchings, it is argued that Piranesi grants a metaphorical meaning to the Carceri in order to imprison those he saw as obstructing the Arts and threatening his own freedom. Italian text. Silvia Gavuzzo-Stewart graduated from the University of Rome La Sapienza. She has taught Italian language and literature at the Universities of London and Reading. In Reading she was in charge of teaching history of art in the Department of Italian Studies. She is now an Honorary Fellow of Reading University.

This is the first multi-disciplinary study of the dissemination of Italian culture in northern Europe during the "long eighteenth century" (1689-1815). The book covers a diverse range of important artists such as Amigoni, Canaletto and Rosalba Carriera, as well as opera singers, commedia dell'arte performers and librettists who left Italy to seek work beyond the Alps. It also considers key themes such as social networks, the relationships between court and market cultures, the importance of religion and politics to the reception of culture, and the evolution of taste.

Rubens's The Crucifixion of Saint Peter still hangs today in the location for which it was created, in the parish church of St. Peter in Cologne. Thanks to the beneficence of the merchant Eberhard III Jabach and his wife, Anna Reuter, the painter from Antwerp produced this final, very personal picture. Until today, The Crucifixion of Saint Peter continues to be shown in the location for which it was created. The occasion for an in-depth inter-disciplinary engagement with this work was an examination of its condition, which led to the current examinations and the restoration of the work. Rubens's The Crucifixion of Saint Peter is being honored for the first time with a monographic study that brings together insights from history, iconography, arthistorical context, and the work technique.

Im Mittelpunkt dieser Untersuchung steht die umfassende Analyse der Seebilder Jacob van Ruisdaels. Dabei wird die kunstlerische Leistung Ruisdaels unter dem Einfluss sowohl der Natur- und Kunstauffassung als auch der gesellschaftspolitischen Entwicklungen des Goldenen Jahrhunderts (der Niederlande des 17. Jh.) berucksichtigt. Gleichzeitig bietet diese Betrachtung einen Loesungsansatz fur die Interpretation bestimmter Bildmotive auf feste Sinnbilder, die in den Meereslandschaften anzutreffen sind. Die Gemalde enthalten emblematische Motive, ahnlich einem Gleichnis, so dass die Bildinhalte und ihre Bedeutung auf vielfaltige Weise interpretiert werden koennen. Daruber hinaus werden weitere spezifische Charakteristika der ruisdaelschen Marinen an den Gemalden selbst exemplarisch herausgearbeitet.

Approaching the Stuart courts through the lens of the queen consort, Anna of Denmark, this study is underpinned by three key themes: translating cultures, female agency and the role of kinship networks and genealogical identity for early modern royal women. Illustrated with a fascinating array of objects and artworks, the book follows a trajectory that begins with Anna's exterior spaces before moving to the interior furnishings of her palaces, the material adornment of the royal body, an examination of Anna's visual persona and a discussion of Anna's performance of extraordinary rituals that follow her life cycle. Underpinned by a wealth of new archival research, the book provides a richer understanding of the breadth of Anna's interests and the meanings generated by her actions, associations and possessions. -- .

Harvard College's 18th-century Philosophy Chamber consisted of paintings, prints, sculptures, scientific instruments, natural specimens, and various indigenous artifacts-it was a rich and varied representation of not only artistic and cultural achievement but also contemporary understandings of the natural world. Dispersed and hidden away for nearly 200 years, this unrivaled collection has been reunited for the first time since it was originally assembled, providing an invaluable window into the art and culture of early America. It attests to the wide-ranging spirit of inquiry that characterized the late 18th and early 19th centuries. With an insightful look at conservation efforts and detailed examination of specific objects, including works by artists such as John Singleton Copley and John Trumbull, this publication explores the social and political stakes that underpinned one of the most remarkable assemblages of artifacts, images, and objects in the Atlantic World, and introduces readers to many long-forgotten icons of American culture. Distributed for the Harvard Art Museums Exhibition Schedule: Harvard Art Museums (05/19/17-12/31/17) The Hunterian, University of Glasgow (03/23/18-06/24/18)

British artists and commentators in the late 18th and early 19th century encoded the twin aspirations of progress and power in images and descriptions of Southeast Asia's ruined Hindu and Buddhist candis, pagodas, wats and monuments. To the British eye, images of the remains of past civilisations allowed, indeed stimulated, philosophical meditations on the rise and decline of entire empires. Ruins were witnesses to the fall, humbling and disturbingly prophetic, (and so revealing more about British attitudes than they do about Southeast Asia's cultural remains). This important study of a highly appealing but relatively neglected body of work adds multiple dimensions to the history of art and image production in Britain of the period, showing how the anxieties of empire were encoded in the genre of landscape paintings and prints.

Celebrates one of the greatest painters of the Dutch Golden Age with luxurious, large-format images Johannes Vermeer (1632-75) is one of the most beloved artists of the Dutch Golden Age. Vermeer's tranquil and meticulously painted interiors, of such subjects as women writing or reading love letters, and men and women drinking together or playing musical instruments, are acutely observed and have an enduring appeal. This sumptuously produced volume features full-colour reproductions of all 36 surviving works by the artist, along with numerous details that reveal the exquisite complexity of his paintings. An updated essay for the 1958 edition by Ludwig Goldscheider, co-founder of Phaidon Press, is accompanied by a new preface from Dutch painting specialist Wayne Franits, putting Vermeer into a contemporary context. Elegant design, fine papers and tipped-on image plates make this a true collector's edition.

The art of Franz and Ferdinand Bauer was praised by the poet and botanist Johann Goethe as the perfect expression of the aims of botanical illustration. The book examines the contrasting lives of Franz (1758-1840), for 50 years the resident artist at Kew Gardens, and Ferdinand (1760-1826) who led a life of travel and adventure as a natural history artist including participating in the historic voyage to Australia of HMS Investigator in the early nineteenth century. It is illustrated with images from the superb archive of Bauer drawings at the Natural History Museum Library, many of which have never been published before. These include beautiful and finely detailed watercolours of flowering plants collected from across the world, pioneering microscopical drawings of plant anatomy and pictures of the newly discovered animals from the coasts of Australia. The book is published to tie-in with a new art exhibition opening at the Natural History Museum in November 2015.