Written by the art dealer and friend who was among the first to recognise Rousseau's importance, these Recollections present a movingly personal portrait of the artist known as Le Douanier (the Customs Officer).

Kelmscott Manor is forever linked with the name of William Morris, pioneer conservationist and utopian socialist, designer and father of the Arts and Crafts tradition. The manor played a crucial role in shaping his thought: at the climactic moment of his futuristic novel, News from Nowhere, Morris lifts the latch of the Manors garden gate and finds his personal holy grail. Morris was drawn by the organic relationship between Kelmscott and its landscape: the linkage of stone walls and roof tiles to the geology and the soil, and the honest toil of the people to the agricultural cycle . The fruits of the Kelmscott Landcape Project established in 1996 by the Society of Antiquaries of London, the owners of Kelmscott Manor today, this book is a multi-faceted examination of Kelmscotts history. Archaeology, from prehistory to the present day, the architectural development of the Manor before and after Morris knew it, and the art that the village and Manor have inspiredall received rich, illustrated coverage. The result is a vivid portrait of a Thames-side village transformed by its association with Morris, a book which demonstrates the rich connections between culture and landscape in a particular place.

This book follows the life of Ivan Aguéli, the artist, anarchist, and esotericist, notable as one of the earliest Western intellectuals to convert to Islam and to explore Sufism. This book explores different aspects of his life and activities, revealing each facet of Aguéli’s complex personality in its own right. It then shows how esotericism, art, and anarchism finally found their fulfillment in Sufi Islam. The authors analyze how Aguéli’s life and conversion show that Islam occupied a more central place in modern European intellectual history than is generally realized. His life reflects several major modern intellectual, political, and cultural trends. This book is an important contribution to understanding how he came to Islam, the values and influences that informed his life, and—ultimately—the role he played in the modern Western reception of Islam.

"Martin Bailey has written some of the most interesting books on Vincent's life in France, where he produced his greatest work" - Johan van Gogh, grandson of Theo, the artist's brother Studio of the South tells the story of Van Gogh's stay in Arles, when his powers were at their height. For Van Gogh, the south of France was an exciting new land, bursting with life. He walked into the hills inspired by the landscapes, and painted harvest scenes in the heat of summer. He visited a fishing village where he saw the Mediterranean for the first time, energetically capturing it in paint. He painted portraits of friends and locals, and flower still life paintings, culminating in the now iconic Sunflowers. He rented the Yellow House, and gradually did it up, calling it 'an artist's house', inviting Paul Gauguin to join him there. This encounter was to have a profound impact on both of the artists. They painted side by side, their collaboration coming to a dramatic end a few months later. The difficulties Van Gogh faced led to his eventual decision to retreat to the asylum at Saint-Remy. Based on extensive original research, the book reveals discoveries that throw new light on the legendary artist and give a definitive account of his fifteen months in Provence, including his time at the Yellow House, his collaboration with Gauguin and its tragic and shocking ending.

The reign of Queen Victoria witnessed a spectacular rise in the visibility, wealth, and prestige of English artists and designers. Leading this resurgence was a group of artists who established their studios in and around the new, fashionable district of London's Holland Park. This book -- the first major study of the Holland Park Circle of artists, architects, and their patrons -- is both an engrossing narrative of their lives, works, and influence and a perceptive analysis of the subtle relationships between high Victorian taste and mercantile values.

The circle was formed around G. F. Watts, who lived at Little Holland House; the handsome and accomplished Frederic Leighton; and their friend Valentine Prinsep. The artists who followed included Luke Fildes, Hamo Thomycroft, William Burges, Marcus Stone, James Jebusa Shannon, and Holman Hunt. Their studio-houses, designed by prominent architects of the era, were featured in architectural journals and society magazines, influencing the external and internal appearance of London's buildings. Caroline Dakers also describes how the artists posed "at home" for society photographs and how their "Show Sundays, " when the public was invited into the studios, became part of the London Season. She presents a fresh perspective on a period when art in England, in the words of Henry James, had become "a great fashion."

Defining Decadence The legacy of Gustav Klimt A century after his death, Viennese artist Gustav Klimt (1862-1918) still startles with his unabashed eroticism, dazzling surfaces, and artistic experimentation. This monograph gathers all of Klimt's major works alongside authoritative art historical commentary and privileged access to the artist's archive with some 179 letters, cards, writings, and other documents. With top quality illustration, including new photography of the celebrated Stoclet Frieze, the book follows Klimt through his prominent role in the Secessionist movement of 1897, his candid rendering of the female body, and his lustrous "golden phase" when gold leaf brought a shimmering tone and texture to such beloved works as The Kiss and Portrait of Adele Bloch-Bauer I, also known as The Woman in Gold. Through luminous spreads and carefully curated details, the monograph traces the repertoire of Japanese, Byzantine, and allegorical stimuli that informed Klimt's flattened perspectives, his symbolic vocabulary, and his mosaic-like textures. Drawing upon contemporary critics and voices, the book also examines the art world's polarized reception to Klimt's pictures as much as his own stylistic trajectory. From his landscape painting to erotic works to the controversial ceiling for the Great Hall of the University of Vienna, we see how Klimt's admixture of tradition and daring divided the press and public, becried by some as a pornographer, hailed by others as a modern maestro.

Hailed by her contemporaries as the most popular animal-painter, male or female, of the nineteenth century, the French artist Rosa Bonheur (1822-99) lived to see her name become a household word. In a century that did its best to keep women "in their place," Bonheur, like George Sand--to whom she was often compared--defined herself outside of the social and legal codes of her time. To the horror and bewilderment of many, she earned her own money, managed her own property, wore trousers, hunted, smoked, and lived in retreat with female companions in a little chateau near Fountainebleau named The Domain of Perfect Affection.
"Rosa Bonheur: The Artist's (Auto)Biography "brings this extraordinary woman to life in a unique blend of biography and autobiography. Coupling her own memories with Bonheur's first-person account, Anna Klumpke, a young American artist who was Bonheur's lover and chosen portraitist, recounts how she came to meet and fall in love with Bonheur. Bonheur's account of her own life story, set nicely within Klumpke's narrative, sheds light on such topics as gender formation, institutional changes in the art world, governmental intervention in the arts, the social and legal regulation of dress codes, and the perceived transgressive nature of female sexual companionship in a repressive society, all with the distinctive flavor of Bonheur's artistic personality.
Gretchen van Slyke's translation provides a rare glimpse into the unconventional life of this famous French painter, and renders accessible for the first time in English this public statement of Bonheur's artistic credo. More importantly, whether judged by her century's standards (or perhaps even our own), itdetails a story of lesbian love that is bold, unconventional, and courageous.
"The remarkable life of Rosa Bonheur, one of the most highly decorated artists and certainly the best known female artist of her time in nineteenth-century France, is long overdue for further scrutiny." --Therese Dolan, Temple University
Gretchen van Slyke is Associate Professor of French, University of Vermont.

Notions of crisis have long charged the study of the European avant-garde and modernism, reflecting the often turbulent nature of their development. Throughout their history, the avant-garde and modernists have both confronted and instigated crises, be they economic or political, aesthetic or philosophical, collective or individual, local or global, short or perennial. The seventh volume in the series European Avant-Garde and Modernism Studies addresses the myriad ways in which the avant-garde and modernism have responded and related to crisis from the late nineteenth to the twenty-first century. How have Europe's avant-garde and modernist movements given aesthetic shape to their crisis-laden trajectory? Given the many different watershed moments the avant-garde and modernism have faced over the centuries, what common threads link the critical points of their development? Alternatively, what kinds of crises have their experimental practices and critical modes yielded? The volume assembles case studies reflecting upon these questions and more from across all areas of avant-garde and modernist activity, including visual art, literature, music, architecture, photography, theatre, performance, curatorial practice, fashion and design.

Martha Banta reaches across several disciplines to investigate America's early quest to shape an aesthetic equal to the nation's belief in its cultural worth. Marked by an unusually wide-ranging sweep, the book focuses on three major "testing grounds" where nineteenth-century Americans responded to Ralph Waldo Emerson's call to embrace "everything" in order to uncover the theoretical principles underlying "the idea of creation." The interactions of those who rose to this urgent challenge--artists, architects, writers, politicians, and the technocrats of scientific inquiry--brought about an engrossing tangle of achievements and failures. The first section of the book traces efforts to advance the status of the arts in the face of the aspersion that America lacked an Art Soul as deep as Europe's. Following that is a hard look at heated political debates over how to embellish the architecture of Washington, D.C., with the icons of cherished republican ideals. The concluding section probes novels in which artists' lives are portrayed and aesthetic principles tested.

A Choice Outstanding Academic Title for 2010. Designing the Modern Interior reveals how the design of the inside spaces of our homes and public buildings is shaped by and shapes our modern culture. The modern interior has often been narrowly defined by the minimalist work of elite, reforming architects. But a shared modernising impulse, expressed in interior design, extends at least as far back as the Victorians and reaches to our own time. And this spirit of modernisation manifested itself in interiors, designed both by professionals and by amateurs, which did not necessarily look modern and often even aimed to imitate the past. Designing the Modern Interior presents a new history of the interior from the late 19th to the 21st century. Particular characteristics are consistent across this period: a progressive attitude towards technology; a hyper-consciousness of what it is to live in the present and the future; an overt relationship with the mass media, mass consumption and the marketplace; an emphasis on individualism, interiority and the 'self'; the construction of identities determined by gender, class, race, sexuality and nationhood; and the experiences of urban and suburban life.

Major art movements and artists of nineteenth-century Europe, from the French Revolution to World War I, are presented alphabetically in a dictionary format. Artists and art movements are integrated within the politics and culture of the times. An examination of the prominent authors, politicians, rulers, writers, and musicians, who often posed for artists provides an historical background against which to study these famous, obscure, traditional, and avant-garde artists. Entries include the artists' models, many of whom became romantically involved with the artists, and the artworks in which the models appear. This focus on the European continent, rather than on one specific country, surveys the interconnected influences and politics that pervaded the lives of the artists during this age when Europe was powerful culturally and politically, and helps to explain the various art movements, such as the Neo-Classical, Romantic, Realist, Impressionist, Fauvist, Cubist, Expressionist, and Abstract, that consequently evolved.

Art history scholars, artists, and anyone with an interest in European art and politics will appreciate the organization and detail of this comprehensive volume. The alphabetical entries, coupled with straightforward and accessible writing, make this reference both informative and engaging. As a research tool, entries are cross-referenced, and a bibliography provides a useful guide to further research.

George Stow was a Victorian man of many parts--poet, historian, ethnographer, artist, cartographer, and prolific writer. A geologist by profession, he became acquainted, through his work in the field, with the extraordinary wealth of rock paintings in the caves and shelters of the South African interior. Enchanted and absorbed by them, Stow set out to create a record of this creative work of the people who had tracked and marked the South African landscape decades and centuries before him.
"Unconquerable Spirit "reveals the scope and the beauty of his labors. Stow's paintings are more than just copies of what he found on the rocks. They are interpretations of the art of the San, informed by his own understanding of a particularly turbulent time in South African history and his sense of the tragic demise of the San way of life. This book celebrates his pioneering achievement and reminds us, too, of the richness of the imaginative universe of the San.

The importance of the leading British architect A. W. N. Pugin (1812-52) in the history of the Gothic Revival, the development of ecclesiology, the origins of the Arts and Crafts Movement, and in architectural theory is incontestable. His letters are vigorous, direct, often witty, and invaluable for architectural and religio-historical research. The second of five volumes.

This first comprehensive research guide and annotated bibliography of Paul Gauguin includes information on more than 1500 books and articles on the artist as well as a comprehensive chronology and list of exhibitions. The secondary bibliography is arranged by topics and includes citations on the artist's life and career, his relationships with contemporary artists in France, including Vincent van Gogh, his life and work in Panama, Martinique, Tahiti, and the Marquesas Islands, his oeuvre in general and in various media, self-portraits, iconography, and more. The French artist Paul Gauguin continues to be a larger-than-life figure whose mystique exerts its spell on popular, critical, and scholarly minds. Consequently, the available literature on the artist is copious and marked by diversity of opinion on every aspect of his life and work. From the first book-length biography of Gauguin written by Louis Brouillon in 1906, interest in Gauguin has continued unabated and, since 1959, critical interest in the artist's drawings, prints, sculptures, and art works in other media has dramatically increased. Russell T. Clement has compiled the first comprehensive research guide and annotated bibliography on Gauguin. This volume encompasses primary materials by Gauguin including those published during the artist's lifetime and those published posthumously; contemporary accounts and criticism of Gauguin's life and work published through 1906; descriptions of the artist's oeuvre; a lengthy secondary bibliography; and a section that catalogs exhibitions of Gauguin's work between 1884 and 1989. While concentrating on printed materials, this guide also includes selected manuscripts--in all, more than 1500 books and articles are cited. For entries where titles give incomplete or unclear information about works and their content, the author provides brief annotations. Following a biographical sketch and chronology, the primary bibliography lists articles, essays, letters, manuscripts, and sketch books of Gauguin and then accounts and critiques of Gauguin's life and work published through 1906. The main part of the bibliography and research guide, the secondary bibliography, lists monographs, catalogues, dissertations, theses, periodical literature, films, sound recordings and musical scores, and selected newspaper articles. Substantial book reviews and exhibition reviews are also included. Arranged by topic, the secondary bibliography also includes citations on Gauguin's relationships with contemporary artists in France, his work in Panama and Martinique, his work and life in Tahiti and the Marquesas Islands, and his oeuvre in general. Not just a list of sources but a complete research guide, this volume deserves a place in every research library collection.

Literature on domestic interior decoration first emerged as a popular genre in Britain during the 1870s and 1880s, as middle-class readers sought decorating advice from books, household manuals, women's magazines, and professional journals. This intriguing book examines that literature and shows how it was influenced by the widespread liberalism of the middle class. Judith Neiswander explains that during these years liberal values-individuality, cosmopolitanism, scientific rationalism, the progressive role of the elite, and the emancipation of women-informed advice about the desirable appearance of the home. In the period preceding the First World War, these values changed dramatically: advice on decoration became more nationalistic in tone and a new goal was set for the interior-"to raise the British child by the British hearth." Neiswander traces this evolving discourse within the context of current writing on interior decoration, writing that is much more detached from social and political issues of the day. Published for the Paul Mellon Centre for Studies in British Art

For two centuries, Gesamtkunstwerk-the ideal of the "total work of art"-has exerted a powerful influence over artistic discourse and practice, spurring new forms of collaboration and provoking debates over the political instrumentalization of art. Despite its popular conflation with the work of Richard Wagner, Gesamtkunstwerk's lineage and legacies extend well beyond German Romanticism, as this wide-ranging collection demonstrates. In eleven compact chapters, scholars from a variety of disciplines trace the idea's evolution in German-speaking Europe, from its foundations in the early nineteenth century to its manifold articulations and reimaginings in the twentieth century and beyond, providing an uncommonly broad perspective on a distinctly modern cultural form.

Hierdie publikasie gee ’n volledige beeld van die kunstenaar Frans David Oerder (1867–1944) se oeuvre – sy Anglo-Boereoorlogtekeninge, landskappe, genrestukke, portrette, blomstudies en stillewes, interieurs, dierestudies en grafiese werk. Geen moeite is ontsien om hierdie boek so volledig en betroubaar moontlik te maak nie. Argivale bronne in die Kunsargief van die Universiteit van Pretoria, die Argief van die Johannesburg Kunsmuseum en die Nasionale Argief van Suid-Afrika in Pretoria het grootliks bygedra tot die toevoeging van inligting oor hierdie kunstenaar wat nie voorheen bekend was nie. Dieplakboek van Gerda Oerder en ’n lang lesing met detailinligting oor Oerder se vroee lewe deur mev. Lorimer in die Kunsargief van die Universiteit van Pretoria het bygedra tot ’n nuwe vertolking van die lewe en werk van hierdie belangrike Suid-Afrikaanse kunstenaar. Tydens die Anglo-Boereoorlog was Oerder die enigste amptelike kunstenaar aan Boerekant, maar tot dusver is nog geen volledige geskiedenis van sy deelname aan die oorlog geskryf nie. In hierdie boek word Oerder se Anglo-Boereoorlogtekeninge nou vir die eerste keer so volledig moontlik afgedruk en beskryf.

This text provides coverage of the history of the Japanese philosophy of art, from its inception in the 1870s to modern day. In addition to the historical information and discussion of aesthetic issues that appear in the introductions to each of the chapters, the book presents English translations of otherwise inaccessible major works on Japanese aesthetics, beginning with a complete and annotated translation of the first work in the field, Nishi Amane's ""Bimyogaku Setsu"" (""The Theory of Aesthetics""). The text is divided into four sections: the subject of aesthetics; aesthetic categories; poetic expression; postmodernism; and aesthetics. It examines the momentous efforts made by Japanese thinkers to master, assimilate and originally transform Western philosophical systems to discuss their own literary and artistic heritage.

Art and literature during the European fin-de-siecle period often manifested themes of degeneration and decay, both of bodies and civilizations, as well as illness, bizarre sexuality, and general morbidity. This collection explores these topics in relation to artists and writers as diverse as Oscar Wilde, August Strindberg, and Aubrey Beardsley.

Published to celebrate the 200th anniversary of the birth of G.F. Watts, this book provides a lively and engaging introduction to one of the most charismatic figures in the history of British art. Covering all aspects of Watts's career, it places him back at the centre of the visual culture of the 19th century. George Frederic Watts (1817-1904) was one of the great artists of the 19th century. As a young man Watts exhibited alongside Turner, and by the end of his long career he was influential upon Picasso. Sculptor, portraitist and creator of classic Symbolist imagery, Watts was seen also as more than an artist - a philanthropic visionary whose art charted the progress of humanity in the modern world. After four years in Italy in the 1840s, Watts was recognized as a Renaissance master reborn in the Victorian age. Nicknamed 'Signor', and working in isolation from the mainstream commercial art-world, he became a cult figure, obsessively returning to a series of subjects describing the fundamental themes of existence - love, life, death, hope. Engaging in turn with Romanticism, the Pre-Raphaelites, the Aesthetic Movement and Symbolism, Watts remained true to his own personal vision of the evolution of humanity. As a portraitist, Watts set out to capture the essence of the great characters of 19th-century Britain, donating his finest portraits to the National Portrait Gallery in London. Watts's portraits of figures such as William Morris, John Stuart Mill and the poets Tennyson and Swinburne have become the classic images of these cultural celebrities, while more intimate portraits such as Choosing, showing the artist's first wife, the actress Ellen Terry, are among the most popular of all British portraits. During the 1880s Watts emerged from his cult status to be embraced by the public. Feted as the great modern master, even as "England's Michelangelo", he was given large retrospective exhibitions in London and at the Metropolitan Museum in New York. His reputation grew also in Europe, where the Symbolists revered him as one of their great exemplars. Watts's most celebrated works, such as Love and Life, Hope, and the epic sculpture Physical Energy, were reproduced globally and their fame was unsurpassed within contemporary art in the years around 1900. By this time, Watts had acquired a country home in Surrey - Limnerslease - around which he and his second wife, the designer Mary Watts, built a type of utopian settlement, which has recently been restored and opened to the public as Watts Gallery - Artists' Village. By the end of his life Watts was a national figure, an inspirational artist who had found a meaningful role for art as a catalyst for social change and community integration.

Oscar Wilde said, 'Life imitates Art far more than Art imitates Life.' Was he right? In Cult of Progress, David Olusoga travels the world to piece together the shared histories that link nations. We discover what happened to art in the great Age of Discovery, when civilisations encountered each other for the first time. Although undoubtedly a period of conquest and destruction, it was also one of mutual curiosity, global trade and the exchange of ideas. A few hundred years on, we see how the Industrial Revolution transformed the world, impacting every corner and every civilisation from the cotton mills of the Midlands to Napoleon's conquest of Egypt, the decimation of both Native American and Maori populations, and the advent of photography in Paris in 1839. Incredible art - both looted and created - relays the key events and their outcomes throughout the world.

In this comprehensive account of censorship of the visual arts in nineteenth-century Europe, when imagery was accessible to the illiterate in ways that print was not, specialists in the history of the major European countries trace the use of censorship by the authorities to implement their fears of the visual arts, from caricature to cinema.