The eighteenth-century French philosophe Denis Diderot-the principal intelligence behind the Encyclopedie and the author of idiosyncratic fictional works such as Jacques the Fatalist and Rameau's Nephew-was also the first great art critic. Until now, however, Diderot's treatises on the visual arts have been available only in French. This two-volume edition makes the most important of his art-critical texts available in English for the first time. Diderot's works are among the most provocative and engaging products of the French Enlightenment. Moreover, their ruminations on many issues of perennial interest (invention versus convention, nature versus culture, and technique versus imagination; the complex relations between economic reality and artistic achievement) give them a rare pertinence to current debates on the nature and function of representation. All the celebrated pieces are here: the rhapsodic dream meditation inspired by Fragonards' Coresus and Callierhoe; the incident-packed "excursion" through a set of landscapes by Joseph Vernet; the evocative consideration of the nature of ruins and historical nostalgia prompted by the first showing of works by Hubert Robert. But these famous passages can now be considered in their proper context, surrounded by meditations that are less well known but equally sparkling. The book also includes brief introductory texts and annotations by John Goodman that clarify the many references to contemporary Parisian culture, as well as an introduction by Thomas Crow that sets the texts in their historical and art-historical context.

C.R. Leslie's memoir of his friend John Constable was first published in 1843 (with an expanded second edition in 1845) and has remained the standard biography of Constable ever since. The book is chiefly compiled from Constable's own correspondence and conversation; indeed its great authority arises from the fact that the story is told almost throughout in the subject's own words. Constable wrote as he painted, with an acute and serious eye on the subject, and with a spontaneous presentation of imagery; he also showed over and over again a robust wit and a taste for gossip.

What is the function of painting in a commercial society? John Barrell discusses how British artists and writers of the late eighteenth and early nineteenth centuries, including Sir Joshua Reynolds, William Blake, and James Barry attempted to answer this question. His provocative and illuminating book offers a new perspective on both art criticism and eighteenth-century British culture.

In this second volume of his classic essays on the Renaissance, E H Gombrich focuses on a theme of central importance: visual symbolism. He opens with a searching introduction ('The Aims and Limits of Iconology'), and follows with detailed studies of Botticelli, Mantegna, Raphael, Poussin and others. The volume concludes with an extended study of the philosophies of symbolism, demonstrating that the ideas which preoccupied the philosophers of the Renaissance are still very much alive today. Like its predecessor, Norm and Form, this volume is indispensable for all students of Renaissance art and thought as a work that has itself helped to shape the evolving discipline of art history. Reflecting the author's abiding concern with standards, values and problems of method, it also has a wider interest as an introduction to the fundamental questions involved in the interpretation of images.

The personalities and careers of Victorian artists, and their social and intellectual context, are explored in this account, which aims to reveal how they blended foreign influences with the native British tradition. The range of artistic production in the Victorian age included history painting; topographical landscapes of the Continent and the Middle East; Landseer's royal portraits and heroic animal pictures; Pre-Raphaelite painting with its combined naturalism and symbolism; Leighton's classical mythologies; and Frith's popular depictions of the leisured middle classes. Amid this great variety of styles and emphasis, influential critics such as Ruskin dictated that art should be morally uplifting, an orthodoxy challenged by Whistler, Sickert, Steer and their fellows among the "London Impressionists".

In the voluminous scholarship that's been written on Paul Cezanne, little has been said about the twenty-four portraits in oil that Cezanne made of his wife, Hortense Fiquet Cezanne, over an extended twenty-year period. In "Cezanne's Other: The Portraits of Hortense," Susan Sidlauskas breaks new ground, focusing on these paintings as a group and looking particularly at the differences that render many of them unrecognizable as the same person. She argues that Cezanne sidestepped the conventional goals of portraiture-he avoids representing a consistent, identifiable physiognomy or conventional feminine postures and does not portray the subject's inner life-making lack of fixedness itself his subject, which leads him ultimately to a radical reformulation of modern portraiture. Sidlauskas also upends the notion of Mme Cezanne as the irrelevant and absent spouse. Instead she reveals Hortense Fiquet Cezanne as a presence so crucial to the artist that she became the essential "other" to his ever-evolving "self." Coupling historical texts from philosophy, psychology, and physiology with more recent writings from women's and gender studies, cognitive psychology, and visual culture, Sidlauskas demonstrates that Mme Cezanne offered intimacy at arm's length for the painter who has been dubbed "the lone wolf of Aix."

The painter Carl Haag (1820-1915) gained acclaim for his colorful scenes of the Orient and true-to-life portraits, in which Nubian slaves, Arabian camel drivers or Egyptian snake charmers enliven the visual topography. After attending art school in Nuremberg, the son of a baker advanced to become a sought-after portraitist in Munich, and later refined his art with watercolor painting in Brussels and London. As court painter to the duke of Saxe-Coburg and Gotha, he worked for Britain's Queen Victoria. His watercolors that portray the life of the royal family in the Scottish Highlands are now part of the royal collection. Always searching for new motifs, Haag traveled extensively through Europe. In 1859 he headed to the Orient, visiting Cairo, Jerusalem, Damascus, Palmyra and Baalbek. In this first biography about the painter, Walter Karbach conveys a vivid impression of society in the Victorian age, discussing Haag's artistic influences, personal preferences, as well as his artist friends and patrons. At the same time, he elicits enthusiasm for Haag's landscape sketches, portraits and drawings of ruins, which oscillate between documentary representations and romantic or idealized scenic views.

On Weight and the Will: The Forces of Form in German Literature and Aesthetics, 1890-1930 charts a modern history of form as emergent from force. Offering a provocative alternative to the imagery of crisis and estrangement that has preoccupied scholarship on modernism, Malika Maskarinec shows that German modernism conceives of human bodies and aesthetic objects as shaped by a contest of conflicting and reciprocally-intensifying forces: the force of gravity and a self-determining will to form. Maskarinec thereby discloses, for the first time, German modernism's sustained preoccupation with classical mechanics and with how human bodies and artworks resist gravity. Considering canonical artists such as Rodin and Klee, seminal authors such as Kafka and Doeblin, and largely neglected thinkers in aesthetics and art history such as those associated with Empathy Aesthetics, Maskarinec unpacks the manifold anthropological and aesthetic concerns and historical lineage embedded in the idea of form as the precarious achievement of uprightness. On Weight and the Will makes a decisive contribution to our understanding of modernism and to contemporary discussions about form, empathy, materiality, and human embodiment.

This work, covering the years 1816-1820, makes the contents of some of the tens of thousands of sales catalogues published during the 19th century accessible to scholars. Information provided includes sales dates and lot numbers, prices and names of buyers and sellers, and locations of auctions.

This beautiful book brings you the very best of art throughout history - using a truly innovative timeline-led approach. Savour iconic paintings such as Leonardo da Vinci's Last Supper and Monet's Waterlilies, and discover less well-known artists, styles, and movements the world over - from Indigenous Australian art to the works of Ming-era China. And explore recurring themes, such as love and religion, and important genres from Romanesque to Conceptual art, along the way. Timelines of Art provides detailed analysis of the works of key artists, showing details of their technique - such as Leonardo's use of light and shade. It tells the story of avant-garde works like Manet's Le Déjeuner sur l'herbe (Lunch on the Grass), which scandalised society, and it traces how certain artists, genres or movements informed the works of others - showing how the Impressionists were inspired by Gustave Courbet, for example, or how Van Gogh was influenced by Japanese prints. Comprehensive, accessible, and lavishly illustrated throughout, Timelines of Art is an essential guide to the pantheon of world art, so dive straight into discover: - An overview of each movement, including the social and cultural background of the period, grounds the works of art in the spirit of their times. - Turning-point paintings that triggered or epitomised each artistic movement are identified and explained, against a backdrop of influences - the technical advances, admired techniques of an earlier artist, and changes in society that enabled new directions in art. - Glossary of technical terms and comprehensive index help make this an indispensable work of reference for any art-lover. Timelines of Art is the perfect art history book for students of art and/or history, proving ideal for families, schools and libraries and doubling up as a great gift for the art lover in your life.

Prophet, poet, painter and engraver -- Blake's uniqueness lies in no single achievement, but in the whole of what he was, which is more than the sum of all that he did. So writes Kathleen Raine in this classic study of William Blake, a man for whom the arts were not an end in themselves, but expressed his vision of the spiritual drama of the English national being. Profusely illustrated, this volume presents a comprehensive view of Blake's artistic achievements and a compelling and moving portrait of the life and thought of an extraordinary genius.

Thomas Nast (1840-1902), the founding father of American political cartooning, is perhaps best known for his cartoons portraying political parties as the Democratic donkey and the Republican elephant. Nast's legacy also includes a trove of other political cartoons, his successful attack on the machine politics of Tammany Hall in 1871, and his wildly popular illustrations of Santa Claus for Harper's Weekly magazine. Throughout his career, his drawings provided a pointed critique that forced readers to confront the contradictions around them. In this thoroughgoing and lively biography, Fiona Deans Halloran focuses not just on Nast's political cartoons for Harper's but also on his place within the complexities of Gilded Age politics and highlights the many contradictions in his own life: he was an immigrant who attacked immigrant communities, a supporter of civil rights who portrayed black men as foolish children in need of guidance, and an enemy of corruption and hypocrisy who idolized Ulysses S. Grant. He was a man with powerful friends, including Mark Twain, and powerful enemies, including William M. ""Boss"" Tweed. Halloran interprets Nast's work, explores his motivations and ideals, and illuminates Nast's lasting legacy on American political culture.

"Cezanne, Murder and Modern Life" offers an original approach to early French modernism, one informed by the art's unprecedented psychological intensity. Focusing on the early work of Paul Cezanne, it offers a competing version for modern painting rooted in the evocation of emotive "expression," emblematized by scenes of murder, sexual violence, and anxious domesticity. Mobilizing contexts rarely brought to bear on our understanding of art in the age of Impressionism, let alone the work of Cezanne, this book investigates the "culte du moi" and the conceptions of authorial function in art and literature, theories of neo-romanticism and early symbolism of the 1860s, as well as psycho-physiological analyses of the human mind and other positivist theories of modern sociality and instinctuality popularized during the Second Empire and early Third Republic.

This is volume 4: S-Z, of a four-volume set. The complete four-volume set presents the careers of 320 women artists working in California, with more than 2,000 images, over the course of a century. Their work encompasses a broad range of styles-from the realism of the nineteenth century to the modernism of the twentieth-and of media, including painting, sculpture, drawing, illustration and print-making. While some of the profiled artists are already well known, others have been previously ignored or largely forgotten. Yet all had serious careers as artists: they studied, exhibited, and won awards. These women were trailblazers, each one essential to the momentum of a movement that opened the door for heartfelt expression and equality. Much of the information and many of the images in the book have never before been published. Artists are presented alphabetically; also included are additional primary sources that put the artists' work in context.

The charming painter of Endymion's Sleep, Atala's Funeral and Chateaubriand's Portrait was also a poet. Thanks to his classical education, Girodet (1767-1824) was the author of free translations of ancient Greek and Latin poets. In 1808 he tried the to imitate and at the same time illustrate the Odes of Anacreon, whose edition was published posthumously. The Musee du Louvre holds the precious manuscript of this intense and complex work, in which the poetic research and graphic invention - compositions or vignettes - intertwine with the text. Only a facsimile could restore this organic whole in its integrity. This book reconstructs the history of the manuscript, the various stages of the project and the posthumous versions, and analyses the artist's aesthetic sources. Girodet's handwriting is sometimes difficult to decode, but the complete transcription allows the reader to appreciate all the refinements and to rediscover the charm of Anacreontic poetry. Text in French.

Crowning Glories integrates Louis XIV's propaganda campaigns, the transmission of Northern art into France, and the rise of empiricism in the eighteenth century - three historical touchstones - to examine what it would have meant for France's elite to experience the arts in France simultaneously with Netherlandish realist painting. In an expansive study of cultural life under the Sun King, Harriet Stone considers the monarchy's elaborate palace decors, the court's official records, and the classical theatre alongside Northern images of daily life in private homes, urban markets, and country fields. Stone argues that Netherlandish art assumes an unobtrusive yet, for the history of ideas, surprisingly dramatic role within the flourishing of the arts, both visual and textual, in France during Louis XIV's reign. Netherlandish realist art represented thinking about knowledge that challenged the monarchy's hold on the French imagination, and its efforts to impose the king's portrait as an ideal and proof of his authority. As objects appreciated for their aesthetic and market value, Northern realist paintings assumed an uncontroversial place in French royal and elite collections. Flemish and Dutch still lifes, genre paintings, and cityscapes, however, were not merely accoutrements of power, acquisitions made by those with influence and money. Crowning Glories reveals how the empirical orientation of Netherlandish realism exposed French court society to a radically different mode of thought, one that would gain full expression in the Encyclopedie of Diderot and d'Alembert.

"There's an inspiring and wacky solemnity in these organizations-high values reinforced through pageantry and performance in an ecumenical social setting-which deep down must also have been a whole lot of fun. Now it's as if that foundational Other America, that underpinning of the America we know, has gradually eroded, and here we remain, living in a world that is a mere shell, a movie set, of the world that made our world manifest, that brought it into being, and all we have left are these perplexing masks, banners, and costumes to puzzle over." -David Byrne, from the foreword Featuring more than two hundred outstanding objects gathered from private and public collections, As Above, So Below provides the first comprehensive survey of the rich vein of art created during the "golden age" of the American fraternal society. By the turn of the twentieth century, an estimated 70,000 local lodges affiliated with hundreds of distinct American fraternal societies claimed a combined five and a half million members. It has been estimated that at least 20 percent of the American adult male population belonged to one or more fraternal orders, including the two largest groups, the Freemasons and the Independent Order of Odd Fellows. The esoteric knowledge, visual symbols, and moral teachings revealed to lodge brothers during secret rituals inspired an abundant and expressive body of objects that form an important facet of American folk art. Lynne Adele and Bruce Lee Webb introduce the reader to fraternal societies and explore the function and meaning of fraternal objects, including paintings and banners, costumes and ceremonial regalia, ritual objects, and an array of idiosyncratic objects that represent a grassroots response to fraternalism. Setting the art in historical context, the authors examine how fraternal societies contributed to American visual culture during this era of burgeoning fraternal activity. Simultaneously entertaining and respectful of the fraternal tradition, As Above, So Below opens lodge room doors and invites the reader to explore the compelling and often misunderstood works from the golden age of fraternity, once largely forgotten and now coveted by collectors.

Illuminating the history of collecting Japanese art This richly illustrated volume addresses the history of collecting Japanese art and the factors that contributed to the growth of collections in North America following the Meiji Restoration in 1868. With wide-ranging essays that fill in gaps in the scholarly investigation of the subject, art historians discuss the historical development of the Japanese aesthetic and examine questions of connoisseurship, authenticity, and controversial collectors and their current-day reception. The volume also features case studies on the formation of Japanese art collections in North America, exploring the diverse array of factors that contributed to their quality, contents, and the role that these collections play for their respective communities. Contributors delve into university and museum archives and interview art dealers, collectors, and artists to better understand their own collections. They present original research on cross-pollination and dialogue between artists from Japan and the United States, the development and growth of museums, and the personal histories of the people who shaped art collections. Together, these essays illustrate the shifting priorities in the collection of Japanese art across 150 years.

Representations of first contact - the first meetings of European explorers and Native Americans - have always had a central place in our nation's historical and visual record. They have also had a key role in shaping and interpreting that record. In Framing First Contact author Kate Elliott looks at paintings by artists from George Catlin to Charles M. Russell and explores what first contact images tell us about the process of constructing national myths - and how those myths acquired different meanings at different points in our nation's history. First contact images, with their focus on beginnings rather than conclusive action or determined outcomes, might depict historical events in a variety of ways. Elliott argues that nineteenth century artists, responding to the ambiguity and indeterminacy of the subject, used the visualized space between cultures meeting for the first time to address critical contemporary questions and anxieties. Taking works from the 1840s through the 1910s as case studies - paintings by Robert W. Weir, Thomas Moran, and Albert Bierstadt, along with Catlin and Russell - Elliott shows how many first contact representations, especially those commissioned and conceived as official history, speak blatantly of conquest, racial superiority, and imperialism. And yet, others communicate more nuanced messages that might surprise contemporary viewers. Elliott suggests it was the very openness of the subject of first contact that allowed artists, consciously or not, to speak of contemporary issues beyond imperialism and conquest. Uncovering those issues, Framing First Contact forces us to think about why we tell the stories we do, and why those stories matter.

A new, fully revised edition of the bestselling publication exploring J.M.W. Turner's spectacular array of watercolours.  The lifetime of J.M.W. Turner (1775-1851) was also the classic age of English watercolour, and the artist's mastery and perfection of the medium coincided with its establishment as an independent art form. This volume examines the unique body of watercolours Turner produced.  Few can doubt that J.M.W. Turner was the greatest exponent of English watercolour in its golden age. An inveterate traveller in search of the ideal vista, he rarely left home without a rolled up, loosebound sketchbook, pencils and a small travelling case of watercolours in his pocket. He exploited, as no one before him, the medium's luminosity and transparency, conjuring light effects on English meadows and Venetian lagoons and gauzy mists over mountains and lakes. Extraordinary in his own time, he has continued to thrill his countless admirers since.  David Blayney Brown, one of the world's leading experts on Turner, reveals the role watercolours played in Turner's life and work, from those he sent for exhibition to the Royal Academy to the private outpourings in which he compulsively experimented with light and colour, which for a modern audience are among his most radical and accomplished works.

John Singer Sargent's approach to watercolor was unconventional. Going beyond turn-of-the-century standards for carefully delineated and composed landscapes filled with transparent washes, his confidently bold, dense strokes and loosely defined forms startled critics and fellow practitioners alike. One reviewer of an exhibition in London proclaimed him "an eagle in a dove-cote"; another called his work "swagger" watercolors. For Sargent, however, the watercolors were not so much about swagger as about a renewed and liberated approach to painting. In watercolor, his vision became more personal and his works more interconnected, as he considered the way one image--often of a friend or favorite place--enhanced another. Sargent held only two major watercolor exhibitions in the United States during his lifetime. The contents of the first, in 1909, were purchased in their entirety by the Brooklyn Museum of Art. The paintings exhibited in the other, in 1912, were scooped up by the Museum of Fine Arts, Boston. "John Singer Sargent Watercolors" reunites nearly 100 works from these collections for the first time, arranging them by themes and subjects: sunlight on stone, figures reclining on grass, patterns of light and shadow. Enhanced by biographical and technical essays, and lavishly illustrated with 175 color reproductions, this publication introduces readers to the full sweep of Sargent's accomplishments in this medium, in works that delight the eye as well as challenge our understanding of this prodigiously gifted artist.
The international art star of the Gilded Age, John Singer Sargent (1856-1925) was born in Italy to American parents, trained in Paris and worked on both sides of the Atlantic. Sargent is best known for his dramatic and stylish portraits, but he was equally active as a landscapist, muralist, and watercolor painter. His dynamic and boldly conceived watercolors, created during travels to Tuscan gardens, Alpine retreats, Venetian canals and Bedouin encampments, record unusual motifs that caught his incisive eye.

Could the self-interested pursuit of beauty actually help to establish the moral and political norms that enable democratic society to flourish? In this book, Lucy Hartley identifies a new language for speaking about beauty, which begins to be articulated from the 1830s in a climate of political reform and becomes linked to emerging ideals of equality, liberty, and individuality. Examining British art and art writing by Charles Lock Eastlake, John Ruskin, Walter Pater, Edward Poynter, William Morris, and John Addington Symonds, Hartley traces a debate about what it means to be interested in beauty and whether this preoccupation is necessary to public political life. Drawing together political history, art history, and theories of society, and supplemented by numerous illustrations, Democratising Beauty in Nineteenth-Century Britain offers a fresh interdisciplinary understanding of the relation of art to its publics.

The radical changes wrought by the rise of the salon system in nineteenth-century Europe provoked an interesting response from painters in the American South. Painterly trends emanating from Barbizon and Giverny emphasized the subtle textures of nature through warm colour and broken brush stroke. Artists' subject matter tended to represent a prosperous middle class at play, with the subtle suggestion that painting was indeed art for art's sake and not an evocation of the heroic manner. Many painters in the South took up the stylistics of Tonalism, Impressionism, and naturalism to create works of a very evocative nature, works which celebrated the Southern scene as an exotic other, a locale offering refuge from an increasingly mechanized urban environment. Scenic Impressions offers an insight into a particular period of American art history as borne out in seminal paintings from the holdings of the Johnson Collection of Spartanburg, South Carolina. By consolidating academic information on a disparate group of objects under a common theme and important global artistic umbrella, Scenic Impressions will underscore the Johnsons' commitment to illuminating the rich cultural history of the American South and advancing scholarship in the field, specifically examining some forty paintings created between 1880 and 1940, including landscapes and genre scenes. A foreword, written by Kevin Sharp, director of the Dixon Gallery and Gardens in Memphis, Tennessee, introduces the topic. Two lead essays, written by noted art historians Pennington, Estill Curtisand Martha R. Severens, discuss the history and import of the Impressionist movement--abroad and domestically--and specifically address the school's influence on art created in and about the American South. The featured works of art are presented in full colour plates and delineated in complementary entries written by Pennington and Severens. Also included are detailed artist biographies illustrated by photographs of the artists, extensive documentation, and indices. Featured artists include Wayman Adams, Colin Campbell Cooper, Elliott Daingerfield, G. Ruger Donoho, Harvey Joiner, John Ross Key, Blondelle Malone, Lawrence Mazzanovich, Paul Plaschke, Hattie Saussy, Alice Ravenel, Huger Smith, Anthony Thieme, and Helen Turner.

How was the remote past of Britain imagined in the eighteenth and nineteenth centuries? What part did the visual arts play in that process? In this book Sam Smiles argues that the ancient Britain of the romantic imagination was a contested world, variously seen as a noble epoch of wisdom and patriotism and as a period of unredeemed savagery and barbarism. The arts, says Smiles, not only reflected these historical debates but actively contributed to them by attempting to bring the archaic past to life. Smiles examines the interplay of antiquarian research, historiography, and the visual arts in constructing an image of Britain from prehistoric times to the arrival of the Saxons. He discusses such topics as the lengthening of prehistoric time in the contemporary view, the status of antiquarian learning, and the celebration of ancestral peoples as an offshoot of the growing sense of national identity. He describes the Celtic revival during the late eighteenth century, with its iconography that fashioned a pictorial repertoire for megaliths, bards, Druids, and the patriotic leaders Boadicea and Caractacus, who fought off the Romans. He also explains why the Victorians downgraded the Celts and replaced them with the Saxons, preferred by Victorians because they were Christians, because they were English (rather than British), and because they had established organized kingdoms. Illustrated with images from a wide range of sources, this is the first major interdisciplinary examination of the British image of antiquity that has a particular significance for art historians and historians alike. Published for the Paul Mellon Centre for Studies in British Art Published for the Paul Mellon Center for Studies in British Art

Tsukioka Yoshitoshi's triptychs and portrait series of the 1860s were predominatly musha-e ("warrior prints"), often with added mythological elements, and invariably drawn from Japanese military history, mostly from the 12th to 16th centuries. Yoshitoshi's major musha-e series, in terms of both its scope and its dynamic visual experimentation, remains Kaidai hyaku senso, or 100 Dogs Of War. Yoshitoshi was reputedly driven to create this series in 1868 after witnessing first-hand the bloody Battle of Ueno, a decisive clash of the civil war in Japan. Although inspired by recent events, the series again depicted warriors from Japanese history, showing some clasping bloody severed heads as trophies of war, others with their own viscera spilling out from the "belly cut" of seppuku (ritual suicide), others in the heat of battle firing guns, hurling spears, wielding swords or dodging bullets. Every aspect of war is represented. There are 65 known completed prints from the series, and several surviving drawings and sketches for designs which apparently never reached fruition; failure to complete the set is attributed both to censorship and to the nervous breakdown which Yoshitoshi reportedly experienced in 1869, an event which resulted in his virtual disappearance from the ukiyo-e scene for the following two years. This Ukiyo-e Master Special edition of Yoshitoshi's 100 Dogs Of War contains not only Yoshitoshi's full set of 65 completed battle prints, reproduced in full-size and full-colour, but also several fascinating preparatory drawings for unfinished designs. The collection also features an extensive illustrated introduction on Yoshitoshi's warrior prints from 1853 to 1889, bringing the total number of colour reproductions in the book to over 90. Ukiyo-e Master Specials: presenting individual art series by the greatest print-designers and painters of Edo-period and Meiji-period Japan.