Accompanying a major retrospective of Anders Zorn's work, this is the first volume in English to explore the Swedish Impressionist's entire career in depth. Anders Zorn (1860-1920) is one of Sweden's most accomplished and beloved artists. Renowned for his light, expressive watercolors, he attained mastery of the genre at an early age and later applied his techniques to oil painting. Zorn is often compared with the artists John Singer Sargent and Joaquin Sorolla y Bastida, contemporaries who also were known for their portraits of high-society figures. Taking up residence in London and then in Paris, Zorn established himself as an international portrait painter, depicting fashionable clients in a style both elegant and relaxed. He became a favorite among wealthy American collectors, bankers, and industrialists who sat for him, including art collector Isabella Stewart Gardner and three U.S. presidents. Although perhaps best known for his portraits, Zorn brought equal skill to painting genre scenes and views of nature. This handsome volume provides a thorough introduction to the artist and his works, from portraiture to landscapes and his famous nudes. Four illustrated essays are accompanied by a chronology, selected bibliography, an exhibition checklist, and an index.

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.

John Lockwood Kipling (1837-1911) started his career as an architectural sculptor at the South Kensington Museum (today the Victoria and Albert Museum). Much of his life, however, was spent in British India, where his son Rudyard was born. He taught at the Bombay School of Art and later was appointed principal of the new Mayo School of Art (today Pakistan's National College of Art and Design) as well as curator of its museum in Lahore. Over several years, Kipling toured the northern provinces of India, documenting the processes of local craftsmen, a cultural preservation project that provides a unique record of 19th-century Indian craft customs. This is the first book to explore the full spectrum of artistic, pedagogical, and archival achievements of this fascinating man of letters, demonstrating the sincerity of his work as an artist, teacher, administrator, and activist. Published in association with Bard Graduate Center Exhibition Schedule: Victoria and Albert Museum, London (01/14/17-04/02/17) Bard Graduate Center, New York (09/15/17-01/07/18)

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

A theory of art may be many things, from a complex philosophical treatise to a few basic observations jotted down by an artist that illumine the direction of his work. The late eighteenth-and nineteenth-century writings gathered here were selected not because they completely formulate systems governing art, but because they were closely allied with artists responded, and some were composed by critics or historians who were in close touch with the artists and sought to explain their artistic goals.

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.

This is volume 1: A-D, 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.

Landscape art in the early 19th century was guided by two rival concepts: the picturesque, which emphasized touristic pleasures and visual delight, and the sublime, an aesthetic category rooted in notions of fear and danger. British artists including J.M.W. Turner and John Constable raised landscape painting to new heights and their work reached global audiences through the circulation of engravings. Thomas Cole, born in England, emigrated to the United States in 1818, and first absorbed the picturesque and sublime through print media. Cole transformed British and continental European traditions to create a distinctive American form of landscape painting. The authors here explore the role of prints as agents of artistic transmission and look closely at how Cole's own creative process was driven by works on paper such as drawings, notebooks, letters, and manuscripts. Also considered is the importance of the parallel works of William Guy Wall, best known for his pioneering Hudson River Portfolio. Beautifully illustrated with works on paper ranging from watercolors to etchings, mezzotints, aquatints, engravings, and lithographs, as well as notable paintings, this book offers important insights into Cole's formulation of a profound new category in art-the American sublime. Published in association with the Thomas Cole National Historic Site Exhibition Schedule: Thomas Cole National Historic Site (05/01/18-11/04/18)

American Gothic Art and Architecture in the Age of Romantic Literature analyses the influence of British Gothic novels and historical romances on American art and architecture in the Romantic era. American artists and architects were among the most avid readers of Gothic fiction, which in turn informed their artistic output. In a period of increasing nationalism, the Gothic Revival architectural style in particular served to legitimise the American landscape with the materiality of European culture. At the core of this book is an analysis of American architecture in the late eighteenth and early nineteenth centuries, an understudied era. Key figures include Thomas Jefferson, Washington Allston, Alexander Jackson Davis, James Fenimore Cooper, Washington Irving, Thomas Cole, Edwin Forrest, and Nathaniel Hawthorne. Hawthorne articulated the subject of this book when he wrote that he could understand Sir Walter Scott's romances better after viewing Scott's Gothic Revival house Abbotsford, and he understood the house better for having read the romances. From the very beginning, the Gothic Revival has been a phenomenon that crosses modern disciplinary boundaries.The groundwork in Gothic literary scholarship allows us to move beyond literature to examine how the Gothic seeps into other forms of artistic creation. This interdisciplinary book investigates the symbiotic relationship between the arts and Gothic literature to reveal new interpretative possibilities.

Expone la contribucion de Jorge Manach (1898-1961) a la teoria del arte cubano, mediante el examen de Historia y estilo (1944), contentivo de cuatro textos: ""La Nacion y la formacion historica"", ""Esquema historico del pensamiento cubano"", ""El estilo de la revolucion"" y ""El estilo en Cuba y su sentido historico"". Se emplean conceptos de analisis como Electivismo, Larga Duracion y Teoria de la circunstancialidad historica del estilo, en virtud de precisar el metodo empleado por Manach, la concepcion historiografica que respalda su propuesta y el empleo del ensayo como soporte textual. Se enuncia la logica de la sistematizacion teorica realizada, para propiciar niveles de actualizacion en torno al volumen y se legitima el aporte de Jorge Manach a la teoria del arte a partir de la enunciacion de su teoria de la circunstancialidad historica del estilo. Presenta Introduccion, capitulos I y II, Epilogo y Bibliografia.

From the Cadillac to the Apple Mac, the skyscraper to the Tiffany lampshade, the world in which we live has been profoundly influenced for over a century by the work of American designers. But the product is only the end of a story that is full of fascinating questions. What has been the social and cultural role of design in American society? To produce useful things that consumers need? Or to persuade them to buy things that they don't need? Where does the designer stand in all this? And how has the role of design in America changed over time, since the early days of the young Republic? Jeffrey Meikle explores the social and cultural history of American design spanning over two centuries, from the hand-crafted furniture and objects of the early nineteenth century, through the era of industrialization and the mass production of the machine age, to the information-based society of the present, covering everything from the Arts and Crafts movement to Art Deco, modernism to post-modernism, MOMA to the Tupperware bowl.

A beautiful overview of fascinating paintings of the classical world and the Holy Land by a beloved American artist Frederic Church (1826-1900), one of the leading painters of 19th-century America and the Hudson River School, also journeyed around the globe to find fresh inspiration for his highly detailed compositions. Among Church's lesser-known masterpieces are his paintings of the Middle East, Italy, and Greece, produced in the late 1860s through late 1870s, which explore themes of human history and achievement. Taking a closer look at this geographical and thematic shift in Church's practice, this handsome book brings together the artist's major paintings of Athens, Rome, Jerusalem, and the surrounding region. The essays concentrate on a set of six major paintings of architectural and archaeological marvels; one essay also spotlights Olana, Church's home in New York State, which reflects the influence of Middle Eastern design. This impressive volume stands apart in its new approach to the artist's work and its quest to determine why and how this quintessentially American figure was drawn to scenery and themes from the other side of the globe. Distributed for the Detroit Institute of Arts Exhibition Schedule: Detroit Institute of Arts (10/22/17-01/15/18) Reynolda House Museum of American Art, Winston-Salem, NC (02/08/18-05/13/18) Wadsworth Atheneum Museum of Art, Hartford, CT (06/03/18-08/26/18)

Pictures of women portrayed as professional, athletic, and intellectual seem common to us today, but until the late nineteenth century, such representations of strong, self-reliant women were virtually, if not completely, absent from the visual arts and literature. Off the Pedestal is the first book to explore the radical change that occurred in the representation of women immediately after the Civil War. Three critical essays draw on the visual culture of the period to show how postbellum social changes in the United States brought issues of subordination and autonomy to the surface for women in much the same way that it did for blacks. As women began attending college in greater numbers, entering professions previously dominated by men, and demanding greater personal freedom, these “new women� were featured more frequently in the visual arts and in a manner that made it clear that they had ambitions outside the domestic sphere. The complexity and pervasiveness of these women fascinated many of the most well known painters, illustrators, and writers of the time, including Winslow Homer, Mary Cassatt, John Singer Sargent, William Merritt Chase, Charles Dana Gibson, Henry James, Edith Wharton, and William Dean Howells. The women represented in works by these and other artists reflected those who, in life, were becoming liberated from the confines of the home and the sole company of their husbands and children. They were portrayed reading books and newspapers, riding bicycles, hiking in the mountains, and working as professionals. The depiction of female self-reliance, however, was not uniform throughout all visual media. Although painters tended to portray these women positively, illustrators and photographers often vilified or satirized them. Among these negative stereotypes one could find the “manly� new woman—a contested figure whose appearance in journalism and elsewhere pointed to underlying social anxiety and demonstrated a widespread backlash against female empowerment. The medical community also condemned new women by arguing that females who studied or exercised vigorously would become sick, insane, or even sterile, thus threatening the welfare of the country.  Featuring more than seventy color and black-and-white images, Off the Pedestal is an engaging and informative window into the ways that identities and attitudes are forged on the stage of visual culture.

A sweeping survey of the arts of Ireland spanning 150 years and an astonishing range of artists and media This groundbreaking book captures a period in Ireland's history when countless foreign architects, artisans, and artists worked side by side with their native counterparts. Nearly all of the works within this remarkable volume-many of them never published before-have been drawn from North American collections. This catalogue accompanies the first exhibition to celebrate the Irish as artists, collectors, and patrons over 150 years of Ireland's sometimes turbulent history. Featuring the work of a wide range of artists-known and unknown-and a diverse array of media, the catalogue also includes an impressive assembly of essays by a pre-eminent group of international experts working on the art and cultural history of Ireland. Major essays discuss the subjects of the Irish landscape and tourism, Irish country houses, and Dublin's role as a center of culture and commerce. Also included are numerous shorter essays covering a full spectrum of topics and artworks, including bookbinding, ceramics, furniture, glass, mezzotints, miniatures, musical instruments, pastels, silver, and textiles. Distributed for the Art Institute of Chicago Exhibition Schedule: The Art Institute of Chicago (03/17/15-06/07/15)

Mary Crovatt Hambidge (1885-1973) was an aspiring actress and a professional whistler on Broadway when she met Canadian-born Jay Hambidge (1867-1924), an artist, illustrator, and scholar. Their relationship would prove to be both a romantic and an artistic partnership. Jay Hambidge formulated his own artistic concept, known as Dynamic Symmetry, which stipulated that the compositional rules found in nature's symmetry should be applied to the creation of art. Mary Hambidge pioneered new techniques of weaving and dyeing fabric that merged Greek methods with Appalachian weaving and spinning traditions. The Hambidge Center for Creative Arts and Sciences, formed during the mid-1930s, provides an artists' community situated on six hundred rural acres in the north Georgia mountains where hundreds of visual artists, writers, potters, composers, dancers, and other artists have pursued their crafts. Dynamic Design details Jay Hambidge and Mary Crovatt Hambidge's cross-cultural and cross-historical explorations and examines their lasting contributions to twentieth-century art and cultural history. Virginia Gardner Troy illustrates how Jay and Mary were important independently and collectively, providing a wider understanding of their lives within the larger context of late nineteenth- and early twentieth-century art and design. They were from two different worlds, nearly a generation apart in age, and only together for ten years, but their lives intertwined at a pivotal moment in their development. They shared parallel goals to establish a place where they could integrate the arts and crafts around the principles of Dynamic Symmetry. Troy explores how this dynamic duo's ideas and artistic expressions have resonated with admirers throughout the decades and reflect the trends and complexities of American culture through various waves of cosmopolitanism, utopianism, nationalism, and isolationism. The Hambidges' prolific partnership and forward-thinking vision continue to aid and inspire generations of aspiring artists and artisans.

Early in the nineteenth century French art was largely rejected by British artists, critics and patrons. This rejection reflected both constant political opposition to France over the preceding 130 years and the growth of cultural nationalism in Britain. During the nineteenth century this hostility was gradually replaced by an acceptance and even enthusiasm for French culture, which transformed British art. This book charts the impact of French culture on British art and, to a lesser extent, the influence of British art in France during the nineteenth century. Thoroughly original, it is the first full overview of artistic and cultural relations between the two most important nations for the visual arts of the period. Political conflict between the two countries was replaced during the course of the century by a new internationalism and by a general acceptance of free trade. Romanticism was a common ideal. Cosmopolitan Whig collectors began to collect contemporary French art. The British and French royal families became interested in the art of the other country. French artists travelled to England often as refugees or as economic migrants. widely exhibited in England by enterprising dealers. French artistic training was greatly admired in Britain. French classicist idealism inspired English history painters, and French tonal naturalism was studied by British genre and landscape painters. British artists travelling in France admired many aspects of culture, life and landscape there. The Gothic Revival in England had important French connections. French naturalism in anatomy and technical expertise in bronze revived British sculpture. New serious English art periodicals devoted much space to French art. British moral objections to French art weakened. The new role of women in cultural life proved to be another link between the two nations. Previous studies of this subject have been largely confined to the importance of Romanticism and Impressionism; this book covers the entire field and offers an encyclopaedic account of all aspects of the British reception of French art in the nineteenth century. It will be a vital resource for all those working in the area for the foreseeable future.

The years following Mexican independence in 1821 were critical to the development of social, racial, and national identities. The visual arts played a decisive role in this process of self-definition. Mexican Costumbrismo reorients current understanding of this key period in the history of Mexican art by focusing on a distinctive genre of painting that emerged between 1821 and 1890: costumbrismo. In contrast to the neoclassical work favored by the Mexican academy, costumbrista artists portrayed the quotidian lives of the lower to middle classes, their clothes, food, dwellings, and occupations. Based on observations of similitude and difference, costumbrista imagery constructed stereotypes of behavioral and biological traits associated with distinct racial and social classes. In doing so, Mey-Yen Moriuchi argues, these works engaged with notions of universality and difference, contributed to the documentation and reification of social and racial types, and transformed the way Mexicans saw themselves, as well as how other nations saw them, during a time of rapid change for all aspects of national identity. Carefully researched and featuring more than thirty full-color exemplary reproductions of period work, Moriuchi’s study is a provocative art-historical examination of costumbrismo’s lasting impact on Mexican identity and history. E-book editions have been made possible through support of the Art History Publication Initiative (AHPI), a collaborative grant from the Andrew W. Mellon Foundation.

Modernism vs. Traditionalism: Art in Paris 1888-1889 considers questions surrounding artistic developments at the end of the nineteenth century in Paris. Students will debate principles of artistic design in the context of the revolutionary changes that began shaking the French art world in 1888-1889. Images from the 1888 Salon and the tumultuous year that followed provide some of the ""texts"" that form the intellectual heart of every reacting game. Styles include conservative art espoused by the Academy, as well as more avant-garde art created by artists such as Van Gogh and Gauguin. Also included are the Impressionists and American artists in Paris. Students must read paintings as texts and use them as the basis of their positions in advocating for the future of art. In addition to these visual texts, students will read art criticism from the period, which will help form the basis of their own presentations in favor of one art style over another. These discussions are complicated and enriched by secondary debates over the economics of art, the rise of independent art dealers, and the government's role as a patron of the arts. The game culminates at the 1889 World Exposition in Paris.

This beautiful book, companion publication to the exhibition of the same name, presents a complex overview of the life and career of the pioneering African American artist Henry O. Tanner (1859-1937). Recognized as the patriarch of African American artists, Tanner forged a path to international success, powerfully influencing younger black artists who came after him. Following a preface by David Driskell, the essays in this book - written by international scholars including Alan Braddock, Michael Leja, Jean-Claude Lesage, Richard Powell, Marc Simpson, Tyler Stovall, and Helene Valance - explore many facets of Tanner's life, including his upbringing in post-Civil War Philadelphia, his background as the son of a bishop in the African Methodist Episcopal church, and his role as the first major academically trained African American artist. Additional essays discuss Tanner's expatriate life in France, his depictions of the Holy Land and North Africa, and the scientific and technical innovations reflected in his oeuvre. Edited and introduced by Anna O. Marley, this volume expands our understanding of Tanner's place in art history, showing that his status as a painter was deeply influenced by his race but not decided by it. Contributors include: Brian Baade; Alan Braddock; Marcus Bruce; Adrienne L. Childs; Robert Cozzolino; David Driskell; Amber Kerr-Allison; Michael Leja; Jean-Claude Lesage; Anna O. Marley; Olivier Meslay; Richard Powell; Marc Simpson; Tyler Stovall; and, Helene Valance.

In the late 1790s, British Prime Minister William Pitt created a crisis of representation when he pressured the British Parliament to relieve the Bank of England from its obligations to convert paper notes into coin. Paper quickly became associated with a form of limitless reproduction that threatened to dematerialize solid bodies and replace them with insubstantial shadows. Media Critique in the Age of Gillray centres on printed images and graphic satires which view paper as the foundation for the contemporary world. Through a focus on printed, visual imagery from practitioners such as James Gillray, William Blake, John Thomas Smith, and Henry Fuseli, the book addresses challenges posed by reproductive technologies to traditional concepts of subjective agency. Joseph Monteyne shows that the late eighteenth-century paper age's baseless fabric set the stage for contemporary digital media's weightless production. Engagingly written and abundantly illustrated, Media Critique in the Age of Gillray highlights the fact that graphic culture has been overlooked as an important sphere for the production of critical and self-reflective discourses around media transformations and the visual turn in British culture.

Little known today, Jean Baffier (1851-1920) was never far from the headlines during his own lifetime. Born into a poor peasant family, he became a self-taught sculptor whose work ranged from decorative objects to portrayals of peasant life and public monuments. But Baffier would probably not have received wide public attention if he had not also become a folklorist, a promoter of regional culture, and a militant nationalist with beliefs so violent that he attempted a political assassination.

Monumental Intolerance explores the full gamut of Baffier's activities and shows that he was pursuing a vast scheme of national purification and rebirth. Neil McWilliam's discussion of the historical issues surrounding Baffier opens an extraordinary perspective on the culture wars and political struggles of a turbulent period in French history.

This book will interest the art-historical community and historians of fin-de-siecle France.

Artist in Exile is the first in-depth, illustrated exploration of the life and work of Anne Marguerite Josephine Henriette Rouille de Marigny, Baroness Hyde de Neuville (1771-1849), who arrived in America in 1807 as a refugee from Napoleonic France and embarked on an extraordinary journey of discovery. Her unparalleled, beguiling, watercolors and drawings--over 200, made while traveling through seven countries and on the high seas, published here together with previously unpublished documents and letters--provide an invaluable historical visual record of the early years of the American Republic and its racially diverse population. From this exciting material Henriette emerges as a cosmopolitan artist who exerted her influence in political and social circles on both sides of the Atlantic, courageously traversing the European continent, unescorted, to beg Napoleon to spare her husband's life.Neuville's status as a woman, and an outsider, made her a particularly keen and sympathetic observer of individuals from a range of socioeconomic and ethnic backgrounds. She drew the earliest ethnographically correct images of indigenous Americans, together with vistas predating the works of other traveler-artists, and long-vanished buildings. Although she arrived in America as an outcast, by the end of her second residency, as the celebrated wife of the French Minister Plenipotentiary, she was interacting with political leaders and making her mark on society in Washington, DC and New York City. Artist in Exile tells her compelling story.

When the story of modern art is told, British artists are mentioned infrequently or not at all. In this book, distinguished art historians attempt to explain the marginal position of British modern art by examining the development of the London art world-its institutions and individual artists-over the past two centuries. Chapters discuss artists as diverse as William Hogarth, Sir Joshua Reynolds, W.P. Frith, Walter Sickert, and Henry Moore and also describe academies, public exhibitions, and commercial galleries throughout the era. Introduced by David Solkin, the volume consists of contributions from Caroline Arscott, Ann Bermingham, John Brewer, Marilyn Butler, Julie Codell, Peter Funnell, John Gage, Charles Harrison, Andrew Hemingway, Ludmilla Jordanova, Ronald Paulson, Martin Postle, and Stella Tillyard. This volume is the first of a new serial publication, Studies in British Art, published for the Yale Center for British Art and the Paul Mellon Centre for Studies in British Art. Published for the Paul Mellon Center for Studies in British Art

Painters Robert Duncanson (ca. 1821-1872) and Edward Bannister (1828-1901) and sculptor Mary Edmonia Lewis (ca. 1844-1907) each became accomplished African American artists. But as emerging art makers of color during the antebellum period, they experienced numerous incidents of racism that severely hampered their pursuits of a profession that many in the mainstream considered the highest form of social cultivation. Despite barriers imposed upon them due to their racial inheritance, these artists shared a common cause in demanding acceptance alongside their white contemporaries as capable painters and sculptors on local, regional, and international levels. Author Naurice Frank Woods Jr. provides an in-depth examination of the strategies deployed by Duncanson, Bannister, and Lewis that enabled them to not only overcome prevailing race and gender inequality, but also achieve a measure of success that eventually placed them in the top rank of nineteenth-century American art. Unfortunately, the racism that hampered these three artists throughout their careers ultimately denied them their rightful place as significant contributors to the development of American art. Dominant art historians and art critics excluded them in their accounts of the period. In this volume, Woods restores their artistic legacies and redeems their memories, introducing these significant artists to rightful, new audiences.