The Glasgow Boys revolutionized Scottish painting from 1880 until around 1895, although their influence lasted until just before World War 1. Painters such as Sir John Lavery, Sir James Guthrie, George Henry, Edward Atkinson Hornel, Joseph Crawhall, Edward Arthur Walton, and William Kennedy formed the main group of painters, although there were 18 in total. They were a loose group, with various friendships and painting groups among them. Influenced by the Impressionists and post-Impressionists, they were also inspired by Japanese and Dutch art. Their style went against Victorian sentimentality and they brought the look of some forms of Impressionism and post-Impressionism to Scotland, with fresh views of the Scottish countryside and typical scenes from Scottish life. They painted outdoors, and captured a way of life that changed Scottish painting. Many settled after their early rebellious phase into quieter styles, or moved away as the art scene evolved into the Scottish Colourists' phase. As Glasgow became the fourth largest city in Europe, with a massive explosion in its population, money from wealthy industrialists, publishers and merchants became available to support the art commissioned from The Glasgow Boys. New walls needed art, as Glasgow celebrated its prosperity in a new phase of building - the city centre saw a new Art School, and City Chambers, and industrialists built homes in the country. The author's understanding of the art world and the importance of financial support and also painting techniques makes this book a unique contribution to books written on The Glasgow Boys. The Glasgow Boys are the subject of an exhibition at Kelvingrove Art Gallery in spring/summer 2010, and then at the Royal Academy, London until January 2011.

In his most ambitious endeavour since Freud, acclaimed cultural historian Peter Gay traces and explores the rise of Modernism in the arts, the cultural movement that heralded and shaped the modern world, dominating western high culture for over a century. He traces the revolutionary path of modernism from its Parisian origins to its emergence as the dominant cultural movement in world capitals such as Berlin and New York, presenting along the way a thrilling pageant of hereitcs that includes Oscar Wilde, Pablo Picasso, James Joyce, Walter Gropius and Any Warhol. The result is a work unique in its breadth and brilliance. Lavishly illustrated, Modernism is a superb achievement by one of our greatest historians.

A Choice Outstanding Academic Title 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.

Jean-Leon Gerome (1824-1904) was an undisputed professional success during his lifetime. Crowds flocked to see his vividly rendered historical and Orientalist compositions, and thanks to the mass marketing of his work through mechanical reproduction, he reached audiences on an unprecedented scale.From the outset, however, his success met with critical hostility. emile Zola, champion of edouard Manet, dismissed Gerome as a cynical manufacturer of anecdotal images for popular consumption--a critique repeatedly echoed by historians of modern art. In light of revisionist and postmodern trends over the past four decades, however, Gerome's work is now being approached with unprecedented seriousness and refreshing creativity. The ten essays in this volume go far in challenging critical biases against the artist and suggesting new avenues of research. These papers indeed suggest that we are just beginning to learn how to "read" Gerome's paintings in their full complexity.

At the beginning of the twentieth century, when Alfons Mucha went to the United States for four years as a lecturer, the world-famous poster designer, Art-Nouveau book illustrator, designer, photographer and painter was greeted with enthusiasm. Mucha is regarded as one of the most important representatives of Jugendstil; he knew how to move between the various genres more skilfully than virtually any other artist of his day. After training as a stage decorator in Vienna, Mucha travelled via Munich to Paris. There he created a stir in the 1890s with his stylistically refined and elegantly executed posters. These designs were not only his artistic breakthrough; they also revolutionised the aesthetic of what was still a new medium. Mucha's later works also demonstrated the inimitable "Mucha style," which celebrated floral elements, lines and beauty and which is lavishly illustrated in this book.

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.

Echoing Joseph Paxton's question at the close of the Great Exhibition, 'What is to become of the Crystal Palace?', this interdisciplinary essay collection argues that there is considerable potential in studying this unique architectural and art-historical document after 1851, when it was rebuilt in the South London suburb of Sydenham. It brings together research on objects, materials and subjects as diverse as those represented under the glass roof of the Sydenham Palace itself; from the Venus de Milo to Sheffield steel, souvenir 'peep eggs' to war memorials, portrait busts to imperial pageants, tropical plants to cartoons made by artists on the spot, copies of paintings from ancient caves in India to 1950s film. Essays do not simply catalogue and collect this eclectic congregation, but provide new ways for assessing the significance of the Sydenham Crystal Palace for both nineteenth- and twentieth-century studies. The volume will be of particular interest to researchers and students of British cultural history, museum studies, and art history. -- .

The Carved Line is about printmaking and printmakers in New Mexico over a significant period of timefrom 1890 to present. It features block prints, including new works, by New Mexicos best-known printmakers and brings to the forefront little-known artists deserving wide recognition and a place in New Mexicos art historical canon. This volume includes 120 beautifully reproduced prints by internationally known New Mexico artists including Gustave Baumann, Willard Clark, Howard Cook, Betty Hahn, T. C. Cannon, Fritz Scholder, Frederick OHara, Adja Yunkers, and previously unpublished works by other artists such as Juan Pino, Margaret Herrera Chavez, Tina Fuentes, Yoshiko Shimano, and Ruth Connely. The extraordinary range of block prints in this book shows the types of production, sociopolitical and cultural influences, and wide variety of subjects in New Mexico.

A major new biography of James McNeill Whistler, one of most complex, intriguing, and important of America's artists This engaging personal history dispels the popular notion of James McNeill Whistler (1834-1903) as merely a combative, eccentric, and unrelenting publicity seeker. The Whistler revealed in these beautifully illustrated pages is an intense, introspective, and complex man, plagued by self-doubt and haunted by an endless pursuit of perfection in his painting and drawing. "[Sutherland] seeks to get behind the public Whistler . . . never judging or condescending to his subject. . . . The portrait of Whistler that emerges is complex and mysterious . . . a measured and scholarly account of an extraordinary life."-Ruth Scurr, Wall Street Journal "The first comprehensive biography of Whistler in at least a generation. . . . Sutherland skillfully captures Whistler's ambition, tenacity, and insecurity and presents his life in a narrative that does justice to both his triumphs and his failures."-Eleanor Jones Harvey, American Scholar

Cham, real name Count Amedee de Noe and a serious rival to Daumier, may have been the epitome of a celebre inconnu, a famous unknown. He is one much deserving, at last, of this first account of his huge oeuvre as a caricaturist. This book concentrates on his mastery of the important newcomer to the field of caricature, which we call comic strip, picture story, and graphic novel. The volume features facsimiles of nearly twenty of these from 1839 to 1863 and ranging from one page to forty (this last a parody of Victor Hugo's Les Miserables). In addition, summaries and sample illustrations of twenty-seven ""minor works"" demonstrate that Cham is by far the most important specialist of what was then a new genre in Europe. Born to an ancient aristocratic family, Cham was from early on wholly dedicated to an art considered far beneath his class. Starting as a disciple of the father of the modern comic strip, Swiss Rodolphe Toepffer, Cham soon launched out on his own, evolving an original form of comedy, his own comedie humaine, farcical, absurd, and parodic. His productivity was legendary and comprised all the known genres of caricature, the full-page cartoon lithograph, the thematic seasonal group, weekly and monthly humorous comment (much like the daily newspaper cartoonist today), and a feature called the Revue Comique, which made him the supreme graphic journalist of his day. Hitherto unknown correspondence reveals an attractive personality who was fond of animals and who honored a low-class woman he eventually made his countess. Vaunted comics scholar David Kunzle has created a fitting tribute to Cham's impact and genius.

This is volume 2: E-K, 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.

Antosha and Levitasha is the first book in English devoted to the complex relationship between Anton Chekhov and Isaac Levitan, one of Russia's greatest landscape painters. Outside of Russia, a general lack of familiarity with Levitan's life and art has undermined an appreciation of the cultural significance of his friendship with Chekhov. Serge Gregory's highly readable study attempts to fill that gap for Western readers by examining a friendship that may have vacillated between periods of affection and animosity, but always reflected an unwavering shared aesthetic. In Russia, where entire rooms of galleries in Moscow and St. Petersburg are devoted to Levitan's paintings, the lives of the famous writer and the equally famous artist have long been tied together. To those familiar with the work of both men, it is evident that Levitan's "landscapes of mood" have much in common with the way that Chekhov's characters perceive nature as a reflection of their emotional state. Gregory focuses on three overarching themes: the artists' similar approach to depicting landscape; their romantic and social rivalries within their circle of friends, which included many of Moscow's leading cultural figures; and the influence of Levitan's personal life on Chekhov's stories and plays. He emphasizes the facts of Levitan's life and his place in late nineteenth-century Russian art, particularly with respect to his dual loyalties to the competing Itinerant and World of Art movements. Accessible and engaging, Antosha and Levitasha will appeal to scholars and general readers interested in art history, late nineteenth-century Russian culture, and biographies.

African-American art has made an increasingly vital contribution to the art of the United States from the time of its origins in early-eighteenth-century slave communities. This major reassessment of the subject discusses folk and decorative arts such as ceramics, furniture, and quilts alongside fine art -- sculptures, paintings, and photography -- produced by African Americans, both enslaved and free, throughout the nineteenth century. It explores art and politics, the influence of galleries and museums, and examines the New Negro Movement of the 1920s, the Era of Civil Rights and Black Nationalism through the 1960s and 1970s, and the emergence of new black artists and theorists in the 1980s and 1990s. African-American Art shows that in its cultural diversity and synthesis of cultures it mirrors those in American society as a whole.

`a much needed text. . . breaks down the barrier between folk and formal art, and articulates an interrelationship of both concepts to African-American people and their culture' Keith Morrison, Artist and Dean of the College of Arts, San Francisco State University.

`a fine survey of contemporary African-American art and ideas... a volume, which, like no other, can be used both as an unusual reference book and a good read' Emma Amos, Artist and Professor of Art at Rutgers University

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 volume of thirteen essays presents rigorous new research by western and Russian scholars on Russian art of the nienteenth and early-twentieth centuries. Over More than three decades after the publication of Elizabeth Valkenier's pioneering monograph, Russian Realist Art, this impressive collection showcases the latest methodology and subjects of inquiry, expanding the parameters of what has become an area of enormous intellectual and popular appeal. Major artists including Ilia Repin, Valentin Serov, and Wassily Kandinsky are considered afresh, as are the Peredvizhnik and Mir iskusstva movements and the Abramtsevo community. The book also breaks new ground to embrace subjects such as Russian graphic satire and children's book illustration, as well as stimulating aspects of patronage and display. Collectively, the essays include a range of approaches, from close textual readings to institutional critique. They also develop major themes inspired by Valkenier's work, among them: the emergence and evolution of cultural institutions, the development of aesthetic discourse and artistic terminology, debates between the Academy of Arts and its challengers, art criticism and the Russian press, and the resonance of various forms of nationalism within the art world. These and other questions engage multiple disciplines-those of art history, Slavic Russian studies, and cultural history, among others-and promise to fuel a vibrant and ascendant field.

The American realist artist John Sloan (1871-1951) is best known for his portrayals of daily life in early 20th-century New York and as a member of The Eight and the Ashcan School, alongside peers like Robert Henri, Everett Shinn, and George Luks. Sloan's artistic approach was shaped by his experience as a commercial illustrator, a type of work that inaugurated his professional career--at newspapers like the "Philadelphia Press" and later for mass-market magazines--and which he pursued even after he turned his focus to painting. In "John Sloan: Drawing on Illustration," Michael Lobel explores the impact of Sloan's illustrating on his wider output, including his paintings, his drawings for the radical journal "The ""Masses," and his response to the watershed 1913 Armory Show. Illuminating the interaction between art and popular culture, this book provides an important new framework for understanding the modern genre of illustration, and in so doing touches on major 20th-century currents, including the rise and expansion of the mass media and the visual legacy of European modernism.

This book focuses on interpretations of the myth that lead to the Symbolist period and explores the Symbolist understanding of the Prometheus myth. It examines the main projections that were made onto the Prometheus figure, through a study of the artistic works devoted to the Titan.

Since Charles Fredrick Worth established his luxurious Maison de Couture in 1858, the interior has played a crucial role in the display of fashion. House of Fashion provides a full historical account of the interplay between fashion and the modern interior, demonstrating how they continue to function as a site for performing modern, gendered identities for designers and their clientele alike. In doing so, it traces how designers including Poiret, Vionnet, Schiaparelli and Dior used commercial spaces and domestic interiors to enhance their credentials as connoisseurs of taste and style. Taking us from the early years of haute couture to the luxury fashion of the present day, Berry explores how the salon, the atelier and the boutique have allowed fashion to move beyond the aesthetics of dress, to embrace the visual seduction of the theatrical, artistic, and the exotic. From the Art Deco allure of Coco Chanel's Maison to the luminous spaces of contemporary flagship stores, House of Fashion sets out fashion's links with key figures in architecture and design, including Louis Sue, Robert Mallet-Stevens, Eileen Gray, and Jean-Michel Frank. Drawing on photographs, advertisements, paintings and illustrations, this interdisciplinary study examines how fashionable interiors have shaped our understanding of architecture, dress, and elegance.

"Playing It Straight: Art and Humor in the Gilded Age" offers a stunning new look at late-nineteenth-century American art, and demonstrates the profound role humor played in determining the course of culture in the Gilded Age. By showing how complex humorous strategies such as deadpan and burlesque operate in a range of media - from painting and sculpture to chromolithography and architectural schemes - Greenhill examines how ambitious artists like Winslow Homer and Augustus Saint-Gaudens rethought the place of humor in their work and devised strategies to both conform to and slyly undermine developing senses of "serious" culture. Exhibiting an awareness of the emerging requirements of serious art but maintaining an investment in humor, they played it straight.

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

This is an insightful survey on the materials and techniques of American artistis, from 1860 to 1945. This second volume in the American Painter's on Technique series is the first overview of an important but largely unknown aspect of American art from 1860 to 1945. The study is based primarily on firsthand descriptions of the materials and techniques that artists used to make paintings. The book is into two parts: 1860 to 1910 and 1910 to 1945. Between 1860 and 1910, the predominant theme is the increased number of Americans who traveled to Europe for instruction, resulting in an explosion of transplanted techniques. The period 1910 to 1945, was marked by a fundamental change in the attitudes of painters toward their materials. An epilogue summarizes the lessons American painters' experiences over 250 years can hold for contemporary artists interested in the long-term preservation of their paintings.

This book addresses the lively artistic dialogue that took place between Russia and the West-in particular with the United States, Britain, and France-from the 1860s to the Khrushchev Thaw. Offering stimulating new readings of cross-cultural exchange, it illuminates Russia's compelling, and sometimes combative, relation with western art in this period of profound cultural transformation. Russian Art and the West breaks new ground in the range of its material and its chronological span. Attending both to vanguard tendencies and to the official artistic institutions and practices of the tsarist and Soviet eras, it casts light on seminal developments little studied in western scholarship, while also providing new contexts for, and fresh insights into, the avant-garde of the early twentieth century. The book's eleven essays by leading experts on Russian art and design explore painting, architecture, and the decorative arts, considering not only the objects but also the patrons, audiences, exhibitions, and critical readings that together shaped national culture in an international context. Written in an accessible style and encompassing a variety of approaches, they collectively rethink conventional polarities and influences, and unpack the myths of separateness and isolation so often associated with artistic endeavor in late imperial or Soviet Russia. This illustrated volume will appeal to students, scholars, and general readers seeking to understand the fuller context of Russian artistic culture during a remarkable century of social and political change.

Many patrons of the arts in nineteenth-century America built collections of paintings and sculpture imported primarily from England or Italy. Collectors in Baltimore--William Walters, George Lucas, the famous Cone sisters, among others--stand out in this milieu for having developed a strikingly different aesthetic for their homes and newly founded public institutions. These collectors looked to France for models of culture and, acting upon a remarkable understanding of the educational needs and working methods of artists, assembled extensive collections of drawings by French masters, from David to Daumier, Degas, and Cezanne.

The Essence of Line offers the first comprehensive discussion of the formation of these collections and their significance for the history of French art. The book begins with essays by Jay M. Fisher, William R. Johnston, and Cheryl K. Snay that trace the history of collecting in Baltimore and afford new insights into the acquisition, display, and interpretation of drawings. In her essay, conservator Kimberly Schenck bridges the worlds of the collector and of the artist by examining the production and the use of drawing materials in an epoch of radical changes as much in technique as style. This book also provides a fully illustrated, scholarly catalogue for one hundred of the most important of the nineteenth-century French drawings now held by The Baltimore Museum of Art, The Walters Art Museum, and the Peabody Art Collection.

Published on the occasion of an exhibition jointly organized by The Baltimore Museum of Art and The Walters Art Museum, this book presents a brilliant panorama of sketches, watercolors, and presentation drawings, many of them little known outside a small circle of experts. It is correlated with an online archive of the entire corpus of nineteenth-century French drawings in the holdings of these Baltimore museums.

This volume has been published in conjunction with the exhibition The Essence of Line: French Drawings from Ingres to Degas, organized by The Baltimore Museum of Art and the Walter Art Museum, Baltimore, Maryland, and held at:

The Baltimore Museum of Art, 19 June-11 September 2005

The Walters Art Museum 19 June-4 September 2005

Birmingham Museum of Art, 19 February-14 May 2006

Tacoma Art Museum, 9 June-17 September 2006.

Randall Griffin's book examines the ways in which artists and critics sought to construct a new identity for America during the era dubbed the Gilded Age because of its leaders' taste for opulence. Artists such as Winslow Homer, Thomas Eakins, and Thomas Anshutz explored alternative "American" themes and styles, but widespread belief in the superiority of European art led them and their audiences to look to the Old World for legitimacy. This rich, never-resolved contradiction between the native and autonomous, on the one hand, and, on the other, the European and borrowed serves as the armature of Griffin's innovative look at how and why the world of art became a key site in the American struggle for identity.

Not only does Griffin trace the interplay of issues of nationalism, class, and gender in American culture, but he also offers insightful readings of key paintings by Eakins and other canonical artists. Further, Griffin shows that by 1900 the nationalist project in art and criticism had helped open the way for the formulation of American modernism.

Homer, Eakins, and Anshutz will be of importance to all those interested in American culture as well as to specialists in art history and art criticism.

This is a brief history of and investigation into the collecting of sacred art. When works of art created for religious purposes outlive their original function, they often take on new meanings as they move from sacred spaces to secular collections. Focusing on the centuries in which the phenomenon of collecting came powerfully into its own, the fourteen essays presented here analyze the radical recontextualization of celebrated paintings by Raphael, Caravaggio, and Rubens; brings to light a lost holy tower from fifteenth-century Bavaria; and offers new insights into the meaning of 'sacred' and 'profane'. Collecting represents the primary mechanism by which a sacred work of art survives when it is alienated from its original context. In the field of art history, the consequences of such collecting - its tendency to reframe an object, metaphorically and physically - have only begun to be investigated. "Sacred Possessions" charts the contours of a fertile terrain for further inquiry.