Thomas Cole's influence after his death, through both the finished and unfinished paintings that remained in his self-designed studio, was truly profound. This book brings new understanding to Cole's last paintings and how they affected later artists. Written by one of the foremost American art historians, it examines the artist's ambition to create paintings that expressed complex and elevated meanings. Images of works not seen for many years will illustrate Cole's intentions and influence.

An archive of never-before-published illustrations of insects and plants painted by a pioneering naturalist. During his lifetime (1751-ca. 1840), English-born naturalist and artist John Abbot rendered more than 4,000 natural history illustrations and profoundly influenced North American entomology, as he documented many species in the New World long before they were scientifically described. For sixty-five years, Abbot worked in Georgia to advance knowledge of the flora and fauna of the American South by sending superbly mounted specimens and exquisitely detailed illustrations of insects, birds, butterflies, and moths, on commission, to collectors and scientists all over the world. Between 1816 and 1818, Abbot completed 104 drawings of insects on their native plants for English naturalist and patron William Swainson (1789-1855). Both Abbot and Swainson were artists, naturalists, and collectors during a time when natural history and the sciences flourished. Separated by nearly forty years in age, Abbot and Swainson were members of the same international communities and correspondence networks upon which the study of nature was based during this period. The relationship between these two men-who never met in person-is explored in John Abbot and William Swainson: Art, Science, and Commerce in Nineteenth-Century Natural History Illustration. This volume also showcases, for the first time, the complete set of original, full-color illustrations discovered in 1977 in the Alexander Turnbull Library in Wellington, New Zealand. Originally intended as a companion to an earlier survey of insects from Georgia, the newly rediscovered Turnbull manuscript presents beetles, grasshoppers, butterflies, moths, and a wasp. Most of the insects are pictured with the flowering plants upon which Abbot thought them to feed. Abbot's journal annotations about the habits and biology of each species are also included, as are nomenclature updates for the insect taxa. Today, the Turnbull drawings illuminate the complex array of personal and professional concerns that informed the field of natural history in the eighteenth and nineteenth centuries. These illustrations are also treasured artifacts from times past, their far-flung travels revealing a world being reshaped by the forces of global commerce and information exchange even then. The shared project of John Abbot and William Swainson is now brought to completion, signaling the beginning of a new phase of its significance for modern readers and scholars.

In less than two decades, Jacoba van Heemskerck (1876-1923) created a powerful oeuvre comprising paintings, woodcuts, glass works and mosaics. Her expressive subjects, including landscapes, townscapes and harbour scenes, are characterised by luminosity and increasing transparency, by rhythmical compositions of the pictorial space, black contours and an intensive use of colour. After her artistic beginnings in the circle around Mondrian and elsewhere, Jacoba van Heemskerck belonged to the centre of the avant-garde movement emanating from the "Sturm" of Herwarth Walden in Berlin - the gallerist and publisher who made artists like Marc, Kandinsky and Jawlensky famous. Her work is shaped by her orientation towards Anthroposophy, which bears witness to her interest in the elemental effect of light and colour on the viewer. Her creative work is highly topical today thanks to her understanding of nature and the cosmos as a world viewed as a whole.

Iconographies of Occupation is the first book to address how the "collaborationist" Reorganized National Government (RNG) in Japanese-occupied China sought to visualize its leader, Wang Jingwei (1883-1944); the Chinese people; and China itself. It explores the ways in which this administration sought to present itself to the people over which it ruled at different points between 1939 (when the RNG was first being formulated) and August 1945, when it folded itself out of existence. What sorts of visual tropes were used in regime iconography and how were these used? What can the intertextual movement of visual tropes and motifs tell us about RNG artists and intellectuals and their understanding of the occupation and the war? Drawing on rarely before used archival records relating to propaganda and a range of visual media produced in occupied China by the RNG, the book examines the means used by this "client regime" to carve out a separate visual space for itself by reviving pre-war Chinese methods of iconography and by adopting techniques, symbols, and visual tropes from the occupying Japanese and their allies. Ultimately, however, the "occupied gaze" that was developed by Wang's administration was undermined by its ultimate reliance on Japanese acquiescence for survival. In the continually shifting and fragmented iconographies that the RNG developed over the course of its short existence, we find an administration that was never completely in control of its own fate-or its message. Iconographies of Occupation presents a thoroughly original visual history approach to the study of a much-maligned regime and opens up new ways of understanding its place in wartime China. It also brings China under the RNG into dialogue with wider theoretical debates about the significance of "the visual" in the cultural politics of foreign occupation more broadly.

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.

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.

Informed by the analytical practices of the interdisciplinary 'material turn' and social historical studies of childhood, Childhood By Design: Toys and the Material Culture of Childhood offers new approaches to the material world of childhood and design culture for children. This volume situates toys and design culture for children within broader narratives on history, art, design and the decorative arts, where toy design has traditionally been viewed as an aberration from more serious pursuits. The essays included treat toys not merely as unproblematic reflections of socio-cultural constructions of childhood but consider how design culture actively shaped, commodified and materialized shifting discursive constellations surrounding childhood and children. Focusing on the new array of material objects designed in response to the modern 'invention' of childhood-what we might refer to as objects for a childhood by design-Childhood by Design explores dynamic tensions between theory and practice, discursive constructions and lived experience as embodied in the material culture of childhood. Contributions from and between a variety of disciplinary perspectives (including history, art history, material cultural studies, decorative arts, design history, and childhood studies) are represented - critically linking historical discourses of childhood with close study of material objects and design culture. Chronologically, the volume spans the 18th century, which witnessed the invention of the toy as an educational plaything and a proliferation of new material artifacts designed expressly for children's use; through the 19th-century expansion of factory-based methods of toy production facilitating accuracy in miniaturization and a new vocabulary of design objects coinciding with the recognition of childhood innocence and physical separation within the household; towards the intersection of early 20th-century child-centered pedagogy and modernist approaches to nursery and furniture design; through the changing consumption and sales practices of the postwar period marketing directly to children through television, film and other digital media; and into the present, where the line between the material culture of childhood and adulthood is increasingly blurred.

Harry Fenn was one of the most skilled and successful illustrators in the United States in the latter half of the nineteenth century, a time when illustrated periodicals and books were the primary means of sharing visual images. Fenn's work fostered pride in America's scenic landscapes and urban centers, informed a curious public about foreign lands, and promoted appreciation of printed pictures as artworks for a growing middle class.

Arriving in New York from London in 1857 as a young wood engraver, Fenn soon forged a career in illustration. His tiny black-and-white wood engravings for Whittier's Snow-Bound (1868) surprised critics with their power, and his bold, innovative compositions for Picturesque America (1872--74) were enormously popular and expanded the field for illustrators and publishers. In the 1880s and '90s, his appeared in many of the finest magazines and newspapers, depicting the places and events that interested the public -- from post--Civil War national reconciliation to the World's Columbian Exposition in 1893 to the beginnings of imperialism in the Spanish-American War.

This handsomely designed volume documents Fenn's prolific career from the 1860s until his death in 1911. Sue Rainey also recounts his adventurous sketching trips in the western United States, Europe, and the Middle East, which enhanced his reputation for depicting far-flung places at a time when the nation was taking a more prominent role on the world stage.

Written by Marilyn Martin, a former director of the South African National Gallery, Between Dreams and Realities is based on extensive research and experience. This book revisits important exhibitions, events and forgotten controversies; it highlights the achievements of directors, who often faced political agendas and strained relationships within and outside the institution. Between Dreams and Realities considers the aspirations and role of civil society in creating and maintaining a national institution for the common good.

Concurrently, the book examines long-standing government disinterest and neglect for the museum, and the difficulties that confronted directors in acquiring a collection worthy of its status. It also tells the story of excellent public cooperation and support, and of boards of trustees, directors and staff together overcoming the realities of budget cuts, government interference and severe space constraints. Between Dreams and Realities is a celebration of South Africa’s heritage and cultural wealth; it contributes to the fields of museum, heritage, cultural and curatorial studies, as well as visual and art history. It opens up the discourse and revives interest in public art museums in general and in the national art museum in particular, while offering perspectives on the future, and galvanising custodians and the public into action.

Art is often appreciated for its ability to delight our eyes and refresh our minds. But it can also serve as a powerful vehicle for exploring darker emotions, such as fear, sadness, and grief. And while these themes have an artistic history dating back to the ancients, the ways in which they have been represented in art have changed dramatically over time. Published to coincide with an exhibition at the Smart Museum of Art, "The Tragic Muse: Art and Emotion, 1700-1900" draws on the work of several distinguished scholars to examine the richly varied representation of tragedy in the European artistic tradition over the course of two centuries. This catalog is generously illustrated with full-color reproductions of all the works contained in the exhibition, and the fascinating contributions offer new insights into the approaches taken by the visual arts, as well as literature and drama, in expressing and eliciting strong emotions.

Major General Sir Isaac Brock is remembered as the Hero of Upper Canada for his defence of what is now Ontario during the War of 1812, and also for his noble death at the Battle of Queenston Heights. In the more than two centuries since then, Brock's likeness has been lost in a confusing array of portraits-most of which are misidentified or conceptual. The 1824 monument constructed to honour Brock's sacrifice was destroyed in 1840 by Benjamin Lett, a disgruntled disciple of William Lyon Mackenzie and critic of the Upper Canadian elite. The replacement and subsequent commemorations emphasized a patriotic desire to visualize the hero's appearance. But despite uncovering an authentic portrait painted only a few years before Brock's death, a series of false faces were promoted to serve competing claims and agendas. St-Denis situates Brock's portraits within an emerging English Canadian imperial nationalism that sought a heroic past which reflected their own aspirations and ambitions. A work of detailed scholarship and a fascinating detective story, The True Face of Sir Isaac Brock details the sometimes petty world of self-proclaimed guardians of the past, the complex process of identification and misidentification that often occurs even at esteemed Canadian institutions, and St-Denis' own meticulous work as he separates fact from fiction to finally reveal Brock's true face.

Bringing together fourteen original essays, this collection opens up new perspectives on the architectural history of the nineteenth century by examining the buildings of the period through the lens of 'experience'. With a focus on the experience of the ordinary building user - rather than simply on the intentions of the designer - the book shows that new and important insights can be brought to our understanding of Victorian architecture. The chapters present a range of ideas and new research - some examining individual building case studies (from grand hotels and clubhouses in New York to the parliament buildings of Westminster), and others exploring conceptual questions about the nature of architectural experience, whether sensory or otherwise. Yet they share the premise that the idea of the 'experience of architecture' took on a new and particular significance with the rise of industrial modernity, and they examine what contemporary people - both architects and non-architects - understood by this idea. The insights in this volume extend beyond the study of Victorian architecture. Together they suggest how 'experience' might be used as a framework to produce a more convincingly historical account of the artefacts of architectural history.

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.

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.

As we approach the bicentennial, in 2017, of the birth of Henry David Thoreau, there is considerable debate and confusion as to what he may, or may not have, contributed to American life and culture. Almost every American has heard of Thoreau, but only a few are aware that he was deeply engaged with most of the important issues of his day, from slavery to "Manifest Destiny" and the rights of the individual in a democratic society. Many of these issues are still affecting us today, as we move toward the second quarter of the twenty-first century. By studying how various American artists have chosen to portray Thoreau over the years since the publication of Walden in 1854, we can gain a clear understanding of how he has been interpreted (or misinterpreted) throughout the years since his death in 1862. But along the way, we might also find something useful, for our times, in the insights that Thoreau gained as he wrestled with the most urgent problems being experienced by American society in his day.

The Life and Times of Moses Jacob Ezekiel: American Sculptor, Arcadian Knight tells the remarkable story of Moses Ezekiel and his rise to international fame as an artist in late nineteenth-century Italy. Sephardic Jew, homosexual, Confederate soldier, Southern apologist, opponent of slavery, patriot, expatriate, mystic, Victorian, dandy, good Samaritan, humanist, royalist, romantic, reactionary, republican, monist, dualist, theosophist, freemason, champion of religious freedom, proto-Zionist, and proverbial Court Jew, Moses Ezekiel was a riddle of a man, a puzzle of seemingly irreconcilable parts. Knighted by three European monarchs, courted by the rich and famous, Moses Ezekiel lived the life of an aristocrat with rarely a penny to his name. Making his home in the capacious ruins of the Baths of Diocletian in Rome, he quickly distinguished himself as the consummate artist and host, winning international fame for his work and consorting with many of the lions and luminaries of the fin-de-siecle world, including Giuseppe Garibaldi, Queen Margherita, Franz Liszt, Richard Wagner, Sarah Bernhardt, Gabriele D'Annunzio, Eleonora Duse, Annie Besant, Clara Schumann, Sir Lawrence Alma-Tadema, Alphonse Daudet, Mark Twain, Emile Zola, Robert E. Lee, Augustus Saint-Gaudens, and Isaac Mayer Wise. In a city besieged with eccentrics, he, a Southern Jewish homosexual sculptor, was outstanding, an enigma to those who knew him, a man at once stubbornly original and deeply emblematic of his times. According to Stanley Chyet in his introduction to Ezekiel's memoirs, "The contemporary European struggle between liberalism and reaction, between modernity and feudalism, between the democratic and the hierarchical is rather amply refracted in Ezekiel's account of his life in Rome." Indeed so many of the contentious cultural, political, artistic, and scientific struggles of the age converged in the figure of this adroit and prepossessing Jew.

Challenging cliches of Japanism as a feminine taste, Bachelor Japanists argues that Japanese aesthetics were central to contests over the meanings of masculinity in the West. Christopher Reed draws attention to the queerness of Japanist communities of writers, collectors, curators, and artists in the tumultuous century between the 1860s and the 1960s. Reed combines extensive archival research; analysis of art, architecture, and literature; the insights of queer theory; and an appreciation of irony to explore the East-West encounter through three revealing artistic milieus: the Goncourt brothers and other japonistes of late-nineteenth-century Paris; collectors and curators in turn-of-the-century Boston; and the mid-twentieth-century circles of artists associated with Seattle's Mark Tobey. The result is a groundbreaking integration of well-known and forgotten episodes and personalities that illuminates how Japanese aesthetics were used to challenge Western gender conventions. These disruptive effects are sustained in Reed's analysis, which undermines conventional scholarly investments in the heroism of avant-garde accomplishment and ideals of cultural authenticity.

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.

Views of Albion is the first comprehensive study of the reception of British art and design in Central Europe at the turn of the twentieth century. The author proposes a new map of European Art Nouveau, where direct contacts between peripheral cultures were more significant than the influence of Paris. These new patterns of artistic exchange, often without historic precedence, gave art during this period its unique character and dynamism. Beginning with an analysis of the concept of Central Europe, the book examines knowledge about British art and design in the region. In subsequent chapters the author looks at the reception of the Pre-Raphaelites in painting and graphic arts as well as analysing diverse responses to the Arts and Crafts Movement in Germany, Austria, Poland, Bohemia, Slovakia, Hungary and Southern Slavic countries. The epilogue reveals the British interest in Central Europe, echoed in the designs Walter Crane, Charles Robert Ashbee and publications of The Studio. The book questions the insularity of British culture and offers new insights into art and design of Central Europe at the fin de siècle. It presents the region as a vital part of the international Art Nouveau, but also shows its specific features, visible in the works of artists such as Alfons Mucha, Gustav Klimt and Stanisław Wyspiański.

This is the story of Marianne North, an unmarried middle-aged Victorian lady of comfortable means, set off in 1871 on her first expedition to make a pictorial record of the tropical and exotic plants of the world. Marianne produced more than 800 paintings which are housed in a special gallery at Kew. Now in second edtion, this book provides an overview of her paintings and the Marianne North Gallery (built under her patronage) where almost all her paintings hang, the history of the gallery and its architecture and its restoration. The beautiful gift book details Marianne's life and travels, fully illustrated throughout with her stunning botanical paintings. This second edition of the bestseller features updated information and the new format allows Marianne's paintings to be reproduced on a larger scale.

To Build a Shadowy Isle of Bliss casts new light on the political radicalism and social thought of nineteenth-century artist, author, and revolutionary, William Morris. Standing on the cusp of a new wave of scholarship, this book presents an exciting convergence of views among internationally renowned scholars in the field of Victorian Studies. Balancing variety and unity, this collection reappraises Morris's concept of social change and asks how we might think beyond the institutions and epistemologies of our time. Though the political significance of Morris's creative work is often underestimated, the essays in this volume showcase its subtlety and sophistication. Each chapter discerns the power and novelty of Morris's radicalism within his aesthetic creations and demonstrates how his most compelling political ideas bloomed wherever his dexterous hand had been at work - in wallpapers, floral borders, medievalist romances, and verse. Morris's theory and practice of aesthetic creation can be seen as the crucible of his entire philosophy of social change. In situating Morris's radicalism at the heart of his creative legacy, and in reanimating debates about nineteenth-century art and politics, To Build a Shadowy Isle of Bliss challenges and expands received notions of the radical, the aesthetic, and the political.

'I wrote my thesis because it seemed incredible that a nineteenth century cleric could believe that paintings had the power to civilise his community of London's poorest. Yet that is what he did believe and his ideas were exported round the world. I still don't know whether he was right...' Frances Borzello What is the purpose of art? Aside from aesthetic considerations, does it have socio-political functions? Art critic Frances Borzello reflected on this in her doctoral thesis, later expanded for publication in 1987 as Civilising Caliban. Therein she traced a link between Victorian-era exhibitions mounted for Whitechapel's poor by Anglican vicar Samuel Barnett to the munificent post-war patronage of the Arts Council. In a new preface to this edition Borzello reflects on how the idea of 'art for all' has fared - along with the questions of who pays for it and what good it achieves.

For almost twenty years, new historicism has been a highly controversial and influential force in literary and cultural studies. In "Practicing the New Historicism, " two of its most distinguished practitioners reflect on its surprisingly disparate sources and far-reaching effects.
In lucid and jargon-free prose, Catherine Gallagher and Stephen Greenblatt focus on five central aspects of new historicism: recurrent use of anecdotes, preoccupation with the nature of representations, fascination with the history of the body, sharp focus on neglected details, and skeptical analysis of ideology. Arguing that new historicism has always been more a passionately engaged practice of questioning and analysis than an abstract theory, Gallagher and Greenblatt demonstrate this practice in a series of characteristically dazzling readings of works ranging from paintings by Joos van Gent and Paolo Uccello to "Hamlet" and "Great Expectations."
By juxtaposing analyses of Renaissance and nineteenth-century topics, the authors uncover a number of unexpected contrasts and connections between the two periods. Are aspects of the dispute over the Roman Catholic doctrine of the Eucharist detectable in British political economists' hostility to the potato? How does Pip's isolation in "Great Expectations" shed light on Hamlet's doubt?
Offering not only an insider's view of new historicism, but also a lively dialogue between a Renaissance scholar and a Victorianist, "Practicing the New Historicism" is an illuminating and unpredictable performance by two of America's most respected literary scholars.
"Gallagher and Greenblatt offer a brilliant introduction to new historicism. In their hands, difficult ideas become coherent and accessible."--"Choice"
"A tour de force of new literary criticism. . . . Gallagher and Greenblatt's virtuoso readings of paintings, potatoes (yes, spuds), religious ritual, and novels--all 'texts'--as well as essays on criticism and the significance of anecdotes, are likely to take their place as model examples of the qualities of the new critical school that they lead. . . . A zesty work for those already initiated into the incestuous world of contemporary literary criticism-and for those who might like to see what all the fuss is about."--"Kirkus Reviews," starred review

From the time the word kul'tura entered the Russian language in the early nineteenth century, Russian arts and letters have thrived on controversy. At any given time several versions of culture have coexisted in the Russian public sphere. The question of what makes something or someone distinctly Russian was at the core of cultural debates in nineteenth-century Russia and continues to preoccupy Russian society to the present day. When Art Makes News examines the development of a public discourse on national self-representation in nineteenth-century Russia, as it was styled by the visual arts and popular journalism. Katia Dianina tells the story of the missing link between high art and public culture, revealing that art became the talk of the nation in the second half of the nineteenth century in the pages of mass-circulation press. At the heart of Dianina's study is a paradox: how did culture become the national idea in a country where few were educated enough to appreciate it? Dianina questions the traditional assumptions that culture in tsarist Russia was built primarily from the top down and classical literature alone was responsible for imagining the national community. When Art Makes News will appeal to all those interested in Russian culture, as well as scholars and students in museum and exhibition studies.

The world's fair of 1915 celebrated both the completion of the Panama Canal and the rebuilding of San Francisco following the devastating 1906 earthquake and fire. The exposition spotlighted the canal and the city as gateways to the Pacific, where the American empire could now expand after its victory in the Spanish-American War. "Empire on Display "is the first book to examine the Panama-Pacific International Exposition through the lenses of art history and cultural studies, focusing on the event's expansionist and masculinist symbolism.

The exposition displayed evidence--visual, spatial, geographic, cartographic, and ideological--of America's imperial ambitions and accomplishments. Representations of the Panama Canal play a central role in Moore's argument, much as they did at the fair itself. Embodying a manly empire of global dimensions, the canal was depicted in statues and a gigantic working replica, as well as on commemorative stamps, maps, murals, postcards, medals, and advertisements." "Just as San Francisco's rebuilding symbolized America's will to overcome the forces of nature, the Panama Canal represented the triumph of U.S. technology and sheer determination to realize the centuries-old dream of opening a passage between the seas.

Extensively illustrated, Moore's book vividly recalls many other features of the fair, including a seventy-five-foot-tall Uncle Sam. American railroads, in their heyday in 1915, contributed a five-acre scale model of Yellowstone, complete with miniature geysers that erupted at regular intervals. A mini-Grand Canyon featured a village where some twenty Pueblo Indians lived throughout the fair.

Moore interprets these visual and cultural artifacts as layered narratives of progress, civilization, social Darwinism, and manliness. Much as the globe had ostensibly shrunk with the completion of the Panama Canal, the Panama-Pacific International Exposition compressed the world and represented it in miniature to celebrate a reinvigorated, imperial, masculine, and technologically advanced nation. As San Francisco bids to host another world's fair, in 2020, Moore's rich analytic approach gives readers much to ponder about symbolism, American identity, and contemporary parallels to the past.