Themes of the American West have been enduringly popular, and The American West in Bronze features sixty-five iconic bronzes that display a range of subjects, from portrayals of the noble Indian to rough-and-tumble scenes of rowdy cowboys to tributes to the pioneers who settled the lands west of the Mississippi. Fascinating texts offer a fresh look at the roles that artists played in creating interpretations of the "vanishing West"-whether based on fact, fiction, or something in-between. These artists, including Charles M. Russell and Frederic Remington, embody a range of life experiences and artistic approaches. Some grew up in the West and based their artwork on first-hand experience, while others never set foot west of the Rockies. Four thematic sections-Indians, animals, cowboys, and settlers-are illustrated with new photography and provide a cultural overview to the works presented. Also included are biographies of the artists, each illustrated with a vintage portrait, plus an illustrated chronology of historical and artistic events. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art (12/17/13-04/13/14) Denver Art Museum (05/09/14-08/31/14) Nanjing Museum (October 2014-January 2015)

Edwin Howland Blashfield (1848-1936) rose to prominence as a muralist during the "American Renaissance," the period between the 1893 World's Columbian Exposition and the United States' entry into World War I. Blashfield's monumental work can be viewed in courthouses, state capitols, churches, universities, museums, and other places across the United States. New scholarship highlights Blashfield's contributions to the beauty of civic spaces and his lasting influence on public art in America. The first book in decades to focus on the renowned muralist, this covers the artist as defender of the classical tradition, surveys his artistic production, observes the works from a conservator's perspective, and discusses his legacy. It references Blashfield's writing and leadership of numerous cultural organizations, as well as his paintings, in examining his efforts to codify the professional relationship between architects and artists and promote the blending of classic principles with American symbolism, history and contemporary realities.

Por primera vez en la historia de los estudios sobre Gustavo Adolfo Becquer, El color del romanticismo presenta un nuevo punto de vista basado en un doble analisis comparativo: por un lado, entre el romanticismo aleman, en la persona de Novalis, y el espanol, en la persona de Becquer; y por otro lado, entre literatura y pintura, pues ambos escritores usan el color, especialmente el azul, como instrumento pictorico que les sirve a ambos para solucionar la insuficiencia lingueistica de la que parece adolecer la literatura romantica europea. A la zaga de los teoricos del color decimononicos, principalmente Goethe y su libro Zur Farbenlehre (Hacia una teoria de los colores), de 1810, el estudio semantico del uso del color azul en ambos poetas permite una clasificacion entre usos oniricos y no oniricos de dicho color, que situa a Becquer en un mas apropiado lugar en el panorama de los romanticos europeos.

"Geography of the Gaze" offers a new history and theory of how the way we look at things influences what we see. Focusing on Western Europe from the seventeenth to nineteenth centuries, Renzo Dubbini shows how developments in science, art, mapping, and visual epistemology affected the ways natural and artificial landscapes were perceived and portrayed.
He begins with the idea of the "view," explaining its role in the invention of landscape painting and in the definition of landscape as a cultural space. Among other topics, Dubbini explores how the descriptive and pictorial techniques used in mariners' charts, view-oriented atlases, military cartography, and garden design were linked to the proliferation of highly realistic paintings of landscapes and city scenes; how the "picturesque" system for defining and composing landscapes affected not just art but also archaeology and engineering; and how the ever-changing modern cityscapes inspired new ways of seeing and representing the urban scene in Impressionist painting, photography, and stereoscopy. A marvelous history of viewing, "Geography of the Gaze" will interest everyone from scientists to artists.

From the 16th century until well into the 18th century, the commedia dell'arte, a popular Italian type of improvised comic theatricals, cast its spell on a large and diverse audience. Here an exuberant joy of living was reflected in a portrayal of all aspects of life exaggerated with pomposity and humour. No medium was better suited than precious porcelain to immortalise the vivacious performance of the comedians on the stage, let alone surpass their exaltation: No other subject produced a similar symbiotic relationship between the downright expressionist sculptures executed by the porcelain modellers and their heightening with brilliant colours by the porcelain painters in their astounding depiction of the costumes. Still today, these luxurious creatures enthral the observer with the splendour of the Baroque, with that particular joie de vivre of a grand poque. Delighted, we enter a bygone world where to enjoy life was the highest good. This publication is the first comprehensive survey of the commedia dellarte as a subject of the ceramic arts. Almost 400 objects from more than 45 European manufactories cover the period from the 18th to the 20th century.

We agonise and argue when choosing it; we admire, compliment and criticise it (or keep politely quiet about it); and the rest of the time we don't even notice it. Wallpaper has been the backdrop to our homes for hundreds of years. It can make a house feel cosy or trendy, modern or traditional, and it is one of the key elements of home decor through which to express personal taste. Despite the threat from plain-painted minimalism, wallpaper maintains a strong presence in modern domestic decoration. Zoe Hendon traces the history of wallpaper in Britain and its foremost designers, examining how social mobility and new technologies have influenced design trends. From early Chinoiserie, through William Morris and on to the `feature wall', this book looks at wallpaper's surprisingly controversial place in shaping our sense of home.

The first volume of" French Drawings and Sketchbooks of the Nineteenth Century," the third part in an ongoing series of text-fiche publications presenting the distinguished drawing collection of the Art Institute, contains works by artists born between 1770 and 1830. This period includes Ingres, who is represented by nine drawings, including five exemplary pencil portraits, and Gericault, whose extraordinary album of sixty-four sheets, reproduced here, represents two crucial phases of the artist's career. The text-fiche also contains drawings by Delacroix and Daumier, which range from casual study sheets to complete pictorial compositions, as well as important groups of drawings by Millet and Bresdin, a group of important, but as yet unknown, drawings by the great sculptor Carpeaux, and an impressive sheet by Courbt.

This volume is unique in its focus on cross-fertilisation in the arts, on very specific exploration of liminal spaces, and on the representation of marginal figures in writing. The essays here grew out of the Borders and Margins colloquium, held at Leeds Trinity University, UK, in April 2010, which was the fourth in a series of colloquia. This collection, moreover, contributes to a growing area of scholarship which explores Anglo-French interactions and exchanges. In choosing the term "liminality", the editors are aware of its nuanced implications, allowing suggestions both of the initial and the transitional. The contributors here are academics from the fields of literature, history and art history, and their essays cover art history, literature, cultural history, the arts, and faith. Altogether, this collection evokes a sense of temporal shift, in that changes in values and focus are uncovered as the nineteenth century progresses. Some have an ekphrastic quality, showing how pictures can have a narrative, and how pictures, as well as texts, can be encoded with moral and social interpretations. Close scrutiny is applied to different kinds of texts, fiction and non-fiction, and the purposes for which they were produced. This book will appeal to scholars and academics interested in a wide range of cross-categorisational transactions in nineteenth-century Britain. It will be of interest to scholars of Victorian culture, and English nineteenth-century literature and art, particularly in terms of genre, as well as to academics interested in the development of social, personal, and national identities.

The Museum for Lacquer Art in Munster has what is probably the mostimportant collection of Russian lacquer art outside Russia. The works of art date from the early nineteenth century to the 1950s and comprehensively document the development of a flourishing branch of the arts and crafts.

By the close of the nineteenth century, the European countryside was dotted with artists' colonies in landscapes as varied as the artists and hosts who inhabited them. The most valuable and fruitful of these colonies were established along the coasts, and as they grew, traditional, stoic fishermen watched as their seaside villages were transformed into communities of art and leisure. Though idyllic in setting, these were not merely rustic retreats, but highly motivated international forums for experiment and debate, populated by those at the cutting edge of artistic change.

The movement, driven by ideological decisions and sustained by practical considerations, was shaped by a confluence of innovations in technology, transportation, hospitality, and publishing. In turn, it shaped the modern art market and inspired generations of painters. With this incisive study, Brian Dudley Barrett makes a major contribution to the geography of art, chronicling a time when living on the edge yielded fresh works and radical new perspectives.

This comprehensive new three-volume guide to the early art and artists of Ohio is a compendium of hard-to-find information The result of more than twelve years of research in community archives, newspapers, business directories, census returns, genealogical records, and manuscripts, Artists in Ohio, 1787-1900 is the most ambitious and complete attempt ever made to document the state's artistic origins and growth.

The authors have uncovered and remedied innumerable gaps and errors in standard reference works. They have also brought to light new information about thousands of forgotten men and women, once well known in their communities, who achieved success in either the fine arts or the decorative and "practical" arts of photograph, ornamental penmanship, tombstone carving, china painting, illustrating, cartooning, and the execution of panoramas and theatrical scenery.

More than 13,000 entries are filled with factual details that will be indispensable to art scholars, genealogists, museum professionals, and historians, as well as to private and institutional collectors of American paintings, sculpture, prints, and photographs, and anyone with an interest in the local and regional history of the nineteenth-century Midwest. Each entry is documented, cross-referenced, and backed up by two bibliographies and an appendix devoted to art organizations, schools, major expositions, and collaborative works.

Abner Cook has long been acknowledged as the most important architect in antebellum Texas, but this extensively illustrated volume is the first to document fully his life and works. This well-told history of Cook's life also presents a vivid account of his city--nineteenth-century Austin.

The French Popular Lithographic Imagery, 1815-1870 series reproduces in twelve volumes approximately 5000 nineteenth-century lithographs from the collections of the Bibliotheque nationale. Beatrice Farwell's multivolume text-fiche catalog is an essential resource to art historians and will appeal to all those interested in nineteenth-century France.