Memory has always been crucial to French literature and culture as a means of mediating the relationship between perception and knowledge of the individual coming to terms with his identity in time. Relatively recently, memory has also emerged as the key force in the creation of a collective consciousness in the wider perspective of French cultural history. This collection of essays, selected from the proceedings of a seminar on 'Memory' given by Dr Emma Wilson at the University of Cambridge, offers a fresh evaluation of memory as both a cultural and an individual phenomenon in modern and contemporary French culture, including literature, cinema and the visual arts. 'Anamnesia', the book's title, develops the Aristotelian concept of anamnesis: recollection as a dynamic and creative process, which includes forgetting as much as remembering, concealment as much as imagination. Memory in this extremely diverse range of essays is therefore far from being presented as a straightforward process of recalling the past, but emerges as the site of research and renegotiation, of contradictions and even aporia.

The Fitzwilliam Museum, University of Cambridge, holds stunning examples of jewellery and metalwork from the late nineteenth and early twentieth centuries. This exceptional period of design covers the neo-Gothic and historicist designs of the mid- to late nineteenth century, the groundbreaking work of British Arts & Crafts designers, sinuous curves influenced by the European Art Nouveau movement and the structural modernity of the 1930s. The collection contains jewellery by some of the finest historicist designers, including the Castellani and Giuliano families and John Brogden, as well as a spectacular decanter by William Burges. There are important pieces of jewellery and silver by the most famous of Arts & Crafts designers, including C.R. Ashbee, Henry Wilson, Gilbert Marks and John Paul Cooper. Unique pieces designed by the artist Charles Ricketts hold a special place in the history of queer art in Britain, having been designed for his friends Katherine Bradley and Edith Cooper, a couple known collectively as Michael Field. Modernist silver is represented by leaders of the field Omar Ramsden and H.G. Murphy. This beautifully illustrated volume reproduces 70 of the Museum's most important pieces from this period, many previously unpublished, with comparative illustrations of some of the original designs. Importantly, the book is arranged chronologically by designer and includes biographies, a description of their work and how it changed over time, as well as commentary about the specific works in the Museum's collection. The resulting book therefore brings together for the first time the Fitzwilliam's exceptionally fine holdings of jewellery and metalwork from this highly popular and fruitful period of design.

This four-volume edition of primary source materials documents the histories of design across the long nineteenth century. Each volume is arranged by appropriate sub-themes and it is the first set of primary sources to be gathered together in this comprehensive and accessible format. Design refers to more than simply products and personalities or even cultural ideas, it involves consideration of ways of design thinking and applications as well as the philosophies and the other disciplines that impinge upon it. Here, the first volume discusses the theories and discourses that underpinned nineteenth-century design, ranging from design reform to aesthetics, and from the question of ornament to design education. The second volume looks at the designed objects, images and spaces that were created in the period. These include discussion of design in interiors, industry, fashion, graphics and architecture amongst others. The third volume considers the issues of design production and practices including debates about the role of machine and craft and the impact of new materials and technologies. The last volume looks at actors, intermediaries and mediators associated with the design domain. Taken together these sources, with their contextual introductions and headnotes, present a valuable overview of a broadly defined design culture during the long nineteenth century. The volumes will be of interest to a range of scholars and students, including those in art and design history, visual culture, and nineteenth-century material culture. They will also be of interest to a broad range of scholars working in areas including aesthetics, gender, politics and philosophy.

How do objects 'speak' to us? What happens to authorship when voice is projected into inanimate objects? How can one articulate an object into speech? Is the inarticulate body necessarily silent? These are just some of the questions brought up by this unique and unusual collection of essays, which presents subjects and categories often overlooked by the disciplines of art history, visual culture, theatre history and comparative literature. Drawing from and expanding upon the 'Performing Objects, Animating Images' academic session run by the Henry Moore Institute at the Association of Art Historians conference, held in London in 2003, this book presents thirteen essays that bring together a multidisciplinary approach to the animated object. Contributions range from literal accounts of magic lanterns, tableaux vivants, puppets and ventriloquist dummies, to the more abstract notions of voice displacement in audio art and authorship projection in writing machines. The contributors come from diverse backgrounds in art history, cultural history, comparative literature, and artistic, theatrical and curatorial practice, and all tackle the issue of 'articulate objects' from a range of lively and unexpected perspectives.

The book was awarded The Art Association of Australia and New Zealand Book Prize in 2010. Art continues to bemuse and confuse many people today. Yet, its critical analyses are saturated with daunting analyses of contemporary art's exhaustion, its predictability or its absorption into global commercial culture. In this book, the author seeks to clarify this apprehensive perception of art. He argues it is a consequence not only of confounding art-works, but also of the paradoxical impetus of a culture of modernity. By positively reassessing the perplexing or apprehensive features of cultural modernity as well as of aesthetic inquiry, this book redefines the ambitions of art in the wake of this legacy. In the process, it challenges many familiar approaches to art inquiry in order to offer a new understanding of the aesthetic, social and cultural aspirations of art in our time.

Critical Voices is a fascinating account of women writing about art in Britain at the turn of the twentieth century. Meaghan Clarke employs extensive original research in order to demonstrate the significant contribution made by women to the art world and draws on a diversity of sources, including diaries, letters and periodicals, to highlight the many different forms their criticism took. Focusing in particular on the work of three women - Alice Meynell, Florence Fenwick-Miller and Elizabeth Robins Pennell - Clarke argues that in order to understand fully art debates of the time it is essential we broaden our understanding of the role of women in the construction of art history. John Singer Sargent, James MacNeill Whistler, Edgar Degas, Mary Cassatt, Elizabeth Butler, William Holman Hunt, Frederic Leighton, Walter Sickert, Henrietta Rae, and Rosa Bonheur are among the artists considered.

Art mirrors life; life returns the favor. How could nineteenth and twentieth century technologies foster both the change in the world view generally called «postmodernism and the development of new art forms? Scholar and curator Faye Ran shows how interactions of art and technology led to cultural changes and the evolution of Installation art as a genre unto itself - a fascinating hybrid of expanded sculpture in terms of context, site, and environment, and expanded theatre in terms of performer, performance, and public.

Sung closely examines William Blake's extant engraved copper plates and arrives at a new interpretation of his working process. Sung suggests that Blake revised and corrected his work more than was previously thought. This belies the Romantic ideal that the acts of conception and execution are simultaneous in the creative process.

Jean Simeon Chardin (1699-1779) was arguably the most talented French painter of the eighteenth century, best known for his original still lifes. Composed of simple, everyday objects, these works glow with warmth and magic, from the dull iron of the kitchen pans, to the glaze of the green earthenware jug or the shining copper of the cauldron. There is no superfluous detail or search for decorative effect; the beauty of his paintings lies in their minimalism. His contemporary, the philosopher Diderot, looking at The Olive Jar exclaimed: 'All you have to do is take these biscuits and eat them ... pick up the glass of wine and drink it ... O Chardin! It's not white, red or black pigment that you crush on your palette: it's the very substance of the objects.' Chardin received early recognition for his work, becoming an Associate of the Royal Academy of Painting and Sculpture and full Academician in 1728 at the age of almost 29. Following the success of his early still lifes and inspired by Dutch seventeenth-century artists, whose work was very much in vogue in Paris at the time, Chardin went on to paint some exquisite genre scenes and portraits, remarkable for their realism and honesty as well as for their skilful technique. His works had a tremendous influence on subsequent artists, inspiring painters as diverse as Manet and Cezanne.

Am Ende des 19. Jahrhunderts setzt sich die tschechische Gesellschaft intensiv mit neuen spirituellen Stroemungen wie Theosophie, Anthroposophie und Okkultismus auseinander. Durch die UEbersetzungen der Werke von Huysmans, Strauss, Nietzsche, Steiner und anderen einflussreichen europaischen Denkern gerat der Katholizismus immer starker in den Konflikt mit der Moderne. Die Bewegung Katolicka moderna versucht in Boehmen den Katholizismus zu erneuern. Zu den Mitarbeitern der Zeitschrift Novy zivot zahlen wichtige tschechische Kunstlerpersoenlichkeiten. Auch die Autoren der Zeitschrift Moderni revue streben eine entsprechende Reform religioes ausgerichteter Kunst an. Die tschechische Musik dieser Zeit widerspiegelt die vielfaltige Auseinandersetzung mit den neuen Denkrichtungen. Charakteristisch fur die betreffenden Werke ist der Synkretismus in Form einer persoenlichen Synthese aus verschiedenen Formen der Spiritualitat. In diesem Kongressband werden neben den Beitragen zu diesen Fragen bislang unbekannte Dokumente zur tschechischen Musik der Jahrhundertwende veroeffentlicht und die Rezeptionswege von massgebenden Komponisten der Zeit (Dvorak, Janacek, Haba, Schulhoff, Novak, Martinu) untersucht. At the end of the 19th century, Czech society was preoccupied with new spiritual trends such as theosophy, anthroposophy, pantheism and occultism. The ideas of Schure, Huysmans, Peladan, Renan, Strauss, Nietzsche, Steiner, Blavatsky and other influential European thinkers were compiled and made available thanks to numerous translations. At the same time, Catholicism was coming into increasing conflict with modernism. One of the attempts at its revival in Bohemia was represented by the movement Catholic Modernism. The contributors to the review Novy zivot (New Life) were distinct personalities of Czech cultural life. The authors of the magazine Moderni revue (Modern Review) strove for reform of religion-oriented arts too. Czech music of that period reflects the multifaceted encounters with the new intellectual trends. Works are characterised by syncretism, in the form of a personal synthesis of various types of spirituality. In addition, the congress proceedings comprise research into hitherto unknown documents dealing with Czech music at the turn of the 19th and 20th centuries, as well as the paths of reception of the foremost composers of the time (Dvorak, Janacek, Haba, Schulhoff, Novak, Martinu).

Representations of music were employed to create a wider 'Orient' on the pages, stages and walls of nineteenth-century Britain. This book explores issues of orientalism, otherness, gender and sexuality that arise in artistic British representations of non-European musicians during this time, by utilizing recent theories of orientalism, and the subsidiary (particularly aesthetic and literary) theories both on which these theories were based and on which they have been influential. The author uses this theoretical framework of orientalism as a form of othering in order to analyse primary source materials, and in conjunction with musicological, literary and art theories, thus explores ways in which ideas of the Other were transformed over time and between different genres and artists. Part I, The Musical Stage, discusses elements of the libretti of popular musical stage works in this period, and the occasionally contradictory ways in which 'racial' Others was represented through text and music; a particular focus is the depiction of 'Oriental' women and ideas of sexuality. Through examination of this collection of libretti, the ways in which the writers of these works filter and romanticize the changing intellectual ideas of this era are explored. Part II, Works of Fiction, is a close study of the works of Sir Henry Rider Haggard, using other examples of popular fiction by his contemporary writers as contextualizing material, with the primary concern being to investigate how music is utilized in popular fiction to represent Other non-Europeans and in the creation of orientalized gender constructions. Part III, Visual Culture, is an analysis of images of music and the 'Orient' in examples of British 'high art', illustration and photography, investigating how the musical Other was visualized.

With more than 14,000 entries of nineteenth- and twentieth-century artists, this book is the most comprehensive international listing of artists as illustrators compiled to date. The entries include illustrators, sculptors, and fine art artists who have done illustrations for books, magazines, records, and posters. Biographical reference keys are provided with each entry. Approximately 4,000 of the listed artists are shown with a signature facsimile.

This collection examines the development of art criticism across Russia and Western Europe in the eighteenth and nineteenth centuries. Art criticism articulated local ideas about functions of art but, more importantly, it also became one of the most responsive fields in which a larger, transnational European exchange of ideas about the role of critical discourse could take place. Art criticism of this period was also rich in rhetorical strategies and textual diversity. International contributors to this volume, who include art historians, cultural historians, and specialists in critical and philosophical discourse, examine the emergence of art critical discourse in a variety of cultural and geo-political contexts.

A long-awaited reprint of an important illustrated reference work on the general history of the watch from 1500 to 1980. When Watches was first published in 1965 it quickly gained for itself a reputation as the foremost general history of the subject and, following the expanded edition in 1979 which covered recent years past 1830, this has remained unchallenged in horological history. In this long-awaited reprinted edition, collectors and horological students can again make use of the reference illustrations and history in this work as approached by the leading horology historians and clockmakers of the twentieth century. Clutton and Daniels write expertly on the vast history of watches, through the changing tastes and styles of collectors and makers, as well as imparting their own knowledge on various technical aspects within the watches. The expansive historical section encompasses both decorative and mechanical aspects of mid-sixteenth to late twentieth century watches, including those by George Daniels himself, detailing the rich history behind more modern designs and fascinations. These later years include a variety of semi-experimental escapements, as well as covering the development of the precision watch and work leading to it by Ferdinand Berthoud and Pierre Le Roy, discussed alongside John Arnold in England, to satisfy the technical-minded collector. Horology and collecting have grown with the changing technologies, and watches continue to be produced to an exceptional technological standard. Precision watches from the 1730-1930 period are covered in detail, as well as high standard Swiss and American watches of the last hundred years; these highly complicated watches benefit greatly from having both colour and mono illustrations to clarify the details. For a truly comprehensive understanding of escapements, photographs of these have been included alongside a critical approach to this essential mechanism. Since its first publication, Watches has provided an essential work of reference and history behind some of the most renowned minds and creations. Now reprinted for a new generation of collectors and students, and featuring over 600 illustrations, the technical and decorative elements of historical watches can be studied and enjoyed once more.

Between the 1890s and the 1930s, movie going became an established feature of everyday life across America. Movies constituted an enormous visual data bank and changed the way artist and public alike interpreted images. This book explores modern painting as a response to, and an appropriation of, the aesthetic possibilities pried open by cinema from its invention until the outbreak of World War II, when both the art world and the film industry changed substantially. Artists were watching movies, filmmakers studied fine arts; the membrane between media was porous, allowing for fluid exchange. Each chapter focuses on a suite of films and paintings, broken down into facets and then reassembled to elucidate the distinctive art-film nexus at successive historic moments.

Politics, Humor, and the Counterculture discusses the post-war period (1945-1972) through the lenses of three artists: Ken Nordine, Lenny Bruce, and Firesign Theatre. Their humor cut through the hypocrisy of the Cold War and the prevailing culture and expanded our horizons. From the Beats to the peace and civil rights movements, these humorists illuminate America from their unique perspectives. Vwadek P. Marciniak highlights the poetic nature of humor as well as its insights on our political and social habits: addiction, conformity, marketing, and fear. The modern is giving way to the postmodern, the fixed to an existential attitude: humanism and humor.

"Life, Legend, Landscape" presents a rich selection of Victorian drawings and watercolors from the Courtauld Gallery collection, ranging from finished watercolors intended for public exhibition to informal sketches and preparatory drawings for paintings or sculpture. The selection includes a study by Edwin Landseer for the famous lions used at the base of Nelson's column in Trafalgar Square, London; the Pre-Raphaelite painter Dante Gabriel Rossetti's intimate portrait of his muse, Elizabeth Siddal, seated at her easel; Whistler's delicate study of the young Elinor Leyland, and Fredrick Walker's outstanding The Old Farm Garden.

First Published in 2002, Visual Words provides a unique and interdisciplinary evaluation of the relationship between images and words in this period.Victorian England witnessed a remarkable growth in literacy culminating in the new literary nationalism that emerged at the beginning of the twentieth century. Each chapter explores a different aspect of this relationship: the role of Dickens as the heroic author, the book as an iconic object, the growing graphic presence of the text, the role of the graphic trace, the 'Sister Arts/ pen and pencil' tradition, and the competition between image and word as systems of communication. Examining the impact of such diverse areas as advertising, graphic illustration, narrative painting, frontispiece portraits, bibliomania, and the merchandising of literary culture, Visual Words shows that the influence of the 'Sister Arts' tradition was more widespread and complex than has previously been considered. Whether discussing portraits of authors, the uses of iconography in Ford Madox Brown's painting Work, or examining why the British Library was equipped with false bookcases for doors, Gerard Curtis looks at artistic and literary culture from an art historical and 'object' perspective to gain a better understanding of why some Victorians called their culture 'hieroglyphic'.

Constructed space is defined by its shape, by the materials with which it is enclosed and by the objects that are placed within or decorate its exterior or interior. The interaction of these crafted objects or decorated surfaces with space provides viewers or inhabitants with visual clues about the environment as well as visual cues about decorum: viewers can know what kind of behaviour is expected and what the space means. Furnishings and dress, textile panels and clay pots, stained glass and gesso panels, all defined as craft or decorative art, give architectural space, defined as high art, its character: without craft, architecture is empty and devoid of meaning. This engaging collection of essays presents the first sustained exploration of the relationship of craft to architectural spaces. The book unravels the complex ways in which craft controls, manipulates, organises and defines space, to highlight how the relationship between craft and space can be understood as a form of communication between related parts that combine to form a unified whole.

Speed, acceleration and rapid change characterize our world, and as we design and construct buildings that are to last at least a few decades and sometimes even centuries, how can architecture continue to act as an important cultural signifier? Focusing on how an important nineteenth-century architect addressed the already shifting relation between architecture, time and history, this book offers insights on issues still relevant today-the struggle between imitation and innovation, the definition (or rejection) of aesthetic experience, the grounds of architectural judgment (who decides and how), or fundamentally, how to act (i.e. build) when there is no longer a single grand narrative but a plurality of possible histories. Six drawings provide the foundation of an itinerary through Charles Robert Cockerell's conception of architecture, and into the depths of drawings and buildings. Born in England in 1788, Cockerell sketched as a Grand Tourist, he charted architectural history as Royal Academy Professor, he drew to build, to exhibit, to understand the past and to learn from it, publishing his last work in 1860, three years before his death. Under our scrutiny, his drawings become thresholds into the nineteenth century, windows into the architect's conception of architecture and time, complex documents of past and projected constructions, great examples that reveal a kinetic approach to ornamentation, and the depth of architectural representation.

A revolutionary figure throughout his career, Dante Gabriel Rossetti's work provides a distinctly revolutionary lens through which the Victorian period can be viewed. Suggesting that Rossetti's work should be approached through his poetry, Brian Donnelly argues that it is both inscribed by and inscribes the development of verbal as well as visual culture in the Victorian era. In his discussions of modernity, aestheticism, and material culture, he identifies Rossetti as a central figure who helped define the terms through which we approach the cultural productions of this period. Donnelly begins by articulating a method for reading Rossetti's poetry that highlights the intertextual relations within and between the poetry and paintings. His interpretations of such poems as the 'Mary's Girlhood' sonnets, the sonnet sequence The House of Life, and 'The Orchard-Pit' in relationship to paintings such as The Girlhood of Mary Virgin and Ecce Ancilla Domini! shed light on Victorian ideals of femininity, on consumer culture, and on the role of gender hierarchies in Victorian culture. Situating Rossetti's poetry as the key to all of his work, Donnelly also makes a case for its centrality in its representation of the dominant discourses of the late Victorian period: faith, sex, consumption, death, and the nature of representation itself.

Diese Anthologie versammelt 15 Beiträge internationaler Autorinnen und Autoren, die sich mit Fragen der Einschreibung und Institutionalisierung von Gender Studies in der Disziplin Kunstgeschichte auseinander setzen. Diskutiert werden einerseits die kunsthistorische Kanonbildung und die Möglichkeiten des Zugangs von Künstlerinnen in das Kunstsystem. Anderseits werden transgressive, hybride Bilder von «Weiblichkeit» und «Männlichkeit» von der frühen Neuzeit bis in die Gegenwart untersucht sowie neuere Ansätze postkolonialer und queerer Theorie vorgestellt. Ce volume rassemble 15 contributions d’auteur-e-s de réputation internationale qui abordent la question de l’inscription et de l’institutionnalisation des études genre dans la discipline de l’histoire de l’art. La constitution des canons artistiques, tout comme les possibilités d’accès des femmes au système artistique sont analysées. Par ailleurs, les représentations hybrides et transgressives de la « féminité » et de la « masculinité » sont interrogées de la Renaissance à nos jours, ainsi que les apports des études post-coloniales et queer. Written by authors of international repute, the 15 articles compiled here address the inscription and institutionalisation of gender studies in the field of art history. They analyze the formation of art-historical canons and the possibilities for women of accessing the art system. Moreover, they explore transgressive, hybrid images of «femininity» and «masculinity» from the early modern times to the present. Recent approaches in post-colonial and queer theory are also discussed.

Material and Visual Cultures Beyond Male Bonding, 1870-1914 presents the first cross-disciplinary analysis of the visual and material representations and spaces of male same-sex culture in turn-of-the-century Britain which positions intimacy as its central object. Through both historical and theoretical lenses, this groundbreaking study considers photographs, interior design, decorative art, architecture and illustrations from the popular press to reveal the interwoven narratives of intimacy, aesthetics and identity. The author sustains close readings to expose the challenges the representations of 'men together' posed not only for the men of the time, but also for the contemporary viewer and scholar.

Dante on View opens an important new dimension in Dante studies: for the first time a collection of essays analyses the presence of the Italian Medieval poet Dante Alighieri in the visual and performing arts from the Middle Ages to the present day. The essays in this volume explore the image of Dante emerging in medieval illuminated manuscripts and later ideological and nostalgic uses of the poet. The volume also demonstrates the rich diversity of projects inspired by the Commedia both as an overall polysemic structure and as a repository of scenes, which generate a repertoire for painters, actors and film-makers. In its original multimediality, Dante's Commedia stimulates the performance of readers and artists working in different media from manuscript to stage, from ballet to hyperinstruments, from film to television. Through such a variety of media, the reception of Dante in the visual and performing arts enriches our understanding of the poet and of the arts represented at key moments of formal and structural change in the European cultural world.

In Neo-Impressionism and Anarchism in Fin-de-Siecle France, Robyn Roslak examines for the first time the close relationship between neo-impressionist landscapes and cityscapes and the anarchist sympathies of the movement's artists. She focuses in particular on paintings produced between 1886 and 1905 by Paul Signac and Maximilien Luce, the neo-impressionists whose fidelity to anarchism, to the art of landscape and to a belief in the social potential of art was strongest. Although the neo-impressionists are best known for their rational and scientific technique, they also heeded the era's call for art surpassing the mundane realities of everyday life. By tempering their modern subjects with a decorative style, they hoped to lead their viewers toward moral and social improvement. Roslak's ground-breaking analysis shows how the anarchist theories of Elisee Reclus, Pierre Kropotkin and Jean Grave both inspired and coincided with these ideals. Anarchism attracted the neo-impressionists because its standards for social justice were grounded, like neo-impressionism itself, in scientific exactitude and aesthetic idealism. Anarchists claimed humanity would reach its highest level of social and moral development only in the presence of a decorative variety of nature, and called upon progressive thinkers to help create and maintain such environments. The neo-impressionists, who primarily painted decorative landscapes, therefore discovered in anarchism a political theory consistent with their belief that decorative harmony should be the basis for socially responsible art.