Since the mid-1970s, the colloquial term zone has often been associated with the troubled post-war housing estates on the outskirts of large French cities. However, it once referred to a more circumscribed space: the zone non aedificandi (non-building zone) which encircled Paris from the 1840s to the 1940s. This unusual territory, although marginal in a social and geographical sense, came to occupy a central place in Parisian culture. Previous studies have focused on its urban and social history, or on particular ways in which it was represented during particular periods. By bringing together and analysing a wider range of sources from the duration of the zone's existence, this study offers a rich and nuanced account of how the area was perceived and used by successive generations of Parisian novelists (including Zola and Flaubert), poets, songwriters, artists, photographers, film-makers, politicians and town-planners. More generally, it aims to raise awareness of a neglected aspect of Parisian cultural history while pointing to links between current and past perceptions of the city's periphery.

Focusing on images of or produced by well-to-do nineteenth-century European women, this volume explores genteel femininity as resistant to easy codification vis-A -vis the public. Attending to various iterations of the public as space, sphere and discourse, sixteen essays challenge the false binary construct that has held the public as the sole preserve of prosperous men. By contrast, the essays collected in Women, Femininity and Public Space in European Visual Culture, 1789-1914 demonstrate that definitions of both femininity and the public were mutually defining and constantly shifting. In examining the relationship between affluent women, femininity and the public, the essays gathered here consider works by an array of artists that includes canonical ones such as Mary Cassatt and FranAois Gerard as well as understudied women artists including Louise Abbema and Broncia Koller. The essays also consider works in a range of media from fashion prints and paintings to private journals and architectural designs, facilitating an analysis of femininity in public across the cultural production of the period. Various European centers, including Madrid, Florence, Paris, Brittany, Berlin and London, emerge as crucial sites of production for genteel femininity, providing a long-overdue rethinking of modern femininity in the public sphere.

Across the medieval and early modern eras, new rulers were celebrated with increasingly elaborate coronations and inaugurations that symbolically conferred legitimacy and political power upon them. Many historians have considered rituals like these as irrelevant to understanding modern governance-an idea that this volume challenges through illuminating case studies focused on the eighteenth- and nineteenth-century Habsburg lands. Taking the formal elasticity of these events as the key to their lasting relevance, the contributors explore important questions around their political, legal, social, and cultural significance and their curious persistence as a historical phenomenon over time.

The Wilhelmine Empire's opening decades (1870s - 1880s) were crucial transitional years in the development of German modernism, both politically and culturally. Here Marsha Morton argues that no artist represented the shift from tradition to unsettling innovation more compellingly than Max Klinger. The author examines Klinger's early prints and drawings within the context of intellectual and material transformations in Wilhelmine society through an interdisciplinary approach that encompasses Darwinism, ethnography, dreams and hypnosis, the literary Romantic grotesque, criminology, and the urban experience. His work, in advance of Expressionism, revealed the psychological and biological underpinnings of modern rational man whose drives and passions undermined bourgeois constructions of material progress, social stability, and class status at a time when Germans were engaged in defining themselves following unification. This book is the first full-length study of Klinger in English and the first to consistently address his art using methodologies adopted from cultural history. With an emphasis on the popular illustrated media, Morton draws upon information from reviews and early books on the artist, writings by Klinger and his colleagues, and unpublished archival sources. The book is intended for an academic readership interested in European art history, social science, literature, and cultural studies.

By the 1850s, the expansion of printing and distribution technologies provided writers with more readers and literary outlets than ever before, while the ever-changing political contexts occasioned by the revolutions of 1830 and 1848 brought about differing degrees of political, social, and literary censure and pressure. Seth Whidden examines crises of literary authority in nineteenth-century French literature, both in response to the attempts of the Second Empire (1852-1870) to restore the unquestioned imperial authority that had been established by Napoleon I and in the aftermath of the bloody Paris Commune of 1871. In each of his chapters, Whidden offers a representative case study highlighting one of several phenomena-literary collaboration, parody, destabilized poetic form, the substitution of one poetic or narrative voice with that of the man-that enabled challenges to the traditional status of the writer and, by extension, the political authority that it reflected. Whidden focuses on the play Le Supplice d'une femme (1865); the Cercle Zutiste, a group of writers, musicians, and artists who met regularly in the fall of 1871, only months after the fall of the Second Empire; Arthur Rimbaud's Commune-era poems; and Jules Verne's 1851 'Un voyage en ballon,' later reprinted as 'Un drame dans les airs' in 1874. Whidden concludes with a futuristic look at authority and auctority as it pertains to midcentury writers taking stock of the weakened authority still possible in a post-Second Empire France and envisioning what kind of auctority is still to come.

The notion of a person--or even an object--having a "double" has been explored in the visual arts for ages, and in myriad ways: portraying the body and its soul, a woman gazing at her reflection in a pool, or a man overwhelmed by his own shadow. In this edited collection focusing on nineteenth- and twentieth-century western art, scholars analyze doppelgangers, alter egos, mirror images, double portraits and other pairings, human and otherwise, appearing in a large variety of artistic media. Artists whose works are discussed at length include Richard Dadd, Salvador Dali, Egon Schiele, Frida Kahlo, the creators of Superman, and Nicola Costantino, among many others.

The importance of typology in the study of early modern literature has long been accepted, yet students of Victorian culture have paid little attention to it. First published in 1980, this study demonstrates how biblical typology, an apparently arcane interpretative mode, had profound effects on the secular culture of the Victorian age: its art, literature and thought. George Landow considers the way in which the average English believer learned to read their Bible in terms of the types and shadows of Christ, the various ways in which Victorian poetry and hymns employed certain imagery, and the use of typological symbolism in narrative poetry, prose fiction, dramatic monologue and non-fiction. In a concluding chapter, he investigates the particularly complex, and often ironic, combinations of typological image and typological structure.

Art, Theatre, and Opera in Paris, 1750-1850: Exchanges and Tensions maps some of the many complex and vivid connections between art, theatre, and opera in a period of dramatic and challenging historical change, thereby deepening an understanding of familiar (and less familiar) artworks, practices, and critical strategies in the eighteenth and nineteenth centuries. Throughout this period, new types of subject matter were shared, fostering both creative connections and reflection on matters of decorum, legibility, pictorial, and dramatic structure. Correspondances were at work on several levels: conception, design, and critical judgement. In a time of vigorous social, political, and cultural contestation, the status and role of the arts and their interrelation came to be a matter of passionate public scrutiny. Scholars from art history, French theatre studies, and musicology trace some of those connections and clashes, making visible the intimately interwoven and entangled world of the arts. Protagonists include Diderot, Sedaine, Jacques-Louis David, Ignace-Eugene-Marie Degotti, Marie Malibran, Paul Delaroche, Casimir Delavigne, Marie Dorval, the 'Bleeding Nun' from Lewis's The Monk, the Comedie-Francaise and Etienne-Jean Delecluze.

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.

Through the example of Central Pacific Railroad executives, Manufacturing the Modern Patron in Victorian California redirects attention from the usual art historical protagonists - artistic producers - and rewrites narratives of American art from the unfamiliar vantage of patrons and collectors. Neither denouncing, nor lionizing, nor dismissing its subjects, it demonstrates the benefits of taking art consumers seriously as active contributors to the cultural meanings of artwork. It explores the critical role of art patronage in the articulation of a new and distinctly modern elite class identity for newly ascendant corporate executives and financiers. These economic elites also sought to legitimate trends in industrial capitalism, such as mechanization, incorporation, and proletarianization, through their consumption of a diverse array of elite culture, including regional landscapes, panoramic and stop-motion photography, history paintings of the California Gold Rush, the architecture of Stanford University, and the design of domestic galleries. This book addresses not only readers in the art history and visual and material cultures of the United States, but also scholars of patronage studies, American Studies, and the sociology of culture. It tells a story still relevant to this new Gilded Age of the early 21st century, in which wealthy collectors dramatically shape contemporary art markets and institutions.

The panorama is primarily a visual medium, but a variety of print matter mediated its viewing; adverts, reviews, handbills and a descriptive programme accompanied by an annotated key to the canvas. The short accounts, programs, reviews, articles and lectures collected here are the primary historical sources left to us.

J.M.W. Turner and the Subject of History is an in-depth consideration of the artist's complex response to the challenge of creating history paintings in the early nineteenth century. Structured around the linked themes of making and unmaking, of creation and destruction, this book examines how Turner's history paintings reveal changing notions of individual and collective identity at a time when the British Empire was simultaneously developing and fragmenting. Turner similarly emerges as a conflicted subject, one whose artistic modernism emerged out of a desire to both continue and exceed his eighteenth-century aesthetic background by responding to the altered political and historical circumstances of the nineteenth century.

A charming and heartfelt story about war, art, and the lengths a woman will go to find the truth about her family. 'As devourable as a thriller... Incredibly moving' Elle 'Pauline Baer de Perignon is a natural storyteller - refreshingly honest, curious and open' Menachem Kaiser 'A terrific book' Le Point It all started with a list of paintings. There, scribbled by a cousin she hadn't seen for years, were the names of the masters whose works once belonged to her great-grandfather, Jules Strauss: Renoir, Monet, Degas, Tiepolo and more. Pauline Baer de Perignon knew little to nothing about Strauss, or about his vanished, precious art collection. But the list drove her on a frenzied trail of research in the archives of the Louvre and the Dresden museums, through Gestapo records, and to consult with Nobel laureate Patrick Modiano. What happened in 1942? And what became of the collection after Nazis seized her great-grandparents' elegant Parisian apartment? The quest takes Pauline Baer de Perignon from the Occupation of France to the present day as she breaks the silence around the wrenching experiences her family never fully transmitted, and asks what art itself is capable of conveying over time.

Looking past the apparent lack of a sustainable Irish display culture, this book demonstrates that there is a very full story to tell of the way Ireland displayed its art from the late eighteenth to the early twentieth century. Ireland on Show analyzes the impact of the display of art as a significant political and cultural feature in the make-up of nineteenth-century Ireland - and in how Ireland was viewed beyond its own shores, in particular in Great Britain and the United States. Fintan Cullen directs much-needed critical attention and analysis to a subject that has been largely overlooked from an Irish perspective. This study moves beyond museums, to address the range of art institutions in Irish cities that displayed art, from the Royal Hibernian Academy, founded in the 1820s, to Hugh Lane's Municipal Art Gallery, opened in Dublin in 1908. Throughout, the book explores the battle between the display of a unionist ethos and a nationalist point of view, a constant that resurfaces over the period. By highlighting the tension between unionist and nationalist viewpoints, Cullen uses the display of art to investigate the complexities of Irish cultural life before the founding of the Free State.

John La Farge, A Biographical and Critical Study is the first biography in a century of the American painter, illustrator, muralist, stained-glass artist, and writer. Examining La Farge's career from his youth to his late rebound as a decorative artist-from New York City and New England to Europe to Japan to the South Seas-this is also the only biography to date composed independently of the artist and his estate. Drawing on primary documentation culled from archives and contemporary newspapers and journals, the biography thoroughly documents La Farge's career and artwork. Earlier biographies avoided the darker aspects of his complex and conflicted life, which had dramatic effects on his work. The study also offers critical analysis of the artist's works, showing influences from other artists and giving contemporary and modern responses. La Farge authority James L. Yarnall scrutinizes how posterity has viewed the artist throughout the century since his death. The book is copiously illustrated with black-and-white and color images.

Reconstructing Empress Eugenie's position as a private collector and a public patron of a broad range of media, this study is the first to examine Eugenie (1826-1920), whose patronage of the arts has been overlooked even by her many biographers. The empress's patronage and collecting is considered within the context of her political roles in the development of France's institutions and international relations. Empress Eugenie and the Arts: Politics and Visual Culture in the Nineteenth Century also examines representations of the empress, and the artistic transformation of a Hispanic woman into a leading figure in French politics. Based on extensive research at architectural sites and in archives, museums, and libraries throughout Europe, and in Britain and the United States, this book offers in-depth analysis of many works that have never before received scholarly attention - including reconstruction and analysis of Eugenie's apartment at the Tuileries. From her self-definition as empress through her collections, to her later days in exile in England, art was integral to Eugenie's social and political position.

Using the tools of the "new" art history (feminism, Marxism, social context, etc.) An Introduction to Nineteenth-Century Art offers a richly textured, yet clear and logical, introduction to nineteenth-century art and culture. This textbook will provide readers with a basic historical framework of the period and the critical tools for interpreting and situating new and unfamiliar works of art. Michelle Facos goes beyond existing histories of nineteenth-century art, which often focus solely on France, Britain, and the United States, to incorporate artists and artworks from Scandinavia, Germany, and Eastern Europe. The book expertly balances its coverage of trends and individual artworks: where the salient trends are clear, trend-setting works are highlighted, and the complexity of the period is respected by situating all works in their proper social and historical context. In this way, the student reader achieves a more nuanced understanding of the way in which the story of nineteenth-century art is the story of the ways in which artists and society grappled with the problem of modernity. Key pedagogical features include: Data boxes provide statistics, timelines, charts, and historical information about the period to further situate artworks. Text boxes highlight extracts from original sources, citing the ideas of artists and their contemporaries, including historians, philosophers, critics, and theorists, to place artists and works in the broader context of aesthetic, cultural, intellectual, social, and political conditions in which artists were working. Beautifully illustrated with over 250 color images. Margin notes and glossary definitions. Online resources at www.routledge.com/textbooks/facos with access to a wealth of information, including original documents pertaining to artworks discussed in the textbook, contemporary criticism, timelines and maps to enrich your understanding of the period and allow for further comparison and exploration. Chapters take a thematic approach combined within an overarching chronology and more detailed discussions of individual works are always put in the context of the broader social picture, thus providing students with a sense of art history as a controversial and alive arena of study. Michelle Facos teaches art history at Indiana University, Bloomington. Her research explores the changing relationship between artists and society since the Enlightenment and issues of identity. Prior publications include Nationalism and the Nordic Imagination: Swedish Painting of the 1890s (1998), Art, Culture and National Identity in Fin-de-Siecle Europe, co-edited with Sharon Hirsh (2003), and Symbolist Art in Context (2009).

Providing a fresh perspective on an important but underappreciated group of late nineteenth-century French painters, this is the first book to provide an in-depth account of the Nabis' practice of the decorative, and its significance for twentieth-century modernism. Over the course of the ten years that define the Nabi movement (1890-1900), its principal artists included Edouard Vuillard, Pierre Bonnard, Maurice Denis, Paul Serusier, and Paul Ranson. The author reconstructs the Nabis' relationship to Impressionism, mass culture, literary Symbolism, Art Nouveau, Wagnerianism, and a revolutionary artistic tradition in order to show how their painterly practice emerges out of the pressing questions defining modernism around 1900. She shows that the Nabis were engaged, nonetheless, with issues that are always at stake in accounts of nineteenth-century modernist painting, issues such as the relationship of high and low art, of individual sensibility and collective identity, of the public and private spheres. The Nabis and Intimate Modernism is a rigorous study of the intellectual and artistic endeavors that inform the Nabis' decorative domestic paintings in the 1890s, and argues for their centrality to painterly modernism. The book ends up not only re-positioning the Nabis to occupy a crucial place in modernism's development from 1860 to 1914, but also challenges that narrative to place more emphasis on notions of decoration, totality and interiority.

Henri Dorra, in his comprehensive new book, presents the development and the aesthetic theories of the symbolist movement in art and literature. Included are writings (many never before translated or reprinted) by artists, designers, architects, and critics, along with Dorra's learned commentary. Fifty photographs of symbolist works complement his encyclopedic coverage. Dorra traces symbolism and its roots from artist to artist and critic to critic from the mid-nineteenth to the early twentieth century. The decorative arts and architecture are examined as well as painting and sculpture. The Arts and Crafts movement, art nouveau, the work of Eiffel in France, and that of Sullivan in the United States are well represented. The close relations between symbolist poets and artists are reflected in the chapter on literary developments. Baudelaire, Rimbaud, Verlaine, and Mallarme are here, but so, too, are writers less well known. A section on the post-impressionists and the "artists of the soul" rounds out Dorra's rich and varied text, and his Epilogue lays the groundwork for what was to follow symbolism. Here Dorra discusses, on the one hand, the new trend toward abstraction and the related development of formalist criticism and, on the other, the new stress on interplay between the tangible and the intangible, fact and dream, that eventually led to surrealism. Dorra beautifully integrates the different aesthetic branches of symbolism, the different media, and national variations, without ever losing sight of the whole. The historical context provided makes this a particularly appealing collection for students and scholars of art history and literature, as well as for anyone interested inthe evolution of symbolism.

After a century of Rationalist scepticism and political upheaval, the nineteenth century awakened to a fierce battle between the forces of secularization and the crusaders of a Christian revival. From this battlefield arose an art movement that would become the torchbearer of a new religious art: Nazarenism. From its inception in the Lukasbund of 1809, this art was controversial. It nonetheless succeeded in becoming a lingua franca in religious circles throughout Europe, America, and the world at large. This is the first major study of the evolution, structure, and conceptual complexity of this archetypically nineteenth-century language of belief. The Nazarene quest for a modern religious idiom evolved around a return to pre-modern forms of biblical exegesis and the adaptation of traditional systems of iconography. Reflecting the era's historicist sensibility as much as the general revival of orthodoxy in the various Christian denominations, the Nazarenes responded with great acumen to pressing contemporary concerns. Consequently, the artists did not simply revive Christian iconography, but rather reconceptualized what it could do and say. This creativity and flexibility enabled them to intervene forcefully in key debates of post-revolutionary European society: the function of eroticism in a Christian life, the role of women and the social question, devotional practice and the nature of the Church, childhood education and bible study, and the burning issue of anti-Judaism and modern anti-Semitism. What makes Nazarene art essentially Romantic is the meditation on the conditions of art-making inscribed into their appropriation and reinvention of artistic tradition. Far from being a reactionary move, this self-reflexivity expresses the modernity of Nazarene art. This study explores Nazarenism in a series of detailed excavations of central works in the Nazarene corpus produced between 1808 and the 1860s. The result is a book about the possibility of religious meaning in modern art. It will reinvigorate scholarship in the fields of nineteenth-century art, romanticism, and religion and the arts, and restore the Nazarene artists to their rightful place at the forefront of romantic art history.

Andrey Shabanov's seminal reinterpretation of the Peredvizhniki is a comprehensive study that examines in-depth for the first time the organizational structure, self-representation, exhibitions, and critical reception of this 19th-century artistic partnership. Shabanov advances a more pragmatic reading of the Peredvizhniki, artists seeking professional and creative freedom in authoritarian Tsarist Russia. He likewise demonstrates and challenges how and why the group eventually came to be defined as a critically-minded Realist art movement. Unprecedentedly rich in new primary visual and textual sources, the book also connects afresh the Russian and Western art worlds of the period. A must-read for anyone interested in Russian art and culture, 19th-century European art, and also the history of art exhibitions, art movements, and the art market.

This volume celebrates the scholarly and curatorial vision of Kirk Varnedoe (1946-2003). As Chief Curator of Painting and Sculpture at The Museum of Modern Art, N.Y. Varnedoe was one of the most distinguished curators in the United States, and as Professor of Fine Arts at New York University's Institute of Fine Arts, a famously dynamic teacher. The nineteen essays, written by Varnedoe's most distinguished doctoral students (now noted art historians in their own right), highlight the wide range of subjects in 19th- and 20th-century art introduced in his pedagogy. Several derive from the collaboration of their authors with Dr. Varnedoe on major exhibitions at the Museum of Modern Art and elsewhere and offer new insight into these projects. The volume includes introductory essays by the editors and by Varnedoe's colleagues Robert Storr and Robert Rosenblum as well as a full bibliography of Varnedoe's writings.

This volume lists more than 4,800 European and 400 Australian, South African, and Japanese artists who worked from 1800 to 1990, and offers 9,000 signature examples. Five special categories in the back of this volume help to identify signatures that are difficult to read. In the front of this volume is a listing of 69 sources of information, which can also lead the researcher to more than 100 additional sources transcribed into key letters.