Early American painter Gilbert Stuart has long been mistakenly represented as a hard-drinking rogue, habitual liar, and inexplicable financial failure. To explain his stylistic unevenness as an artist, he is assumed to have had an inferior assistant, but the documentary evidence for an assistant who painted on his portraits is non-existent-in fact, there is evidence to the contrary. This ground-breaking study demonstrates that Stuart suffered from a hereditary form of manic depression, leading him to create pictures that contain peculiar lapses characteristic of a manic-depressive, or bipolar, artist. Using documentary and empirical evidence-from diaries and letters to x-radiographs of paintings-this book fills important gaps in our knowledge of Stuart, and connects the strange visual effects in some of Stuart's paintings with cognitive deficits attendant with the disorder. In addition to Stuart, other bipolar artists, including George Romney, Raphaelle Peale, Gilbert Stuart Newton, and William Rimmer, are discussed in relation to these deficits, revealing patterns which carry broader implications for all manic-depressive artists. This volume is a significant contribution not only to studies of Stuart and the four other painters but also to our understanding of the mind of a manic-depressive artist. It bridges the broad disciplines of art history and psychopathology.

This ground-breaking book presents a critical study of pictorial narrative in nineteenth-century European painting. Covering works from France, Germany, Britain, Italy and elsewhere, it traces the ways in which immensely popular artists like Jean-Leon Gerome, Karl von Piloty and William Quiller Orchardson used unique visual strategies to tell thrilling and engaging stories. Regardless of genre, content or national context, these paintings share a fundamental modern narrative mode. Unlike traditional art, they do not rely on textual sources; nor do they tell stories through the human body alone. Instead, they experiment with objects, spaces, cause-and-effect relations and open-ended ambiguity, prompting viewers and reviewers to read for clues in order to weave their own elaborate tales. -- .

An original and overdue exploration of the representation of masculinity in British academic art in the late nineteenth and early twentieth centuries, Painted Men in Britain, 1868-1918 analyzes transgressions of gender and sexuality as represented in paintings by Leighton, Sargent, Tuke, and their contemporaries in the Royal Academy. This volume treats paintings as eloquent objects, no narratives of which are too elusive to be traced, and challenges conventional binaries of masculine versus feminine or heterosexual versus homosexual. Consulting not only the paintings themselves but also newspapers, journals, criticism, novels, and poetry of the day, Painted Men argues against the misconception of British academic art as merely reactionary and even blind to the dynamism of its own time. Instead, this art is shown to engage with broader social attitudes and contemporary sexual debates. As the book reveals the complexities of specific paintings, it illuminates different and competing attitudes toward masculinity and modernity in British art of the period.

Nineteenth-century women illustrators and cartoonists provides an in-depth analysis of fourteen women illustrators of the later nineteenth and early twentieth centuries: Jemima Blackburn, Eleanor Vere Boyle, Marianne North, Amelia Francis Howard-Gibbon, Mary Ellen Edwards, Edith Hume, Alice Barber Stephens, Florence and Adelaide Claxton, Marie Duval, Amy Sawyer, Eleanor Fortescue Brickdale, Pamela Colman Smith and Olive Allen Biller. The chapters consider these women's illustrations in the areas of natural history, periodicals and books, as well as their cartoons and caricatures. Using diverse critical approaches, the volume brings to light the works and lives of these important women illustrators and challenges the hegemony of male illustrators and cartoonists in nineteenth-century visual and print culture. -- .

This is the story of the forging of a national cultural institution in late eighteenth- and early nineteenth-century Britain. The Royal Academy of Arts was the dominant art school and exhibition society in London and a model for art societies across the British Isles and North America. This is the first study of its early years, re-evaluating the Academy's significance in national cultural life and its profile in an international context. Holger Hoock reassesses royal and state patronage of the arts and explores the concepts and practices of cultural patriotism and the politicization of art during the American and French Revolutions. By demonstrating how the Academy shaped the notions of an English and British school of art and influenced the emergence of the British cultural state, he illuminates the politics of national culture and the character of British public life in an age of war, revolution, and reform.

A group of primarily Scottish artists (mainly William York Macgregor, Joseph Crawhall, George Henry, Edward Atkinson Hornel, Sir John Lavery and Arthur Melville), the Glasgow Boys were active around the turn of the 20th Century. Though they painted in a number of different styles, they are connected by their rejection of classic Victorian painting. Inspired by the luminous techniques of James McNeil Whistler, they harnessed Impressionistic brushwork and livid realism in their work, trying new methods and everyday settings to create stunning works of art. With over 100 images, and broad introduction, this is a fine addition to Flame Tree's ever-increasing series on painting and illustration, Masterpieces of Art.

"Unfolding the South" presents a new vision of Anglo-Italian cultural relations in the late Romantic and Victorian periods. Responding to recent developments in the fields of literary criticism and art history, the book covers a stimulating range of canonical and non-canonical writers and artists. Eleven essays offer new perspectives on well-known figures such as Elizabeth Barrett Browning, George Eliot, and Mary Shelley, together with discussions of writers and artists of newly-emerging importance. -- .

This is an analytical survey of the thought about painting and sculpture as it unfolded from the early eighteenth to the mid-nineteenth centuries. This was the period during which theories of the visual arts, particularly of painting and sculpture, underwent a radical transformation, as a result of which the intellectual foundations of our modern views on the arts were formed. Because this transformation can only be understood when seen in a broad context of cultural, aesthetic, and philosophical developments of the period, Moshe Barasch surveys the opinions of the artists, and also treats in some detail the doctrines of philosophers, poets, and critics. Barasch thus traces for the reader the entire development of modernism in art and art theory.

An overdue study of a groundbreaking event, this is the first book-length examination of the Manchester Art Treasures Exhibition of 1857. Intended to rehabilitate Manchester's image at a heady time of economic prosperity, the Exhibition became a touchstone for aesthetic, social, and economic issues of the mid-nineteenth century. Reverberations of this moment can be followed to the present day in the discipline of art history and its practice in public museums of Europe and America. Highlighting the tension between art and commerce, philanthropy and profit, the book examines the Exhibition's organization and the presentation of the works of art in the purpose-built Art Treasures Palace. Pergam places the Exhibition in the context of contemporary debates about museum architecture and display. With an analysis of the reception of both "Ancient" and "Modern" paintings, the book questions the function of exhibitions in the construction of an art historical canon. The book also provides an essential reference tool: a compiled list of all of the paintings exhibited in 1857 that are now in public collections throughout the world, with an analysis of the collecting trends manifest in their provenance.

Students new to the work of William Morris will find the full range of his achievements covered in this reissue of Peter Faulkner's excellent biography, first published in 1980. The author has carefully placed Morris in the context of the Victorian age, but has also suggested the relevance of his ideas today. The six chapters are organised biographically and cover all aspects of Morris's work in poetry, fiction, design and socialist politics.

The emphasis is on his continuous struggle against the age in which he lived, seen as an idealism which went through various stages from the wistfulness of The Earthly Paradise through the practical activities of the firm of Morris & Company to the socialism of Morris's later years. The book quotes freely from writings by Morris which are not easily accessible and gives an overall account from which the student can develop his specialist interests. This reissue will appeal to sixth-formers and undergraduates interested in the Victorian period, as seen through one of its most striking personalities.

When this book appeared in 1980, Morris's reputation had risen again after the low estimates of the interwar period. This was due both to the reappraisal of his politics and to the expanding popularity of his designs. Against the Age offers a clear account of Morris's career for those developing an interest in his numerous achievements. It covers the whole range of Morris's work, and argues for his significance as a writer of both poetry and prose. Since 1980 our knowledge of Morris has been enriched by the publication of Norman Kelvin's edition of his Collected Letters, by the late Nicholas Salmond's editions of his contributions to the socialist journals, by Fiona MacCarthy's biography of 1984, and by the increasing recognition of Morris as a pioneer of environmentalism. However, the book retains its value for its wide coverage and its balanced attitude to Morris's achievements, and for its encouragement to readers to consider the issues that make Morris of continuing importance today.

The Ashmolean collection of miniatures was begun in the 17th century by the Tradescants, father and son, gardeners to Charles I and Henrietta Maria. Among its most generous benefactors was the Reverend Bentinck Hawkins, chaplain to the Dukes of Cambridge and an insatiable 19th-century collector. The miniatures, mostly of very high quality, range from the Tudor and Stuart era to Victorian times, and include specially distinguished works by Isaac Oliver, Cooper, Zincke, Smart, Cosway and Engleheart.

Written by a group of highly respected art historians, the fifth edition of this classic book now features full-colour artworks throughout, new chapter introductions, examinations of key ideas, and other helpful pedagogical support. Emphasizing the vitality of 19th-century art, the authors demonstrate how paintings, sculptures, prints and drawings by David, Gericault, Turner, Homer, Cassatt, Rodin, Van Gogh and many others remain relevant today. Using evocative and lucid prose, the authors reveal how concerns about class and gender, race and ethnicity, modernity and tradition, and popular and elite culture - ideas that arose in the course of the 19th century - motivated artists and propelled the movements under review.

Fidelia Bridges (1834-1923) painted pictures that critics praised for their ability to exude the fragrance of field flowers and glow with the plumage of birds. Raised in Salem and long residing in Connecticut, she maintained a studio in New York City, where she exhibited her art for over forty years at the National Academy, American Watercolor Society and other prestigious venues. Transforming flower painting from a domestic outlet for female amateurs to a marketable commodity for professionals, she never wavered in her conviction that women had the right to shape independent careers on their own terms. She delineated both cultivated flowers and clumps of weeds with an intensity of focus unmatched by any other artist of her era. Often, she combined plants with local birds to convey a sophisticated understanding of their environmental interaction that encouraged others to appreciate and conserve nature. She made an extended European tour in the 1860s and regular trips to Great Britain in later years but preferred home nature. Assembling a cross-section of her stunning oil paintings, watercolours, chromolithographs and illustrated volumes for the first time, and analysing them against letters, diaries and periodical reviews, Fidelia Bridges combines a recovery of the artist's biography with close readings of her artworks. Living an outwardly conventional life, she embraced the bicycle and later the automobile as vehicles of female liberation, cultivated her garden with the skill of a horticulturalist, and left a lasting pictorial legacy to be found in US public museums and private collections nationwide.

This study examines how nineteenth-century industrial Lancashire became a leading national and international art centre. By the end of the century almost every major town possessed an art gallery, while Lancashire art schools and artists were recognised at home and abroad. The book documents the remarkable rise of visual art across the county, along with the rise of the commercial and professional classes who supported it. It examines how Lancashire looked to great civilisations of the past for inspiration while also embracing new industrial technologies and distinctively modern art movements. This volume will be essential reading for all those with an interest in the new industrial society of the nineteenth century, from art lovers and collectors to urban and social historians. -- .

Explore a golden age in architecture when architects, builders, and homeowners let their imaginations run wild. If you are thinking about renovating, remodeling, or building a Victorian home, this book will show you how the architectural features characteristic of turn-of-the-20th century architecture were used. Here are richly detailed 'gingerbread' trims, towers, encircling porches, balconies, cornices, belvederes, large porte-cocheres, bay windows, ornamental ironwork, elaborate chimneys, and much more. All who love Victorian architecture will be informed and inspired by over 300 full color photographs of historical architectural details found here.

The private studioli of Italian rulers are among the most revealing interior spaces of the Renaissance. In them, ideals of sober recreation met with leisured reality in the construction of a private princely identity performed before the eyes of a select public. The decorative schemes installed in such rooms were carefully designed to prompt, facilitate and validate the performances through which that identity was constituted. Echoing Helicon reconstructs, through the (re)interpretation of painted and intarsia decoration, the role played by music, musicians and musical symbolism in those performances. Drawing examples from the Este dynasty - despotic rulers of Ferrara throughout the Renaissance who employed such musicians as Pietrobono, Tromboncino and Willaert, and such artists as Tura, Mantegna and Titian - author Tim Shephard reaches new conclusions about the integration of musical and visual arts within the courtly environment of renaissance Italy, and about the cultural work required of music and of images by those who paid for them.
Relying on Renaissance-era source material from a wide range of disciplines as well as new approaches derived from critical and cultural theory, Shephard provides a fresh look at the music of this ninety-year period of the Italian Renaissance. While much has been written about the studiolo by historians of art and architecture, it has only recently become a growing area of interest among musicologists. As the first English language monograph devoted to the music of the studiolo, Echoing Helicon is a significant contribution to this developing area of research and essential reading for both musicologists and art historians specializing in the Italian Renaissance.

In serveying how painting and sculpture were considered through the early 18th to the mid-19th century, this volume traces the development of modernism in art and theory.

Loving: A Photographic History of Men in Love, 1850-1950 portrays the history of romantic love between men in hundreds of moving and tender vernacular photographs taken between the years 1850 and 1950. This visual narrative of astonishing sensitivity brings to light an until-now-unpublished collection of hundreds of snapshots, portraits, and group photos taken in the most varied of contexts, both private and public. Taken when male partnerships were often illegal, the photos here were found at flea markets, in shoe boxes, family archives, old suitcases, and later online and at auctions. The collection now includes photos from all over the world: Australia, Bulgaria, Canada, Croatia, France, Germany, Japan, Greece, Latvia, the United States, the United Kingdom, Russia, and Serbia. The subjects were identified as couples by that unmistakable look in the eyes of two people in love - impossible to manufacture or hide. They were also recognised by body language - evidence as subtle as one hand barely grazing another - and by inscriptions, often coded. Included here are ambrotypes, daguerreotypes, glass negatives, tin types, cabinet cards, photo postcards, photo strips, photomatics, and snapshots - over 100 years of social history and the development of photography. Loving will be produced to the highest standards in illustrated book publishing, The photographs - many fragile from age or handling - have been digitised using a technology derived from that used on surveillance satellites and available in only five places around the world. Paper and other materials are among the best available. And Loving will be manufactured at one of the world's elite printers. Loving, the book, will be up to the measure of its message in every way. In these delight-filled pages, couples in love tell their own story for the first time at a time when joy and hope - indeed human connectivity - are crucial lifelines to our better selves. Universal in reach and overwhelming in impact, Loving speaks to our spirit and resilience, our capacity for bliss, and our longing for the shared truths of love.

An in-depth and nuanced look at the complex relationship between two dynamic fields of study.

While today we are experiencing a revival of world art and the so-called global turn of art history, encounters between art historians and anthropologists remain rare. Even after a century and a half of interactions between these epistemologies, a skeptical distance prevails with respect to the disciplinary other. This volume is a timely exploration of the roots of this complex dialogue, as it emerged worldwide in the colonial and early postcolonial periods, between 1870 and 1970.

Exploring case studies from Australia, Austria, Brazil, France, Germany, and the United States, this volume addresses connections and rejections between art historians and anthropologists—often in the contested arena of “primitive art.” It examines the roles of a range of figures, including the art historian–anthropologist Aby Warburg, the modernist artist Tarsila do Amaral, the curator-impresario Leo Frobenius, and museum directors such as Alfred Barr and René d’Harnoncourt. Entering the current debates on decolonizing the past, this collection of essays prompts reflection on future relations between these two fields.

Some of America's most influential artists of the late 19th and early 20th centuries are featured in this guide, along with a concise overview of the colonies in which they worked. These colonies ranged from Carmel-Monterey in California to Gloucester-Rockport in Massachusetts to Taos and Santa Fe in New Mexico. Some of the artists are famous today, such as Georgia O'Keeffe, while others were well known at the time and added to the name recognition of their particular colonies. Scholars, students, and anyone interested in American Art History will find valuable information on how the closeness of colonies can affect and influence artists. For most artists, interest in art colonies began in the mid-1800s in Europe, where they had gone to live, work, and study. On returning to America, they continued what they believed was a practice that benefited their personal maturity as professional artists-living in a major city such as New York during the winter and spending summers with other working artists in art colonies. The impact of those early artists can be seen in the paintings of many of today's artists.

Marie Duval: maverick Victorian cartoonist offers the first critical appraisal of the work of Marie Duval (Isabelle Emilie de Tessier, 1847-1890), one of the most unusual, pioneering and visionary cartoonists of the later nineteenth century. It discusses key themes and practices of Duval's vision and production, relative to the wider historic social, cultural and economic environments in which her work was made, distributed and read, identifing Duval as an exemplary radical practitioner. The book interrogates the relationships between the practices and the forms of print, story-telling, drawing and stage performance. It focuses on the creation of new types of cultural work by women and highlights the style of Duval's drawings relative to both the visual conventions of theatre production and the significance of the visualisation of amateurism and vulgarity. Marie Duval: maverick Victorian cartoonist establishes Duval as a unique but exemplary figure in a transformational period of the nineteenth century. -- .

In this new study of art in fin-de-siecle Hamburg, Carolyn Kay examines the career of the city's art gallery director, Alfred Lichtwark, one of Imperial Germany's most influential museum directors and a renowned cultural critic. A champion of modern art, Lichtwark stirred controversy among the city's bourgeoisie by commissioning contemporary German paintings for the Kunsthalle by secession artists and supporting the formation of an independent art movement in Hamburg influenced by French impressionism. Drawing on an extensive amount of archival research, and combining both historical and art historical approaches, Kay examines Lichtwark's cultural politics, their effect on the Hamburg bourgeoisie, and the subsequent changes to the cultural scene in Hamburg.

Kay focuses her study on two modern art scandals in Hamburg and shows that Lichtwark faced strong public resistance in the 1890s, winning significant support from the city's bourgeoisie only after 1900. Lichtwark's struggle to gain acceptance for impressionism highlights conflicts within the city's middle class as to what constituted acceptable styles and subjects of German art, with opposition groups demanding a traditional and 'pure' German culture. The author also considers who within the Hamburg bourgeoisie supported Lichtwark, and why. Kay's local study of the debate over cultural modernism in Imperial Germany makes a significant contribution both to the study of modernism and to the history of German culture.

Depicts the experiences of the French artist while living on a Polynesian island and discusses the culture of the natives of the island.

The very first book in the world to be illustrated with photographs was produced in Reading between 1844 and 1846. In 1843, William Henry Fox Talbot set up the first commercial studios to mass-produce photographs from negatives and he chose the Berkshire town of Reading as its location. The Reading Establishment, as it became known, marks a pivotal moment in the development of photography. Martin Andrews tells the story of these momentous events and places them in the context of the discovery and early history of photography. Told in a lively and engaging way, the story starts with a mystery. Who is the strange, foreign gentleman buying unusual substances in the chemist shops of Reading - is he a forger or a spy?