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.

The Short Story of Modern Art explains the how, why and when of modern art - who introduced certain things, what they were, where they were produced, and why they matter. Simply constructed, the book explores 50 key works - from the realist painting of Courbet to a contemporary installation by Yayoi Kusama - and then links them to the most important movements, themes and techniques. Accessible, concise and richly illustrated, the book reveals the connections between different periods, artists and styles, giving readers a thorough understanding and broad enjoyment of modern art.

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.

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.

A practical guide to effective grant writing for researchers at all stages of their academic careers Grant funding can be a major determinant of promotion and tenure at colleges and universities, yet many scholars receive no training in the crucial skill of grant writing. The Grant Writing Guide is an essential handbook for writing research grants, providing actionable strategies for professionals in every phase of their careers, from PhD students to seasoned researchers. This easy-to-use guide features writing samples, examples of how researchers use skills, helpful tips, and exercises. Drawing on interviews with scores of grant writers, program officers, researchers, administrators, and writers, it lays out best practices, common questions, and pitfalls to avoid. Betty Lai focuses on skills that are universal to all grant writers, not just specific skills for one type of grant or funder. She explains how to craft phenomenal pitches and align them with your values, structure timelines and drafts, communicate clearly in prose and images, solicit feedback to strengthen your proposals, and much more. Ideal for course use, The Grant Writing Guide is an indispensable road map to writing fundable grants. This incisive book walks you through every step along the way, from generating ideas to finding the right funder, determining which grants help you create the career you want, and writing in a way that excites reviewers and funders.

Providing a comprehensive interdisciplinary assessment, and with a particular focus on expressions of tension and anxiety about modernity, this collection examines visual culture in nineteenth-century Europe as it attempted to redefine itself in the face of social change and new technologies. Contributing scholars from the fields of history, art, literature and the history of science investigate the role of visual representation and the dominance of the image by looking at changing ideas expressed in representations of science, technology, politics, and culture in advertising, art, periodicals, and novels. They investigate how, during the period, new emphasis was placed on the visual with emerging forms of mass communication"photography, lithography, newspapers, advertising, and cinema"while older forms as varied as poetry, the novel, painting, interior decoration, and architecture became transformed. The volume includes investigations into new innovations and scientific development such as the steam engine, transportation and engineering, the microscope, "spirit photography," and the orrery, as well as how this new technology is reproduced in illustrated periodicals. The essays also look at more traditional forms of creative expression to show that the same concerns and anxieties about science, technology and the changing perceptions of the natural world can be seen in the art of Armand Guillaumin, Auguste Rodin, Gustave Caillebotte, and Camille Pissarro, in colonial nineteenth-century novels, in design manuals, in museums, and in the decorations of domestic interior spaces. Visions of the Industrial Age, 1830-1914 offers a thorough exploration of both the nature of modernity, and the nature of the visual.

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.

Kimberly Rhodes's interdisciplinary book is the first to explore fully the complicated representational history of Shakespeare's Ophelia during the Victorian period. In nineteenth-century Britain, the shape, function and representation of women's bodies were typically regulated and interpreted by public and private institutions, while emblematic fictional female figures like Ophelia functioned as idealized templates of Victorian womanhood. Rhodes examines the widely disseminated representations of Ophelia, from works by visual artists and writers, to interpretations of her character in contemporary productions of Hamlet, revealing her as a nexus of the struggle for the female body's subjugation. By considering a broad range of materials, including works by Anna Lea Merritt, Elizabeth Siddal, Dante Gabriel Rossetti, and John Everett Millais, and paying special attention to images women produced, Rhodes illuminates Ophelia as a figure whose importance crossed class and national boundaries. Her analysis yields fascinating insights into 'high' and mass culture and enables transnational comparisons that reveal the compelling associations among Ophelia, gender roles, body image and national identity.

Explores the history, development and influence of the Lingnan School of painting, introducing masters of the school including Gao Jianfu, Gao Qifeng, Chen Shuren and so on. Since the beginning of reform and with the rise of China's economy, Chinese culture has become more and more influential in the world. As an important part of Chinese culture, Lingnan culture plays a key role and it manifests itself most notably in art, Cantonese opera, architecture and food.

This new 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. -- .

Painting the Bible is the first book to investigate the transformations that religious painting underwent in mid-Victorian England. It charts the emergence of a Protestant realist painting in a period of increasing doubt, scientific discovery and biblical criticism. The book analyzes the position of religious painting in academic discourse and assesses the important role Pre-Raphaelite work played in redefining painting for mid-Victorian audiences. This original study brings together a wide range of material from high art and popular culture. It locates the controversy over the religious works of the Pre-Raphaelite Brotherhood in debates about academicism, revivalism and caricature. It also investigates William Holman Hunt's radical, orientalist-realist approach to biblical subject matter which offered an important updating of the image of Christ that chimed with the principles of liberal Protestantism. The book will appeal to scholars and students across disciplines such as art history, literature, history and cultural studies. Its original research, rigorous analysis and accessible style will make it essential reading for anyone interested in questions of representation and belief in mid-Victorian England.

Patricia Zakreski's interdisciplinary study draws on fiction, prose, painting, and the periodical press to expand and redefine our understanding of women's relationship to paid work during the Victorian period. While the idea of 'separate spheres' has largely gone uncontested by feminist critics studying female labour during the nineteenth century, Zakreski challenges this distinction by showing that the divisions between public and private were, in fact, surprisingly flexible, with homes described as workplaces and workplaces as homes. By combining art with forms of industrial or mass production in representations of the respectable woman worker, writers projected a form of paid creative work that was not violated or profaned by the public world of the market in which it was traded. Looking specifically at sewing, art, writing, and acting, Zakreski shows how these professions increasingly came to be defined as 'artistic' and thus as suitable professions for middle-class women, and argues that the supposedly degrading activity of paid work could be transformed into a refining experience for women. Rather than consigning working women to the margins of patriarchal culture, then, her study shows how representations of creative women, by authors such as Elizabeth Barrett Browning, Dinah Craik, Charles Dickens, Anthony Trollope, and Charlotte Yonge, participated in and shaped new forms of mainstream culture.

The 'beauties' - women of note - who were welcomed to the National Portrait Gallery's early collection were those whose lives and portraits were recognized as significant to the 'civil, ecclesiastical and literary history of the nation'. This brief was interpreted to include figures as diverse as the devout Lady Margaret Beaufort, and the entertaining Lady Emma Hamilton. History's Beauties, the first detailed study of this collection, maps a culture of femininity that reframes the Victorian fascination with women's domestic and sentimental presence by locating it within a Parliament-centred 'national' culture. Including an essay on the Gallery's Trustees, the book traces the translation of their governors' culture to a public institution through discussions of three themes in the National Portrait Gallery's collection of women's portraits: portraits of the Royal family and the cult of legitimacy in antiquities and in national identity; the educated woman as model of domestic and national cultivation; and finally the role of female beauty in defining social and artistic power in nineteenth-century Britain. The first monograph study of gender in a major museum, History's Beauties engages themes of gender, national identity, class cultures, and aesthetics in Victorian England to interpret the National Portrait Gallery's fascinating collection.

Despite the increased visibility of Victorian women artists in museum exhibitions and historical studies, the art produced by Victorian women has been viewed through a restrictive lens. Scholars have focused on works produced for the marketplace, but have overlooked art created and displayed outside of established venues and institutions of higher learning. Drawing upon sketches, paintings, and photographs, Intrepid Women: Victorian Artists Travel is a groundbreaking study that examines the art that women produced whilst traveling, as well as the circumstances that took these artists - both amateurs and professionals - far beyond the reaches of the traditional Grand Tour. Traveling throughout the British Empire, including the Middle East, India, Canada, and North Africa, and even to the Americas, the artists adapted to new climes and foreign cultures partially by documenting the unfamiliar through their art, sometimes at great physical risk. This volume of essays offers fresh evidence that through their travel and art, women extended both geographic and social boundaries. Each author presents evidence that women overcame institutional as well as cultural obstacles to improve their artistic skills and to use their art to convey worlds most British citizens would never see for themselves.

Although mastery of the representation of the human figure was central to art making as early as the fifteenth century in Europe, in the nineteenth-century French imagination the artist's model became identified as a distinct social type and cultural trope. This study of the artist's model in Paris between 1830 and 1870 incorporates three histories: a social history of professional models, a cultural history of models as social types, and an art history of representations of the model in elite and popular visual culture. It takes as its starting point the artist-model transaction: demonstrating that stereotypes of 'the model' that figured in the public imagination were framed both by gender and ethnicity, the book develops a nuanced typology of different types of models. Interwoven with the analysis of the constructed identities of models are accounts of the lives of particular models and the histories of the urban population groups from which they emerged. The Invention of the Model: Artists and Models in Paris, 1830-1870 is an adept exploration of a major issue in nineteenth-century art which will be of interest not only to art historians, but also to social and French cultural historians.

This is the first modern scholarly edition of the letters and memoirs of Joseph Severn, English painter and deathbed companion of John Keats. It includes letters from a remarkable collection of never-before-published correspondence held by descendants of the Severn family. Scott's unprecedented access to hundreds of new letters has resulted in a major revisionist work that challenges traditional ideas about Severn's life and character. The edition includes new information about Severn's early artistic success in Italy, an extraordinarily thorough record of his day-to-day activities as a working artist in England, and surprising details about his experience as British Consul in Rome. The volume represents a significant work of recovery, printing in full three important memoirs that have until now appeared only in inaccurate excerpts and offering thirty-three illustrations that demonstrate the range of Severn's talents as a painter. Scott makes a compelling case for a revaluation of Severn, whose friends also included Charles Eastlake, William Gladstone, Leigh Hunt, John Ruskin, and Mary Shelley. This collection will prove valuable not only to literary biographers and Keats scholars, but also to art and cultural historians of the Romantic and Victorian eras. Adding significantly to the volume's usefulness are a detailed chronology of Severn's life and artwork, and appendices containing an index of the newly discovered letters and a ledger of Severn's patrons, paintings and commissions.

A one-of-a-kind book of pop-ups based on the works of the Japanese artist Hokusai

Hokusai (1760–1849) was an extraordinarily prolific Japanese master artist and printmaker of the ukiyo-e (‘pictures of the floating world’) genre. More than 150 years after his death, his legacy remains as important as any Western painter’s. His work inspired a roll-call of great artists including Van Gogh, Renoir, Monet, Gauguin, Manet, Degas and Klimt as well as craftsmen and architects such as Frank Lloyd Wright.

This book features six meticulously crafted pop-ups of some of his most famous works: 'The Great Wave'; 'Chrysanthemums and Horsefly'; 'The Poem of Ariwara no Narihira or Autumn Leaves'; 'Kirituri Waterfall'; 'Phoenix'; and 'A Sudden Gust of Wind'.

Juxtaposing the albums of Lady Brassey, an overlooked figure among Victorian women travelers, with Brassey's travel books, Nancy Micklewright takes advantage of a unique opportunity to examine the role of photography in the 1870s and 1880s in constructing ideas about place and empire. This study draws on a range of source material to investigate aspects of the Brassey collection. The book begins with an overview of Lady Brassey's life and projects, as well as an examination of issues relevant to subsequent discussions of the travel literature, the photographs, and the albums in which the photographs are assembled. Lady Brassey is next considered as a traveler and public figure, and the author gives an overview of Brassey's travel literature, placing her in her social and political context. Micklewright then considers the seventy volumes of photographs which comprise the Brassey album collection, taking an especially close look at the eight albums devoted to the Middle East. Analyzing the specific contents and structure of the albums, and the interplay of text and image within, she explores how the Brasseys constructed their presentation of the region. While confirming some earlier work about constructions of the Orient by the British during the time, this book offers a much more detailed and nuanced understanding of how photographic and literary constructions were related to individual experience and identity within a larger British identity. The first appendix explores the illustrative relationship between the photograph albums and Lady Brassey's travel books, yielding an understanding of the processes involved in transferring the photographic image to a printed one, at a particular moment in the development of book illustration. A second appendix lists the contents and named photographers of all seventy albums in the Brassey collection. All in all, Micklewright's study makes a significant contribution to our understanding of the complex and unstable social, political and imperialist discourses in the nineteenth century.

"Exploring for the very first time the hidden relationship between paintings and stereoscopic cards in Victorian times." The advent of a new painting by a great artist was big news in the 1850s, but few were able to access and enjoy directly the new works of art. Stereo cards, created by enterprising photographers of the day, reconstructed the scenes and gave an opportunity for the man in the street to enjoy these scenes, in magical life-like 3D. The Poor Man's Picture Gallery contains high-definition printed reproductions of well-known Victorian paintings in the Tate Gallery, and compares them with related stereo cards - photographs of scenes featuring real actors and models, staged to tell the same story as the corresponding paintings, all of which are the subject of an exhibition in the Tate Gallery in 2014.

The Representation of the Struggling Artist in America, 1800-1865 analyzes how American painters, sculptors, and writers, active between 1800 and 1865, depicted their response to a democratic society that failed to adequately support them financially and intellectually. Without the traditional European forms of patronage from the church or the crown, American artists faced unsympathetic countrymen who were unaccustomed to playing the role of patron and less than generous in rewarding creativity. It was in this unrewarding landscape that American artists in the first half of the nineteenth century employed the "struggling" or "starving artist" image to satirize the country's lack of patronage and immortalize their own struggles. Through an examination of artists' journals, letters, and biographies as well as the development of art academies and exhibition venues, this study traces the evolution of a young nation that went from considering artists as mere craftsmen to recognizing them as important members of a civilized society.

The only book available on Scottish painting, this book is now in its third edition with a new introduction and final chapter that brings the book up to date with the latest developments in Scottish painting (Richard Wright's win of the Turner Prize 2009). Illustrated throughout, the work is by acknowledged authority on Scottish painting William Hardie. Scottish society has been reflected through the strong colour and energetic brushwork of its artists. The book traces the beginnings of Scottish painting from the foundation of the Foulis Academy in 1753, with William Dyce and Scott Lauder establishing themselves in the south, followed by W Q Orchardson and John Pettie around 1860. European travel ensured Scottish painters were open to new techniques, and the explosion of the Glasgow Boys and then the Colourists onto the scene meant Scotland was respected for its innovation and imagination. Charles Rennie Mackintosh today is still internationally recognised for his work, and the painting of John Byrne, Curister, and Peter Howson bring the book to the present day.

The working women of Victorian and Edwardian Britain were fascinating but difficult subjects for artists, photographers, and illustrators. The cultural meanings of labour sat uncomfortably with conventional ideologies of femininity, and working women unsettled the boundaries between gender and class, selfhood and otherness. From paintings of servants in middle-class households, to exhibits of flower-makers on display for a shilling, the visual culture of women's labour offered a complex web of interior fantasy and exterior reality. The picture would become more challenging still when working women themselves began to use visual spectacle. In this first in-depth exploration of the representation of British working women, Kristina Huneault explores the rich meanings of female employment during a period of labour unrest, demands for women's enfranchisement, and mounting calls for social justice. In the course of her study she questions the investments of desire and the claims to power that reside in visual artifacts, drawing significant conclusions about the relationship between art and identity.