The representation of children in modern European visual culture has often been marginalized by Art History as sentimental and trivial. For this reason the subject of childhood in relation to art and its production has largely been ignored. Confronting this dismissal, this unique collection of essays raises new and unexpected issues about the formation of childhood identity in the nineteenth century and makes a significant contribution to the development of inter-disciplinary studies within this area. Through a range of stimulating and insightful case studies, the book charts the development of the Romantic ideal of childhood, starting with Rousseau's Emile, and attends to its visual, social and psychological transformations during the historical period from which Freud's psychoanalytic theories eventually emerged. Foremost scholars such as Anne Higonnet, Carol Mavor, Susan Casteras and Linda A. Pollock uncover the means by which children became an important conduit for prevailing social anxieties and demonstrate that the apparently 'timeless' images of them that proliferated at the time should be understood as complex cultural documents. Over 50 illustrations enhance this rich and fascinating volume.

The role of the visual arts in the assertion of European colonial power has been the subject of much recent investigation and redefinition. This book takes as a ground for discussion the representation of Indian scenery and architecture by British artists in the late eighteenth and early nineteenth centuries.

The reinvention of art-history during the 1980s has provided a serious challenge to the earlier formalist and connoisseurial approaches to the discipline, in ways which can only help economic and social historians in the current drive to study past societies in terms of what they consumed, produced, perceived and imagined. This group of essays focuses on three main issues: the demand for art, including the range of art objects purchased by various social groups; the conditions of artistic creativity and communication between different production centres and artistic millieux; and the emergence of art markets which served to link the first two phenomena. The work draws on new research by art historians and economic and social historians from Europe and the United States, and covers the period from the late Middle Ages to the early nineteenth century.

Rodin & Dance: The Essence of Movement is the first serious study of Rodin's late sculptural series known as the Dance Movements. Exploring the artist's fascination with dance and bodies in extreme acrobatic poses, the exhibition and accompanying catalogue give an account of Rodin's passion for new forms of dance - from south-asian dances to the music hall and the avant garde - which began appearing on the French stage around 1900. Rodin made hundreds of drawings and watercolours of dancers. From about 1911 he also gave sculptural expression to this fascination with dancers' bodies and movements in creating the Dance Movements, a series of small clay figure studies (each approx. 30 cm in height) that stretch and twist in unsettling ways. These leaping, turning figures in terracotta and plaster were found in the artist's studio after his death and were not exhibited during Rodin's lifetime or known beyond his close circle. Presented alongside the associated drawings and photographs of some of the dancers, they show a new side to Rodin's art, in which he pushed the boundaries of sculpture, expressing themes of flight and gravity. This exhibition catalogue aims to become the authoritative reference for Rodin's Dance Movements, comprising essays from leading scholars in the field of sculpture. It includes an introductory essay on the history of the bronze casting of the Dance Movements and the critical fortune of the series, an essay on the dancers Rodin admired, and an extensive technical essay. The Catalogue will comprise detailed entries on the works in the exhibition and new technical information on the drawings. Contributors include Alexandra Gerstein, Curator of Sculpture and Decorative Arts, The Courtauld Institute of Art; Antoinette Le Normand-Romain, Director, Institut National d'Histoire de l'Art, Paris; Juliet Bellow, Associate Professor of Art History, American University in Washington, DC and currently Resident Fellow, the Center for Ballet and the Arts, New York University; Francois Blanchetiere, Curator of Sculpture at the Musee Rodin; Agnes Cascio and Juliette Levy, distinguished sculpture conservators; Sophie Biass-Fabiani, Curator of Works on Paper at the Musee Rodin; and Kate Edmonson, Conservator of Works on Paper at The Courtauld Gallery.

Born in London in 1834, William Morris was a radical thinker whose democratic vision for society and art has continued to influence designers, artists and writersto this day, long after his death in 1896. He was a gifted poet, architect, painter, writer and textile designer, who also founded the Kelmscott Press, the most famous of the Arts and Crafts private presses. Morris's ideas later came to influence the Garden City movement, as well as numerous artists and craftspeople, who sought to negotiate a viable place within the modern world in the troubled years that followed the First World War. His ideals inspired designers, including those who contributed to the 1951 Festival of Britain, with a direct sense of mission to bring the highest design standards within the reach of everyone. During Morris's lifetime, Oscar Wilde thought him `a master of all exquisite design and of all spiritual vision', while forty years after Morris's death George Bernard Shaw observed: `He towers greater and greater above the horizon beneath which his best advertised contemporaries have disappeared.'This collection of quotations by Morris, his friends, associates and those who came after, reveals and explores his passionately held viewthat beautiful, functional design should be accessible to all.

Munch's "The Scream." Van Gogh's "Starry Night." Rodin's "The Thinker." Monet's "Water Lilies." Constable's landscapes. The 19th century gave us a wealth of artistic riches so memorable in their genius that we can picture many of them in an instant. At the time, however, their avant-garde nature was the cause of much controversy. Professor Laurie Schneider Adams vividly brings to life the paintings, sculpture, photography and architecture, of the period with her infectious enthusiasm for art and detailed explorations of individual works. Offered fascinating biographical details and the relevant social, political, and cultural context, the reader is left with a deep appreciation for the works and an understanding of how revolutionary they were at the time, as well as the reasons for their enduring appeal.

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'.

Painters Robert Duncanson (ca. 1821-1872) and Edward Bannister (1828-1901) and sculptor Mary Edmonia Lewis (ca. 1844-1907) each became accomplished African American artists. But as emerging art makers of color during the antebellum period, they experienced numerous incidents of racism that severely hampered their pursuits of a profession that many in the mainstream considered the highest form of social cultivation. Despite barriers imposed upon them due to their racial inheritance, these artists shared a common cause in demanding acceptance alongside their white contemporaries as capable painters and sculptors on local, regional, and international levels. Author Naurice Frank Woods Jr. provides an in-depth examination of the strategies deployed by Duncanson, Bannister, and Lewis that enabled them to not only overcome prevailing race and gender inequality, but also achieve a measure of success that eventually placed them in the top rank of nineteenth-century American art. Unfortunately, the racism that hampered these three artists throughout their careers ultimately denied them their rightful place as significant contributors to the development of American art. Dominant art historians and art critics excluded them in their accounts of the period. In this volume, Woods restores their artistic legacies and redeems their memories, introducing these significant artists to rightful, new audiences.

The political and social turmoil of the twentieth century took Magda Nachman from a privileged childhood in St. Petersburg at the close of the nineteenth century, artistic studies with Leon Bakst and Kuzma Petrov-Vodkin at the Zvantseva Art Academy, and participation in the dynamic symbolist/modernist artistic ferment in pre-Revolutionary Russia to a refugee existence in the Russian countryside during the Russian Civil War followed by marriage to a prominent Indian nationalist, then with her husband to the hardships of emigre Berlin in the 1920s and 1930s, and finally to Bombay, where she established herself as an important artist and a mentor to a new generation of modern Indian artists.

This book casts light on and celebrates the life of a great Scot who was once the Laird of Benmore, now Benmore botanic garden. Whilst most are familiar with the collections of Burrel, few have heard of James Duncan. Yet had Duncan's collection remained intact it would have been internationally recognised and significant to Scottish culture today.The first Scottish collector to purchase an Impressionist painting, Duncan had an extraordinary eye as a collector at a time when Victorian sensibilities frowned upon many modern works. At his estate, Benmore in Argylleshire, Duncan amassed a collection of international import, housed in his own vast gallery and open to the public, along with his other projects a fernery and a sugar refinery.

Santiago Ramon y Cajal (1852-1934), the father of modern neuroscience and a Nobel laureate, was an exceptional artist. He devoted his life to the anatomy of the brain, the body's most complex and mysterious organ. His superhuman feats of visualisation, based on fanatically precise techniques and countless hours at the microscope, resulted in some of the most remarkable illustrations in the history of science. Beautiful Brain presents a selection of his exquisite drawings of brain cells, brain regions and neural circuits with accessible descriptive commentary. An art book at the crossroads of art and science, Beautiful Brain describes Cajal's contributions to neuroscience, explores his artistic roots and achievement and looks at his work in relation to contemporary neuroscience imaging techniques.

At the beginning of the twentieth century, Hopi-Tewa potter Nampeyo revitalized Hopi pottery by creating a contemporary style inspired by prehistoric ceramics. Nampeyo (ca. 1860-1942) made clay pots at a time when her people had begun using manufactured vessels, and her skill helped convert pottery-making from a utilitarian process to an art form. The only potter known by name from that era, her work was unsigned and widely collected. Travel brochures on the Southwest featured her work, and in 1905 and 1907 she was a potter in residence at Grand Canyon National Park's Hopi House. This first biography of the influential artist is a meticulously researched account of Nampeyo's life and times. Barbara Kramer draws on historical documents and comments by family members not only to reconstruct Nampeyo's life but also to create a composite description of her pottery-making process, from gathering clay through coiling, painting, and firing. The book also depicts changes brought about on the Hopi reservation by outsiders and the response of American society to Native American arts.

To give political legitimacy to his Empire, in just fifteen years Emperor Napoleon I created an enduring image of Napoleonic France as the contemporary equivalent of Imperial Rome. He did this by the deft use of iconography and what today would be called 'branding', which he applied to every aspect of his family, the government, the military, the monuments to his achievements, his palaces and their furnishings. The tangible remains of this grand, imperial 'theatre' has excited royal and other collectors ever since. The Imperial Impresario take a wholly new look at Napoleon and the First Empire by interpreting the era in theatrical terms: the players, the sets, the props, the costumes, the tours and the script, much of which has survived. The fully illustrated book includes a wide range of Napoleonica in royal, national, regimental and private collections, as well as lost treasures such as the Emperor's campaign carriage, captured in the immediate aftermath of Waterloo and destroyed in a fire at Madame Tussaud's in 1925. For readers coming to the subject for the first time, The Imperial Impresario is a fascinating and informative introduction to the Napoleonic era; for those already steeped in the period, it is an invaluable companion to existing books about Napoleon and his Empire.

Revolutionary essays on design, aesthetics and materialism - from one of the great masters of modern architecture Adolf Loos, the great Viennese pioneer of modern architecture, was a hater of the fake, the fussy and the lavishly decorated, and a lover of stripped down, clean simplicity. He was also a writer of effervescent, caustic wit, as shown in this selection of essays on all aspects of design and aesthetics, from cities to glassware, furniture to footwear, architectural training to why 'the lack of ornament is a sign of intellectual power'. Translated by Shaun Whiteside With an epilogue by Joseph Masheck

Delve deeper into the work of the intriguing and iconic artist Aubrey Beardsley with this beautiful reissue of his classic 1897 illustrated book, containing fifty of his best known works. Aubrey Beardsley (1872–1898) lived a desperately short life and his career spanned just seven years. Nonetheless, his output as a draughtsman and illustrator was prolific. Beardsley's subversive illustrations became synonymous with decadence: he delighted in the erotic, shocking audiences with his bizarre sense of humour and fascination with the grotesque. His work was deemed too scandalous by many publishers of the period, but found a suitably unseemly home with the notorious Leonard Charles Smithers.  This book, published by Smithers in 1897, and now reproduced in a near-facsimile edition, is as much a historic document as it is a beautiful introduction to Beardsley's art.

Offering a broad and vivid survey of the culture of collecting from the French Revolution to the Belle Epoque, The Purchase of the Past explores how material things became a central means of accessing and imagining the past in nineteenth-century France. By subverting the monarchical establishment, the French Revolution not only heralded the dawn of the museum age, it also threw an unprecedented quantity of artworks into commercial circulation, allowing private individuals to pose as custodians and saviours of the endangered cultural inheritance. Through their common itineraries, erudition and sociability, an early generation of scavengers established their own form of 'private patrimony', independent from state control. Over a century of Parisian history, Tom Stammers explores collectors' investments - not just financial but also emotional and imaginative - in historical artefacts, as well as their uncomfortable relationship with public institutions. In so doing, he argues that private collections were a critical site for salvaging and interpreting the past in a post-revolutionary society, accelerating but also complicating the development of a shared national heritage.

Richard Cosway was one of the most significant multifaceted artistic personalities active in Regency Britain. He was arguably the pre-eminent pupil of William Shipley as well as a versatile oil portraitist and a sophisticated draftsman of subject compositions. He was undoubtedly the most important, influential, and fashionable portrait miniaturist active during the last two decades of the eighteenth century and the beginning of the nineteenth; his delicate style and flattering portrayals have come to epitomize Regency society. Cosway's flamboyant personality, eccentric mysticism, and brilliant marriage to Maria Hadfield during the 1780s brought him celebrity and notoriety.

This absorbing book tells the story of Empress Eugenie (1826-1920), the wife of Napoleon III and the last Empress-Consort of France. Today she is remembered for her physical beauty, for her influence as a taste maker and for her glittering contribution to the second imperial court - but she outlived the Second Empire by half a century and lived in exile in England. The Empress bought the Farnborough Hill estate in 1880, following a decade of personal tragedy: the collapse of the Second Empire (1852-70), the death of Napoleon III, and the loss of her only child. The death of the Prince Imperial in 1879, aged 23, ended all hope of a Bonapartist restoration. With the imperial succession removed to another branch of the family, Eugenie resolved to create a permanent monument to her husband and son. This was her primary reason for moving to Farnborough. This book describes the little-known assemblage of art and architecture that she created there in the 1880s. Geraghty analyses the principal buildings on the imperial estate: Farnborough Hill itself, which was extensively remodelled for the court-in-exile that Eugenie maintained there from 1880 to 1920; and St Michael's Abbey, the spectacular domed mausoleum that the Empress built on an adjacent hill in 1883-88. These projects were entrusted to a French architect, Hippolyte Destailleur (1822-93), whose erudite designs situated the history of the Second Empire within the longer history of French architecture and design. Geraghty also provides the fi rst detailed account of the lost interiors of Farnborough Hill. He traces the origins of the collection back to the Second Empire, and - drawing upon historic photos, inventories, and sale catalogues - he shows how the collection was displayed in the principal rooms of the house. Primarily dynastic in purpose, the display included a major sequence of Bonaparte family portraits, including works by David, Gerard, Winterhalter, and Carpeaux. Eugenie also had an important collection of decorative arts, including Gobelins tapestries, Sevres porcelain, and royal French furniture. Composed by the Empress herself, the display at Farnborough Hill was the last manifestation of the 'Louis XVI-Imperatrice' mode of interior decoration that she had popularised in the 1850s. It was also, in its juxtaposition of modern and historic pieces, the final expression of the nouvelle sociabilite of the second imperial court. Finally, the book describes the breakup of the estate in 1927, when the house was sold to a convent school and the collection was dispersed at auction. Today, only the Mausoleum functions as Eugenie originally envisaged. Geraghty, however, recovers the totality of Eugenie's vision for Farnborough. In so doing, he describes how the Napoleonic ideal, for one final time, was made visible through art, architecture, and collecting.

Sarah Angelina Acland (1849-1930) is one of the most important photographers of the late Victorian and early Edwardian periods. Daughter of the Regius Professor of Medicine at Oxford, she was photographed by Lewis Carroll as a child, along with her close friend Ina Liddell, sister of Alice of Wonderland fame. The critic John Ruskin taught her art and she also knew many of the Pre-Raphaelites, holding Rossetti's palette for him as he painted the Oxford Union murals. At the age of nineteen she met the photographer Julia Margaret Cameron, whose influence is evident in her early work. Following in the footsteps of Cameron and Carroll Miss Acland first came to attention as a portraitist, photographing the illustrious visitors to her Oxford home. In 1899 she then turned to the challenge of colour photography, becoming, through work with the 'Sanger Shepherd process', the leading colour photographer of the day. Her colour photographs were regarded as the finest that had ever been seen by her contemporaries, several years before the release of the Lumiere Autochrome system, which she also practised. This volume provides an introduction to Miss Acland's photography, illustrating more than 200 examples of her work, from portraits to picturesque views of the landscape and gardens of Madeira. Some fifty specimens of the photographic art and science of her peers from Bodleian collections are also reproduced for the first time, including four unrecorded child portraits by Carroll. Detailed descriptions accompany the images, explaining their interest and significance. The photographs not only shed important light on the history of photography in the period, but also offer a fascinating insight into the lives of a pre-eminent English family and their circle of friends.

Why do we not know more of Susie Barstow? A prolific artist, Susie M. Barstow (1836-1923) was committed to expressing the majesty she found in the national landscape. She captured on canvas and paper the larger American landscape experience as it evolved across the nineteenth century. A notable figure in the field of American landscape painting, now is the time to bring forward her narrative. In Susie M. Barstow: Redefining the Hudson River School, the life and career of this fascinating artist are explored and extensively researched utilizing vast, and previously unknown, archival materials. This rare occasion to mine the depths of an artist's life through letters, dairies, photographs, and sketchbooks provides a unique opportunity to present a comprehensive study that is both art-historically significant and visually stunning. Susie M. Barstow: Redefining the Hudson River School unpacks and positions Susie 'as a prominent landscape artist, whose paintings won her wide renown,' as her obituary would confirm, and explores the manner in which she struggled, flourished, and ultimately earned her living in the arts. This is her moment.

Detailed plates from the Bible: the Creation scenes, Adam and Eve, horrifying visions of the Flood, the battle sequences with their monumental crowds, depictions of the life of Jesus and visions of the new Jerusalem. Each of the 241 plates is accompanied by the appropriate verses from the King James version of the Bible.

Robert Lehman, one of the foremost art collectors of his generation, embraced both traditional and modern masters. This volume catalogues 130 nineteenth- and twentieth-century paintings that are now part of the Robert Lehman Collection at the Metropolitan Museum. The majority of the works are by artists based in France, but there are also examples from the United States, Latin America, and India, reflecting Lehman's global interests.

The catalogue opens with outstanding paintings by Ingres, Theodore Rousseau, and Corot among other early nineteenth-century artists. They are joined by an exemplary selection of Impressionist and Post-Impressionist canvases by Degas, Renoir, Sisley, Pissarro, Seurat, Signac, Van Gogh, Cezanne, and Gauguin. Twentieth-century masters include Bonnard, Matisse, Rouault, Dali, and Balthus. Newly researched modern works are represented by Vicente do Rego Monteiro, Kees van Dongen, Dietz Edzard, and D.G. Kulkarni (DIZI).

From Robert Lehman's studied and conventional taste for nineteenth-century French academic practitioners to his intuitive eye for emerging young artists of his own time, all are documented and discussed here. Some three hundred comparative illustrations supplement the catalogue entries, as do extensively researched provenance information, exhibition histories, and references. The volume also includes a bibliography and indexes."