Patrick Geddes is one of Scotland's most remarkable thinkers of the late-nineteenth century. His environmental and cultural message endures today, yet the distinctively Scottish context to his thinking has not been properly acknowledged. This book situates Geddes within his own intellectual background (described by George Davie as 'the democratic intellect') and explores the relevance of that background to Geddes's substantial national and international achievements across a truly impressive range of disciplines. Key Features: Explores Patrick Geddes Scottish intellectual background in depth for the first time; Highlights Geddes's insistence on the importance of arts to sciences and vice versa, and the distinctively Scottish context of this approach; Considers the interdisciplinary achievements of Geddes in Edinburgh, Dundee, Paris, London and India; Pays particular attention to his leadership of the Celtic Revival both from a Scottish perspective and with respect to international links, in particular with Indian cultural revivalists such as Ananda Coomaraswamy.

November 1891, the heart of Gilded Age Manhattan. Thousands filled the streets surrounding Madison Square, fingers pointing, mouths agape. After countless struggles, Stanford White-the country's most celebrated architect was about to dedicate America's tallest tower, the final cap set atop his Madison Square Garden, the country's grandest new palace of pleasure. Amid a flood of electric light and fireworks, the gilded figure topping the tower was suddenly revealed-an eighteen-foot nude sculpture of Diana, the Roman Virgin Goddess of the Hunt, created by Augustus Saint-Gaudens, the country's finest sculptor and White's dearest pal. The Grandest Madison Square Garden tells the remarkable story behind the construction of the second, 1890, Madison Square Garden and the controversial sculpture that crowned it. Set amid the magnificent achievements of nineteenth-century American art and architecture, the book delves into the fascinating private lives of the era's most prominent architect and sculptor and the nature of their intimate relationship. Hinman shows how both men pushed the boundaries of America's parochial aesthetic, ushering in an era of art that embraced European styles with American vitality. Situating the Garden's seminal place in the history of New York City, as well as the entire country, The Grandest Madison Square Garden brings to life a tale of architecture, art, and spectacle amid the elegant yet scandal-ridden culture of Gotham's decadent era.

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.

At the beginning of the twentieth century, when Alfons Mucha went to the United States for four years as a lecturer, the world-famous poster designer, Art-Nouveau book illustrator, designer, photographer and painter was greeted with enthusiasm. Mucha is regarded as one of the most important representatives of Jugendstil; he knew how to move between the various genres more skilfully than virtually any other artist of his day. After training as a stage decorator in Vienna, Mucha travelled via Munich to Paris. There he created a stir in the 1890s with his stylistically refined and elegantly executed posters. These designs were not only his artistic breakthrough; they also revolutionised the aesthetic of what was still a new medium. Mucha's later works also demonstrated the inimitable "Mucha style," which celebrated floral elements, lines and beauty and which is lavishly illustrated in this book.

Informed by the analytical practices of the interdisciplinary 'material turn' and social historical studies of childhood, Childhood By Design: Toys and the Material Culture of Childhood offers new approaches to the material world of childhood and design culture for children. This volume situates toys and design culture for children within broader narratives on history, art, design and the decorative arts, where toy design has traditionally been viewed as an aberration from more serious pursuits. The essays included treat toys not merely as unproblematic reflections of socio-cultural constructions of childhood but consider how design culture actively shaped, commodified and materialized shifting discursive constellations surrounding childhood and children. Focusing on the new array of material objects designed in response to the modern 'invention' of childhood-what we might refer to as objects for a childhood by design-Childhood by Design explores dynamic tensions between theory and practice, discursive constructions and lived experience as embodied in the material culture of childhood. Contributions from and between a variety of disciplinary perspectives (including history, art history, material cultural studies, decorative arts, design history, and childhood studies) are represented - critically linking historical discourses of childhood with close study of material objects and design culture. Chronologically, the volume spans the 18th century, which witnessed the invention of the toy as an educational plaything and a proliferation of new material artifacts designed expressly for children's use; through the 19th-century expansion of factory-based methods of toy production facilitating accuracy in miniaturization and a new vocabulary of design objects coinciding with the recognition of childhood innocence and physical separation within the household; towards the intersection of early 20th-century child-centered pedagogy and modernist approaches to nursery and furniture design; through the changing consumption and sales practices of the postwar period marketing directly to children through television, film and other digital media; and into the present, where the line between the material culture of childhood and adulthood is increasingly blurred.

A fully illustrated, comprehensive, and scholarly catalogue of the paintings in the Ashmolean Museum's collection by French artists born between 1775 and 1875 The only complete catalogue of French paintings of the period in the Ashmolean Museum, this comprehensive and scholarly study explores their rich collection of nineteenth-century French art. Continuing a convention set by earlier Ashmolean catalogues that mirrors the concept of the long nineteenth century, the book defines nineteenth-century French artists as those born between 1775 and 1875. Stretching into the twentieth century, it covers a fascinating range of paintings including works by Louis-Leopold Boilly, Camille, Lucien, and Fe lix Pissarro, Henri Fantin-Latour, Edouard Manet, Pierre-Auguste Renoir, Paul Ce zanne, Claude Monet, and Henri Matisse. The catalogue was compiled by the late distinguished art historian Jon Whiteley. In each entry, Whiteley draws upon his encyclopaedic knowledge of French art and the Ashmolean holdings. Provenance, literature, and exhibition history are recorded as well as extensive technical notes and information on frames. The entries on each work are accompanied by new, high-quality photography and comparative images, resulting in a complete and thorough documentation of this important part of the Ashmolean collection of Western art, providing an informative contribution to existing scholarship. Distributed for Modern Art Press

Between 1790 and 1910, Danish painters developed a national school of art that matched the artistic centres of France, Germany and Britain. The range of outstanding works created by Nicolai Abildgaard, Jens Juel, Christoffer Wilhelm Eckersberg, Christen Kobke, P. S. Kroyer and Vilhelm Hammershoi reflect and refract the great stylistic tendencies of European art of the 19th century, including Classicism, Romanticism, Impressionism and Symbolism. Illustrated with over two hundred key works of art drawn from the leading Danish collections, this is the only book available in English that surveys Danish painting across the 19th century. Written by a major scholar in the field, and featuring all the icons of the Danish Golden Age, this is an essential addition to all art libraries.

This book is a must for anyone interested in 19th century America, Britain and France or the Goth sub-culture. It is a broad look at the effects death had on these societies and the many creative ways people responded to it. This book is also a must for anyone interested in or perplexed by modern and abstract art, drawing clear lines from nineteenth century religions or philosophies such as Spiritualism and Theosophy to art and artists of the twentieth century. The book takes a comprehensive approach to art. Instead of buying texts on each subject, this work discusses various topics from cemetery design, to painting, to photography, to mourning clothing and jewelry design and etc. It explains important things missing from art history texts when It discusses mediums as performance artists, post mortem painters and post mortem photographers. It explains the connection between death and the emergence of 3-dimensional media. The book also examines why 19th century people acted as they did, which, from our perspective, seems odd or even bizarre. It answers questions such as: why did people from this era believe that mediums could communicate with the dead?; why did they believe that photographers could photograph ghosts?; and why did they believe the dead could paint? Most importantly, the book explains how these beliefs influence us today.

Walter Richard Sickert (1860-1942) was a major European artist and critic of the late nineteenth and early twentieth century, whose statements on art from the 1880s to the 1930s have been used by artists and writers on art for more than half a century. His criticism is provocative and penetrating, his style brilliant and entertaining. This is the most comprehensive selection of his writings to date.

Now available again, this delightful selection of prints depicting nineteenth century Japan's natural beauty is a colorful introduction to the country's most beloved artist. The Japanese artist Hokusai spent the second half of his life sketching and painting with tremendous energy nearly everything he saw, and this book focuses on one of his most productive periods, when the artist was in his seventies. This book presents fifty works of the artist's astonishing oeuvre. It includes selections from his renowned series of woodblock prints, Thirty-Six Views of Mount Fuji, including "In the Hollow of a Wave," "Shower below the Summit," and "South Wind at Clear Dawn." Also presented are images of flowers, waterfalls, bridges, birds, and fish, demonstrating the uniquely precise yet passionate quality of Hokusai's art. An expert on the artist's work, Matthi Forrer provides illuminating commentary on Hokusai's life and technique, offering insight into his enduring
popularity throughout the world.

When Aubrey Beardsley died in 1898, he was aged only 25. In his short but crowded career he had become one of the defining figures of the fin-de-siècle, a precocious draughtsman who redefined the limits of black-and-white art. His erotic, decadent illustrations for Oscar Wilde's Salome set the tone for his style: by turns shocking, facetious and cruel. Beloved by Burne-Jones, cursed by William Morris, he was the intimate of Wilde, the rival of Whistler, the friend of Beerbohm, Sickert, Ada Leverson and William Rothenstein. His deliberate manipulation of press and public, his awareness of both art and the market-place, made him one of the first truly modern artists.

When Paul Gauguin (1848-1903) painted Vision After the Sermon in the summer of 1888 he was a mature artist who had travelled, exhibited and worked in a variety of media. Today the painting is considered a masterpiece, helping to assure Gauguin's fame the world over. Few paintings have given rise to more art historical analysis and critique, more speculation, admiration or recrimination. Accompanying the innovative painting-in-focus exhibition, 'Gauguin's Vision', this book illuminates one of the most intriguing and famous images in the history of western art. This re-examination of the painting, Vision After the Sermon: Jacob Wrestling with the Angel brings together works by Gauguin, his mentors such as Paul C,zanne and Edgar Degas, and younger contemporaries including Emile Bernard, Paul S,rusier, Maurice Denis and Henri van de Velde. It explores the biographical, pictorial and cultural circumstances that enabled Gauguin to make such a radical statement in paint in 1888. This beautifully illu

As the East India Company extended its sway across India in the late eighteenth century, many remarkable artworks were commissioned by Company officials from Indian painters who had previously worked for the Mughals. Published to coincide with the first UK exhibition of these masterworks at The Wallace Collection, this book celebrates the work of a series of extraordinary Indian artists, each with their own style and tastes and agency, all of whom worked for British patrons between the 1770s and the bloody end of the Mughal rule in 1857. Edited by writer and historian William Dalrymple, these hybrid paintings explore both the beauty of the Indian natural world and the social realities of the time in one hundred masterpieces, often of astonishing brilliance and originality. They shed light on a forgotten moment in Anglo-Indian history during which Indian artists responded to European influences while keeping intact their own artistic visions and styles. These artists represent the last phase of Indian artistic genius before the onset of the twin assaults - photography and the influence of western colonial art schools - ended an unbroken tradition of painting going back two thousand years. As these masterworks show, the greatest of these painters deserve to be remembered as among the most remarkable Indian artists of all time.

Now available in a paperback edition, this comprehensive volume on the great Danish painter Hammershoi places him within the context of his European contemporaries. This generously illustrated volume examines Hammershoi's work as a whole and in relation to the artists of his generation. Hammershoi's enigmatic paintings, with their rich and muted palettes, have always enjoyed enormous popularity in Scandinavia, and recently his work has received renewed attention across the globe. Thematically arranged, this volume includes beautiful reproductions and essays that focus on Hammershoi's isolated private life and travels; his time in London and Germany; and comparisons between him and such notable painters as Seurat, Gauguin, and Whistler. Fans of this remarkable painter, and anyone interested in modern art, will enjoy this celebration of Hammershoi as a part of the pantheon of great European painters."

Walter Richard Sickert (1860-1942) was a major European artist and critic of the late nineteenth and early twentieth century, whose statements on art from the 1880s to the 1930s have been used by artists and writers on art for more than half a century. His criticism is provocative and penetrating, his writing style brilliant and entertaining. The need for a comprehensive edition of Sickert's art-critical writings is overwhelming, and the texts gathered together by Anna Gruetzner Robins, a leading expert on the subject, prove that his contribution as an art-writer was a major one in its own right. The texts are presented chronologically and supported by notes which give the information necessary to situate the figures and events to which Sickert refers.

This book addresses the little-studied area of Russian genre painting in the first three-quarters of the nineteenth century. Rosalind Gray begins by examining artistic patronage and published texts which engaged with the visual arts, in order to illustrate the context in which Russian artists were working. Five major painters - Venetsianov, Bryullov, Ivanov, Fedotov and Perov - are then discussed in detail.

Mess is age-old and universal, as phenomenon and as topic. The evidence collected in this book suggests, however, that the second half of the nineteenth century saw the first stirrings in Western culture of a primary interest in mess for its own sake. Messes, like modern identities, happen by accident; their representation in painting and fictionDSfrom Turner to Degas, and from Melville to Maupassant and the New Woman writersDS made it possible to think boldly and inventively about chance.

The nineteenth century in France witnessed the emergence of the structures of the modern art market that remain until this day. This book examines the relationship between the avant-garde Barbizon landscape painter, Theodore Rousseau (1812-1867), and this market, exploring the constellation of patrons, art dealers, and critics who surrounded the artist. Simon Kelly argues for the pioneering role of Rousseau, his patrons, and his public in the origins of the modern art market, and, in so doing, shifts attention away from the more traditional focus on the novel careers of the Impressionists and their supporters. Drawing on extensive archival research, the book offers fresh insight into the role of the modern artist as professional. It provides a new understanding of the complex iconographical and formal choices within Rousseau's oeuvre, rediscovering the original radical charge that once surrounded the artist's work and led to extensive and peculiarly modern tensions with the market place.

One of England's most famous caricaturists, James Gillray, was an immensely successful and popular artist, yet there were no accounts of his work published in England during his lifetime. The single contemporary source on Gillray is a series of commentaries published in the German journal London und Paris between 1798 and 1806. Christine Banerji and Diana Donald have translated and edited selected commentaries, with accompanying illustrations, to reveal how Gillray's art was understood by his contemporaries. The edition offers a unique insight into the role of satire in British politics during the Napoleonic era and shows the subtle artistry of Gillray's designs. The volume also includes an informative introduction which places Gillray and his work in the context of a fascinating episode in Anglo-German relations at the turn of the eighteenth century.

William Morris (1834-1896) was one of the greatest creative figures of the 19th century. As a visionary designer, as well as a manufacturer, writer, artist, and socialist activist, he pioneered the Arts and Crafts movement of the Victorian era, and left an extraordinary influence on architecture, textile, and interior design. This richly illustrated book offers a suitably beautiful introduction to Morris's colorful life and all aspects of his design work, including interiors, tiles, embroidery, tapestries, carpets, and calligraphy. Though best known in his lifetime as a poet and author, it is these exquisite designs that secured Morris's posthumous reputation. As page after page dazzles with their beautiful patterns and forms, we explore the pioneering craftsmanship and natural motifs that inspired them, as well as Morris's remarkable cultural legacy, through British textiles, Bauhaus, and even modern environmentalism. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Architecture series features: an introduction to the life and work of the architect the major works in chronological order information about the clients, architectural preconditions as well as construction problems and resolutions a list of all the selected works and a map indicating the locations of the best and most famous buildings approximately 120 illustrations (photographs, sketches, drafts, and plans)

This study is an inquiry into the fortunes, in both theory and practice, of the idea of history painting during the Napoleonic period. Its main argument is that under Napoleon, French history painting, especially battle painting, encountered a series of questions as to its nature and function. These questions arose in part from the (often contradictory) demand of a propaganda-machine operating within a postrevolutionary crisis of political legitimation, but also from changes in artistic taste which both retained and re-directed an earlier notion of the civic responsibilities of the history painter. This is a resolutely interdisciplinary book: drawing on perspectives from political thought and history, military theory and practice and art history, which centres on the work of the painter, Antoine-Jean Gros, and his controversial painting, La Bataille d'Eylau. `Detailed and highly intelligent . . . this book is a significant addition to the literature on French art of the early nineteenth century.' Times Literary Supplement

This book examines the pivotal role of Johann Joachim Winckelmann as an arbiter of classical taste. It identifies the key features of Winckelmann's treatment of classical beauty, particularly in his famous descriptions, and investigates his teaching of the appreciation of beauty. The work identifies and examines the point at which theory and descriptive method are merged in a practical attempt to offer aesthetic education. The publications and correspondence of Winckelmann's pupils are offered as criteria for judging the success of his mission, eventually casting doubt upon his concept of aesthetic education, both in theory and practice. The final chapter of the book is concerned with Goethe's reception of Winckelmann, which shows unusual sensitivity to his work's aesthetic core. It also shows how Goethe's own writing on Italy reveals a process of independent aesthetic education akin to Winckelmann's and distinct from his pupils. The work is founded in close textual analysis but also covers the principles of the aesthetic education, the value of the Grand Tour and the role of Rome in the European imagination.

Thai silver and Nielloware display exquisite craftmanship and design that rivals better-known genres of silver from Asia. However, there has to date been little written about this fascinating subject. Examining the history and scope of specified Thai silver and Nielloware production dating from the early 19th century to the present, as well as the various forms and designs utilised, long-term collector Paul Bromberg provides a single reference source for both newcomers and seasoned collectors alike.

French poetry and painting are inextricably connected; one cannot be understood without reference to the other. Baudelaire, Mallarme, and Apollinaire in particular were deeply interested in the visual arts and themsleves influenced many painters. Alan Bowness explores the chain of personal contacts which underlie the evolution of modernist art and literature from 1850 to 1920, notably Manet's close friendship with Baudelaire and Mallarme, and Apollinaire's with Picasso.

Latin Blackness in Parisian Visual Culture, 1852-1932 examines an understudied visual language used to portray Latin Americans in mid-19th to early 20th-century Parisian popular visual media. It charts how the term "Latinize" was introduced to connect France’s early 19th-century endeavors to create Latin America—an expansion of the French empire into the Latin-language speaking Spanish and Portuguese Americas—to its perception of the people who lived there. Elites who traveled to Paris from their newly independent nations in the 1840s were denigrated in visual media, rather than depicted as equals in a developing global economy. Darkened skin, brushed onto images of Latin Americans of European descent, mitigated their ability to claim the privileges of their ancestral heritage; whitened skin, among other codes, imposed on depictions of Black Latin Americans denied their Blackness and rendered them relatively assimilatable compared to colonial Africans, Black people from the Caribbean, and African Americans. In addition to identifying 19th-century Latinizing codes, this book focuses on shifts in latinizing visuality between 1890 and 1933 through three case studies: the depictions of popular Cuban circus entertainer Chocolat; representations of Panamanian World Bantamweight Champion boxer Alfonso Teofilo Brown; and paintings of Black Uruguayans created by Pedro Figari, a Uruguayan artist, during his residence in Paris between 1925 and 1933.