How the urban spectator became the archetypal modern viewer and a central subject in late nineteenth-century French art Gawkers explores how artists and writers in late nineteenth-century Paris represented the seductions, horrors, and banalities of street life through the eyes of curious viewers known as badauds. In contrast to the singular and aloof bourgeois flaneur, badauds were passive, collective, instinctive, and highly impressionable. Above all, they were visual, captivated by the sights of everyday life. Beautifully illustrated and drawing on a wealth of new research, Gawkers excavates badauds as a subject of deep significance in late nineteenth-century French culture, as a motif in works of art, and as a conflicted model of the modern viewer. Bridget Alsdorf examines the work of painters, printmakers, and filmmakers who made badauds their artistic subject, including Felix Vallotton, Pierre Bonnard, Henri de Toulouse-Lautrec, Honore Daumier, Edgar Degas, Jean-Leon Gerome, Eugene Carriere, Charles Angrand, and Auguste and Louise Lumiere. From morally and intellectually empty to sensitive, empathetic, and humane, the gawkers these artists portrayed cut across social categories. They invite the viewer's identification, even as they appear to threaten social responsibility and the integrity of art. Delving into the ubiquity of a figure that has largely eluded attention, idling on the margins of culture and current events, Gawkers traces the emergence of social and aesthetic problems that are still with us today.

This book brings together thirteen scholars to introduce the newest and most cutting-edge research in the field of Russian and East European art history. Reconsidering canonical figures, re-examining prevalent debates, and revisiting aesthetic developments, the book challenges accepted histories and entrenched dichotomies in art and architecture from the nineteenth century to the present. In doing so, it resituates the artistic production of this region within broader socio-cultural currents and analyzes its interconnections with international discourse, competing political and aesthetic ideologies, and continuous discussions over identity.

This book reveals a new history of the imagination told through its engagement with the body. Even as they denounced the imagination's potential for inviting luxury, vice, and corruption, American audiences avidly consumed a transatlantic visual culture of touring paintings, dioramas, gift books, and theatrical performances that pictured a preindustrial-and largely imaginary-European past. By examining the visual, material, and rhetorical strategies artists like Washington Allston, Asher B. Durand, Thomas Cole, and others used to navigate this treacherous ground, Catherine Holochwost uncovers a hidden tension in antebellum aesthetics. The book will be of interest to scholars of art history, literary and cultural history, critical race studies, performance studies, and media studies.

Wilhelm Kuhnert was a pioneer. He was one of the first European artists to travel to the largely unexplored savannahs and jungles of the German colonies in North and East Africa. Under hazardous conditi ons he documented at close quarters the fascinating animal and plant world and then created in his Berlin studio monumental paintings which were much sought - after on the art market. Like no other artist of his time Wilhelm Kuhnert (1865 - 1926) has moulded our image of Africa. In his seductively realistic drawings, watercolours and paintings he recorded with almost scientific accuracy the characteristics of the animals and their habitat. It is not surprising, therefore, that his pictures illustrated on the o ne hand legendary reference works like Brehms Tierleben and adorned on the other the popular collector cards of the chocolate manufacturer Stollwerck. The volume shows a comprehensive, exciting portrait of Kuhnert's unusual life and works and takes into account at the same time the current debate on attitudes to Germany's colonial past.

First published in 1960.
Patterns in Shakespearian Tragedy is an exploration of man's relation to his universe and the way in which it seeks to postulate a moral order. Shakespeare's development is treated accordingly as a growth in moral vision. His movement from play to play is carefully explored, and in the treatment of each tragedy the emphasis is on the manner in which its central moral theme shapes the various elements of drama

Slavery, Geography and Empire in Nineteenth-Century Marine Landscapes of Montreal and Jamaica is among the first Slavery Studies books - and the first in Art History - to juxtapose temperate and tropical slavery. Charmaine A. Nelson explores the central role of geography and its racialized representation as landscape art in imperial conquest. One could easily assume that nineteenth-century Montreal and Jamaica were worlds apart, but through her astute examination of marine landscape art, the author re-connects these two significant British island colonies, sites of colonial ports with profound economic and military value. Through an analysis of prints, illustrated travel books, and maps, the author exposes the fallacy of their disconnection, arguing instead that the separation of these colonies was a retroactive fabrication designed in part to rid Canada of its deeply colonial history as an integral part of Britain's global trading network which enriched the motherland through extensive trade in crops produced by enslaved workers on tropical plantations. The first study to explore James Hakewill's Jamaican landscapes and William Clark's Antiguan genre studies in depth, it also examines the Montreal landscapes of artists including Thomas Davies, Robert Sproule, George Heriot and James Duncan. Breaking new ground, Nelson reveals how gender and race mediated the aesthetic and scientific access of such - mainly white, male - artists. She analyzes this moment of deep political crisis for British slave owners (between the end of the slave trade in 1807 and complete abolition in 1833) who employed visual culture to imagine spaces free of conflict and to alleviate their pervasive anxiety about slave resistance. Nelson explores how vision and cartographic knowledge translated into authority, which allowed colonizers to 'civilize' the terrains of the so-called New World, while belying the oppression of slavery and indigenous displacement.

As the official architects of Napoleon, Charles Percier (1764-1838) and Pierre-Francois-Leonard Fontaine (1762-1853) designed interiors that responded to the radical ideologies and collective forms of destruction that took place during the French Revolution. The architects visualized new forms of imperial sovereignty by inverting the symbols of monarchy and revolution, constructing meeting rooms resembling military encampments and gilded thrones that replaced the Bourbon lily with Napoleonic bees. Yet in the wake of political struggle, each foundation stone that the architects laid for the new imperial regime was accompanied by an awareness of the contingent nature of sovereign power. Contributing fresh perspectives on the architecture, decorative arts, and visual culture of revolutionary France, this book explores how Percier and Fontaine's desire to build structures of permanence and their inadvertent reliance upon temporary architectural forms shaped a new awareness of time, memory, and modern political identity in France.

Offering an examination of the paragone, meaning artistic rivalry, in nineteenth-century France and England, this book considers how artists were impacted by prevailing aesthetic theories, or institutional and cultural paradigms, to compete in the art world. The paragone has been considered primarily in the context of Renaissance art history, but in this book readers will see how the legacy of this humanistic competitive model survived into the late nineteenth century.

This book traces the influence of the changing political environment on Czech art, criticism, history, and theory between 1895 and 1939, looking beyond the avant-garde to the peripheries of modern art. The period is marked by radical political changes, the formation of national and regional identities, and the rise of modernism in Central Europe - specifically, the collapse of Austria-Hungary and the creation of the new democratic state of Czechoslovakia. Marta Filipova studies the way in which narratives of modern art were formed in a constant negotiation and dialogue between an effort to be international and a desire to remain authentically local.

WINNER OF THE FRANCO-BRITISH SOCIETY LITERARY AWARD 2020 'Art is a Tyrant recounts [Bonheur's] life with no little brio.' Michael Prodger, The Times Books of the Year 2020 'A diligently researched, beautifully produced and insistently sympathetic biography.' Kathryn Hughes, Guardian A new biography of the wildly unconventional 19th-century animal painter and gender equality pioneer Rosa Bonheur, from the author of the acclaimed Mistress of Paris and Renoir's Dancer. Rosa Bonheur was the very antithesis of the feminine ideal of 19th-century society. She was educated, she shunned traditional 'womanly' pursuits, she rejected marriage - and she wore trousers. But the society whose rules she spurned accepted her as one of their own, because of her genius for painting animals. She shared an intimate relationship with the eccentric, self-styled inventor Nathalie Micas, who nurtured the artist like a wife. Together Rosa, Nathalie and Nathalie's mother bought a chateau and with Rosa's menagerie of animals the trio became one of the most extraordinary households of the day. Catherine Hewitt's compelling new biography is an inspiring evocation of a life lived against the rules.

A Cultural History of Color in the Age of Industry covers the period 1800 to 1920, when the world embraced color like never before. Inventions, such as steam power, lithography, photography, electricity, motor cars, aviation, and cheaper color printing, all contributed to a new exuberance about color. Available pigments and colored products - made possible by new technologies, industrial manufacturing, commercialization, and urbanization - also greatly increased, as did illustrated printed literature for the mass market. Color, both literally and metaphorically, was splashed around, and became an expressive tool for artists, designers, and writers. Color shapes an individual's experience of the world and also how society gives particular spaces, objects, and moments meaning. The 6 volume set of the Cultural History of Color examines how color has been created, traded, used, and interpreted over the last 5000 years. The themes covered in each volume are color philosophy and science; color technology and trade; power and identity; religion and ritual; body and clothing; language and psychology; literature and the performing arts; art; architecture and interiors; and artefacts. Alexandra Loske is Curator at the Royal Pavilion and Museums, Brighton, UK Volume 5 in the Cultural History of Color set. General Editors: Carole P. Biggam and Kirsten Wolf

Traditional postcolonial scholarship on art and imperialism emphasises tensions between colonising cores and subjugated peripheries. The ties between London and British white settler colonies have been comparatively neglected. Artworks not only reveal the controlling intentions of imperialist artists in their creation but also the uses to which they were put by others in their afterlives. In many cases they were used to fuel contests over cultural identity which expose a mixture of rifts and consensuses within the British ranks which were frequently assumed to be homogeneous. British Art for Australia, 1860-1953: The Acquisition of Artworks from the United Kingdom by Australian National Galleries represents the first systematic and comparative study of collecting British art in Australia between 1860 and 1953 using the archives of the Australian national galleries and other key Australian and UK institutions. Multiple audiences in the disciplines of art history, cultural history, and museology are addressed by analysing how Australians used British art to carve a distinct identity, which artworks were desirable, economically attainable, and why, and how the acquisition of British art fits into a broader cultural context of the British world. It considers the often competing roles of the British Old Masters (e.g. Romney and Constable), Victorian (e.g. Madox Brown and Millais), and modern artists (e.g. Nash and Spencer) alongside political and economic factors, including the developing global art market, imperial commerce, Australian Federation, the First World War, and the coming of age of the Commonwealth.

Following a spectacular surge in interest for Egyptian masters, Modern Art in Egypt fills the void in Egyptian art history, chronicling the lives and legacies of six pioneering artists working under the British occupation. Using Western-style academic art as a starting point, these artists championed cultural progress, re-appropriating Egyptian visual culture from European orientalists to found a neo-Pharaonic School of Realism. Modern Art in Egypt charts the years from Muhammad Ali's educational reforms to the mass influx of foreigners during the nineteenth-century. With a focus on the al-Nahda thought movement, this book provides an overview of the key policy-makers, reformists and feminists who founded the first School of Fine Arts in Egypt, as well as cultural salons, museums and arts collectives. By combining political and aesthetic histories, Fatenn Mostafa breaks the prevailing understanding that has preferred to see non-Western art as derivatives of Western art movements. Modern Art in Egypt re-establishes Egypt's presence within the global Modernist canon.

Inspired satire on religion and morality, including 70 aphorisms of "Proverbs of Hell." 27 full-color plates, full text.

In the era of the Anthropocene, artists and scientists are facing a new paradigm in their attempts to represent nature. Seven chapters, which focus on art from 1780 to the present that engages with Nordic landscapes, argue that a number of artists in this period work in the intersection between art, science, and media technologies to examine the human impact on these landscapes and question the blurred boundaries between nature and the human. Canadian artists such as Lawren Harris and Geronimo Inutiq are considered alongside artists from Scandinavia and Iceland such as J.C. Dahl, Eija-Liisa Ahtila, Toril Johannessen, and Bjoerk.

Incorporating over 250 illustrations, this is the first comprehensive study in English of French artist and caricaturist George Ferdinand Bigot (1860-1927) who, during the last two decades of the nineteenth century, was renowned in Japan but barely known in his own country. Even today, examples of his cartoons appear in Japanese school textbooks. Inspired by what he saw of Japanese culture and way of life at the Paris Exposition Universelle in 1878, Bigot managed to find his way to Japan in 1882 and immediately set about developing his career as an artist working in pen and ink, watercolours and oils. He also quickly exploited his talent as a highly skilled sketch artist and cartoonist. His output was prodigious and included regular commissions from The Graphic and various Japanese as well as French journals. He left Japan in 1899, never to return. The volume includes a full introduction of the life, work and artistry of Bigot by Christian Polak, together with an essay by Hugh Cortazzi on Charles Wirgman, publisher of Japan Punch. Wirgman was Bigot's 'predecessor' and friend (he launched his own satirical magazine Tobae in 1887, the year Japan Punch closed). Georges Bigot and Japan also makes a valuable contribution to Meiji Studies and the history of both Franco- and Anglo-Japanese relations, as well as the role of art in modern international relations.

Reprinted for the first time since 1889, this is the first biography and considered appraisal of one of England's most prodigiously talented painters. Sir John Everett Millais, P. R. A. (1829-1896) was the most precociously talented artist England has ever produced. His astonishing facility gained him entry as the Royal Academy's youngest ever pupil. At just 19 he founded with six other painters the Pre-Raphaelite Brotherhood, which revolutionized the English art world with a visionary intensity of both subject matter and style. Millais was its most creative member; as Jason Rosenfeld says in the introduction to this volume, "the sheer quality and distinctness of each of Millais's paintings of the 1850s is unmatched by any Western artist of the period." Yet there is much more to Millais' career than Pre-Raphaelitism. Some of the most emotive narrative paintings of the Victorian era, its greatest portraits, and especially some of its most beautiful, if neglected, landscapes, came from his brush--as did some of its most notoriously successful paintings, like "Bubbles," the "fancy picture" that was made into an advertisement for Pears' Soap. This volume includes not only Millais's only published work of art criticism, the pithy "Thoughts on Our Art of Today," but also the first extended biography and appraisal of his work by the important critic M. H. Spielmann. This hugely engaging "Sketch "gives both a warm and personal picture of the man and a level-headed evaluation of the qualities--and defects--of his work as they appeared to contemporaries. Neither essay has been in print for more than a century.

Before publishing the sensuous and scandalous poems of Les Fleurs du Mal, Charles Baudelaire (1821-67) had already earned respect as a forthright and witty critic of art and literature. This stimulating selection of criticism reveals him as a worshipper at the altar of beauty, illuminating his belief that the pursuit of this ideal must be paramount in artistic expression. Reviews of exhibitions discuss works by great painters such as Delacroix and Ingres in fascinating detail, and 'Of Virtuous Plays and Novels' sees Baudelaire as an avenging angel in defence of true art. Writings on Poe, Flaubert and Gautier evoke a profound understanding of fellow artists, while his single excursion into musical criticism, 'Richard Wagner and Tannhauser in Paris', displays an incisive awareness of the magical power of suggestion in music.

'A crisis in historical representation unfolded in French visual culture in the first half of the nineteenth century, reaching its climax at the Paris Universal Exhibition of 1855, when artists and critics alike came to a troubling realization: depictions of past heroes that had once held exceptional influence over their viewers now left the public indifferent. This book shows that underneath this crisis was a mounting demand for empirical observation in art, and an emergent modern epistemology that posited the past as foundational and yet inaccessible to the physically and historically specific individual. Since neither the painter nor the viewer could have actually experienced a bygone historical incident as it unfolded, was history painting even feasible in modern times? When historical representation seemed all but impossible to critics and artists of various hues, Gerome came up with a momentous solution. A small group of paintings constitute the focus of this provocative study on the artist's early work, whose pivotal role in Gerome's oeuvre as well as in the broader history of modernization of art have been so far unrecognized in art historical scholarship. In these, the artist charted a new roadmap for the art of painting in response to the modern sensibility of history.'

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

This volume explores the early history of the photographic studio and portrait in China and Japan. The institution of the photographic studio has received relatively little attention in the history of photography; contributors here investigate various manifestations of the studio as a place and as a space that was cultural, economic, and creative. Its authors also look closely at the studio portrait not as images alone, but also as collaborative ventures between studio operators and sitters, opportunities to invent new roles, images that merged the new medium with "traditional" visual practices, as well as the portrait's part in devising modern, gendered, nationalistic, and public identities for its subjects. As the first collection of its kind, Portraiture and Early Studio Photography in China and Japan analyzes the photographic likeness-its producers, subjects, viewers, and pictorial forms-and argues for the historical significance of the photographic studio as a specific and new space central to the formation of new identities and communities. Photography's identity as a transnational technology is thus explored through the local uses, adaptations, and assimilations of the imported medium, presenting modern images of their subjects in specific Japanese and Chinese contexts.

Edouard Vuillard was so secretive that he berated himself for betraying his emotions in conversation. He was a reticent, impassioned man, a timid stalker and a social climbing anarchist, caught in conflicting desires. From the 1880s until the advent of World War II, using styles from academic to Pointillist to Nabi to Fauve, he abundantly revealed his love and hatred in his paintings: models pose beside a plaster torso cast from the Venus of Milo, women appear without faces, anxiety radiates from many masterpieces, while other works were left unfinished for months or years. Drawing on insights and images from Vuillard's still unpublished diaries, Julia Frey takes the reader into Vuillard's private world of cabarets, experimental theatres, holiday resorts and intimate boudoirs, showing how his art reflects his fraught personal relations and his artistic struggles. Frey chooses many of his finest works, from the famous intimate interior scenes to book illustrations and poster designs, and examines his complex relationships with friends such as Pierre Bonnard, Henri de Toulouse-Lautrec, Stephane Mallarme, Felix Vallotton, and the women he loved: his mother and sister, penniless models and rich men's wives.

The first substantial Mexican colonial art historiography in English, this book examines the origin of the study of colonial art in Mexico as a symptom of the development of modern museum practice in mid-nineteenth-century Mexico City. Also an intellectual history, this study recognizes the role of nationalism in the initiation of art historical practice in what is understood today more broadly as Latin America. Although there has been a steady stream of scholarship produced about the subject, beginning in Mexico and increasingly in the United States, what is variably known as viceregal or colonial Mexican, Spanish colonial, and colonial Latin American art continues to be underplayed or overlooked by most art historians and is thus marginal in the field of art history. Ray Hernandez-Duran redresses that omission, presenting a detailed examination of the origin of the study of colonial art in Mexico. Drawing upon archival research, this volume touches upon the role of politics on the formation of the first gallery of Mexican painting in the Academy of San Carlos and the first comprehensive historical treatment of the material in the form of a dialogue. Furthermore, this study promotes further research in colonial art historiography and underlines the pivotal role that the Indo-Hispanic Americas played in the emergence of early modernity and the process of globalization.

John Leslie Breck (1860-1899) was one of the founders of the American art colony at Giverny and was among the earliest American artists to embrace the Impressionist style. He was also one of the first to exhibit his Impressionist paintings in America and helped to popularize the style during his years working in the Boston area in the 1890s. Between 1887 and 1888 he and a handful of his American colleagues began visiting the French village of Giverny, where they met Claude Monet and subsequently explored the new approach to painting that Monet had helped to pioneer. Breck's canvases from this period, loosely brushed and filled with light and color, are a marked departure from his earlier works that are characterized by darker tonalities and tighter brushwork that typified the preferred style of the era. When Breck returned to America in 1892, he applied what he had learned to paintings of the New England landscape and frequently exhibited his work. Inspired by The Mint Museum's 2016 acquisition of John Leslie Breck's canvas Suzanne Hoschede-Monet Sewing, this volume includes approximately 70 of Breck's finest works, drawn from public and private collections. Along with his scenes of Giverny and America, this volume features a selection of paintings from his sojourn in Venice in 1897. Always interested exploring in new ways of seeing the world, Breck had begun to explore aspects of post-Impressionism and Asian aesthetics in the years before his early death, at the age of 39, in 1899. This volume also features up to 36 additional comparative images, including details, photographs, and paintings by Monet and other leading American impressionists including Willard Metcalf, Theodore Robinson, Lila Cabot Perry, Childe Hassam, and Arthur Wesley Dow, presented throughout the main essays and chronology and appendices.

Travel, Collecting, and Museums of Asian Art in Nineteenth-Century Paris examines a history of contact between modern Europe and East Asia through three collectors: Henri Cernuschi, Emile Guimet, and Edmond de Goncourt. Drawing on a wealth of material including European travelogues of the East and Asian reports of the West, Ting Chang explores the politics of mobility and cross-cultural encounter in the nineteenth century. This book takes a new approach to museum studies and institutional critique by highlighting what is missing from the existing scholarship -- the foreign labors, social relations, and somatic experiences of travel that are constitutive of museums yet left out of their histories. The author explores how global trade and monetary theory shaped Cernuschi's collection of archaic Chinese bronze. Exchange systems, both material and immaterial, determined Guimet's museum of religious objects and Goncourt's private collection of Asian art. Bronze, porcelain, and prints articulated the shifting relations and frameworks of understanding between France, Japan, and China in a time of profound transformation. Travel, Collecting, and Museums of Asian Art in Nineteenth-Century Paris thus looks at what Asian art was imagined to do for Europe. This book will be of interest to scholars and students interested in art history, travel imagery, museum studies, cross-cultural encounters, and modern transnational histories.