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

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

The Drowned Muse is a study of the extraordinary destiny, in the history of European culture, of an object which could seem, at first glance, quite ordinary in the history of European culture. It tells the story of a mask, the cast of a young girl's face entitled "L'Inconnue de la Seine," the Unknown Woman of the Seine, and its subsequent metamorphoses as a cultural figure. Legend has it that the "Inconnue" drowned herself in Paris at the end of the nineteenth century. The forensic scientist tending to her unidentified corpse at the Paris Morgue was supposedly so struck by her allure that he captured in plaster the contours of her face. This unknown girl, also referred to as "The Mona Lisa of Suicide", has since become the object of an obsessive interest that started in the late 1890s, reached its peak in the 1930s, and continues to reverberate today. Aby Warburg defines art history as "a ghost story for grown-ups." This study is similarly "a ghost story for grown-ups", narrating the aura of a cultural object that crosses temporal, geographical, and linguistic frontiers. It views the "Inconnue" as a symptomatic expression of a modern world haunted by the earlier modernity of the nineteenth century. It investigates how the mask's metamorphoses reflect major shifts in the cultural history of the last two centuries, approaching the "Inconnue" as an entry point to understand a phenomenon characteristic of 20th- and 21st-century modernity: the translatability of media. Doing so, this study mobilizes discourses surrounding the "Inconnue", casting them as points of negotiation through which we may consider the modern age.

Including previously unpublished and recently re-discovered designs for the interior of the Museum, Olivia Horsfall Turner's fascinating new book, the latest in the V&A 19th-Century Series, looks at the relationship between architect and designer Owen Jones and the South Kensington Museum (later the V&A) in the period from the Museum's establishment in the 1850s to Jones's death in 1874. It focuses on key moments in Jones's relationship with the Museum: the creation of his well-known publication The Grammar of Ornament (1856) and his less widely known Examples of Chinese Ornament (1867), and the decoration of the Museum's so-called Oriental Court between 1863 and 1865. Jones's collaboration with the Museum over a period of almost 20 years is of special interest not only thanks to his status as one of the most influential design theorists of the 19th century, but also for the light that it sheds on the identity of the early Museum and its imperial context.

The wood engravers' self-portrait tells the story of the image-making firm Dalziel Brothers, investigating and interpreting a unique archive from the British Museum. The study takes a creative-critical approach to illustration, alongside detailed investigation of print techniques and history. Five siblings ran the wood engraving firm Dalziel Brothers: George, Edward, Margaret, John and Thomas Dalziel. Prospering through five decades of work, Dalziel became the major capitalist image makers of Victorian Britain. This book, based on AHRC-funded research, outlines the achievements of these remarkable siblings and uncovers the histories of some of the 36 unknown artisan employees that worked alongside them. Dalziel Brothers made works of global importance: illustrations to Lewis Carroll's Alice books, novels by Charles Dickens, and landmark Pre-Raphaelite prints, as well as other, brilliant works that are published here for the first time since their initial creation. -- .

The importance of A. W. N. Pugin (1812-52) in architecture and design in England and beyond is incontestable. The leading architect of the Gothic Revival, Pugin is one of the most significant figures of the mid-nineteenth century and one of the greatest designers. His correspondence furnishes more insight into the man and more information about his work than any other source. This volume, the last of five, contains letters from 1851 and the first months of 1852; after that, Pugin's health failed and he died in September. In the great event of the period, the international exhibition held in the Crystal Palace in Hyde Park, the display of objects made to Pugin's design, which he planned and oversaw, was an outstanding success, bringing substantial commercial benefit to his colleagues and spreading Pugin's influence even more widely than before. The value of his judgment was recognized in his appointment to two committees in connection with the Great Exhibition. Frantic though the preparations for what came to be known as the Medieval Court were, Pugin made time to write for publication. He issued letters and pamphlets in explanation, defence, and support of the Catholic Church and its re-established hierarchy, and turned again to the conundrum that had long teased him, the relation between the faith and the form, not only architectural, in which it found expression. He completed the book on chancel screens conceived some years before. At home in The Grange at Ramsgate, he continued to design stained glass windows, for other architects as well as his own clients, and supervised the production of cartoons; he poured out designs in his usual fields of metalwork, ceramics, furniture, carving, and wallpaper, and branched out, not always happily, into new areas such as embroidery and the decoration of piano cases. The demand for drawings for Westminster, where the House of Commons was due to open early in 1852, was as incessant as ever. His last child, Edmund Peter, was born in 1851 only a few months before his first grandchild, Mildred. Both were baptized in the church of St Augustine which he was still building next to his house and where he himself was soon to be laid in the vault he provided for the purpose. The volume also includes some letters which have come to light too late for inclusion in their proper chronological places and some texts of doubtful authenticity.

Presented in a style as stunning as the prints it celebrates, this survey of Hiroshige tells the fascinating story of the last great practitioner of ukiyo-e, or "pictures of the floating world." Hiroshige is considered to be the tradition's most poetic artist and his work had a marked influence on Western painting towards the end of the 19th century. Vincent van Gogh, Claude Monet, Paul Ce zanne, and James Whistler were inspired by Hiroshige's serene depictions of the natural world. Arranged chronologically, this book illustrates through text and magnificent reproductions Hiroshige's youth and early career; his artistic development in the genre of landscape prints; his depictions of Edo and the provinces; the flower and bird prints; and his many popular books and paintings. It discusses the historic and cultural environment in which Hiroshige flourished and the many reasons his art continues to be revered and imitated. Filled with 300 color reproductions, and featuring a clamshell box and Japanese-style binding, this volume is destined to become the definitive examination of Hiroshige's oeuvre.

In "Keywords of Nineteenth-Century Art", Christine Lindey offers a fresh approach to the study of the theory and practice of the century's fine art. Fifty key art terms provide a context for copious contemporary quotations from those with direct experience of the creative process: artists, critics, writers and thinkers. The book thus avoids the hackneyed definition of major movements and artists' groups, and instead discusses these through a rich diversity of attitudes to each keyword; those, for example, of the Romantic, Barbizon and Symbolist artists and their publics to issues such as art institutions, exhibitions, landscape, drawing and the pervasive influence of the antique. The quotations are drawn from a wide range of sources. Chosen to exemplify particular historical, geographical, socio-political and aesthetic tendencies, these provide familiar pivotal figures to help guide the reader through a highly populated and fast-changing art world. The emphasis is on French and, to a lesser degree, British art but a range of European and North American art is also discussed. Academic art and the views of its conservative champions are set alongside those of avant-garde artists to convey the major aesthetic debates and public tastes of the century. The struggle of women artists to overcome social and professional exclusion is discussed in relation to male-dominated norms. Associated ideas are appended to each term, guiding the reader towards further readings so that the book provides quick reference, a rich source of quotations and an overall insight into the major preoccupations of nineteenth-century art and artists.

By 1862, just a decade after its launch as a study collection for art and design, the Victoria and Albert Museum had become a reference resource for collectors, scholars and art-market experts. Enriching the V&A, the final volume in a trilogy of books on the museum's 19th-century history, describes how the young museum's rapid growth in the following decades was driven more by collectors, agents and dealers, through loans, gifts and bequests, than by the combined expertise, acquisitions policies and buying power of its directors and curators. The V&A soon became a collection of collections, embodying a new age of collecting that benefitted from the break-up of historic institutions and ancestral collections across Europe, and imperial expeditions in Asia and Africa. The industrial revolution had created a new social class with the resources to buy from the expanding art market, especially in the decorative arts. Many were touched by a new moral imperative to collect for the home, however humble, and to share their specialist knowledge and enthusiasm by lending to the new public museums. Enriching the V&A explores the formative influence on the museum, and on pioneering fields of scholarship, of the V&A's leading Victorian and Edwardian benefactors. It also shares uncomfortable truths about the sources of some objects from the age of empires and shows how the meanings of things can change through the transformation of private property into public museum collections.

The Invention of Melbourne defines the relationship between an architect of genius, William Wardell, and the first Catholic Archbishop of Melbourne, James Goold, an Irishman educated in Risorgimento, Italy. Their partnership produced St Patrick's, the largest cathedral of the 19th century anywhere in the world, and some thirteen churches, decorated with hundreds of Baroque paintings. These ambitious policies coincided with the Gold Rush, which contributed financially to their success. The contribution made by Wardell and Goold to the built environment of Melbourne remains significant, and the essays in this volume radically reassess Goold, who until now has been either dismissed as a stern, aloof Irish cleric, or viewed more favourably for his achievements as a champion of Catholic education. Similarly, Wardell's legacy to Melbourne has been forgotten despite the conspicuous presence of Government House and the Gothic Bank, for many Melburnians their most favourite building. Together, they actively and creatively shaped the city that became a major international metropolis.

Victorian churches were often of high quality, reflecting in physical terms the intense theological debates of the time. This highly-illustrated book by a leading authority describes many of the finest examples. Many churches were built in England during the reign of Queen Victoria: most were in various varieties of Gothic Revival. Often exquisitely furnished, they were visible expressions of the presence and importance of religion at the time. Their architectural qualities reflected aspirations of clergy, laity, and individual benefactors. The finest were the results of passionate commitment to an architecture soundly based on scholarly studies known as Ecclesiology. James Stevens Curl places English churches of the period in their complex social and denominational settings, giving comprehensive accounts of the religious atmosphere and controversies of the times. He charts the progress and development of the Gothic Revival, explains differences in the architecture of various denominations, outlines the influences of the chief protagonists involved, and describes the demands made on craftsmen and industry to produce the materials, furnishings, and fittings necessary in making some of the finest buildings ever created in England. He reveals something of the individuals and events that shaped the religious climate of the epoch, while specially commissioned illustrations reveal the rich variety found in Victorian churches.

The Rob Roy Kelly Wood Type Collection is a comprehensive collection of wood type manufactured and used for printing in nineteenth-century America. Comprising nearly 150 typefaces of various sizes and styles, it was amassed by noted design educator and historian Rob Roy Kelly starting in 1957 and is now held by the University of Texas. Although Kelly himself published a 1969 book on wood type and nineteenth-century typographic history, there has been little written about the creation of the wood type forms, the collection, or Kelly. In this book, David Shields rigorously updates and expands upon Kelly's historical information about the types, clarifying the collection's exact composition and providing a better understanding of the stylistic development of wood type forms during the nineteenth century. Using rich materials from the period, Shields provides a stunning visual context that complements the textual history of each typeface. He also highlights the non-typographic material in the collection-such as borders, rules, ornaments, and image cuts-that have not been previously examined. Featuring over 300 color illustrations, this written history and catalog is bound to spark renewed interest in the collection and its broader typographic period.

This is a collection of sporting prints lampooning the work of expert draughtsmen such as Stubbs, Rowlandson, Fernley and Pollard. Thelwell, the creator of the cartoon character Penelope, has a superb eye for detail and for the relationship between humans and animals.

The building of the Victoria and Albert Museum, begun in 1857, is the most elaborately designed and decorated museum in Britain. This book is the first to consider the V&A as a work of art in itself, presenting drawings, watercolours and historic photographs relating to the Museum's 19th-century interiors. Much of this visual material is previously unpublished and is outside the canon of Victorian art and design. The V&A's first Director, Henry Cole, conceived the Museum's building as a showcase for leading Victorian artists to design and decorate. This book reveals for the first time the ways in which Cole's expressed policy to 'assemble a splendid collection of objects representing the application of Fine Arts to manufacture' was applied to the fabric of the building, as he engaged leading painters such as Frederic Leighton , G.F. Watts and Edward Burne-Jones, as well as specialists in decoration such as Owen Jones and Morris and Company, to decorate and design for a building raised by engineers using innovatory materials and techniques.It represents a fascinating, untold chapter in the history of British 19th-century art, design, architecture and museums, and an essential backdrop to understanding the evolution of the Museum's early collections and identity.

The importance of A. W. N. Pugin (1812-52) in the history of the Gothic Revival, in the development of ecclesiology, in the origins of the Arts and Crafts Movement, and in architectural theory is incontestable. A leading British architect who was also a designer of furniture, textiles, stained glass, metalwork, and ceramics, he is one of the most significant figures of the mid-nineteenth century and one of the greatest designers. His correspondence is important because it provides more insight into the man and more information about his work than any other source. This volume, the fourth of five, contains letters from 1849 and 1850. Happily married, Pugin was more settled in his home at The Grange in Ramsgate in these years than he had ever been before. He completed his long-contemplated book on Floriated Ornament. At first he appears principally as a designer of stained glass, often working for other architects: pre-eminent, he supplies Charles Barry, William Butterfield, R. C. Carpenter, G. G. Scott, for instance. The letters display his knowledge of surviving medieval glass, biblical and historical sources, hagiography, heraldry, iconography, besides revealing his attention to details of composition, texture, colour, the representation of figures, the effects of lighting. Next door to his house, he continued to build the church of St Augustine, which was ready for opening in August 1850. Later that year, two public events quickened the pace of Pugin's life: the Roman Catholic hierarchy was restored in England, and the Great Exhibition was announced for 1851. Personally insulted because of his religion, Pugin defended his embattled faith in the ensuing uproar; at the same time he began to make a multitude of designs for his colleagues to execute: together they produced what came to be called the Medieval Court, the outstanding display in the exhibition and a masterpiece of lasting influence.

Drawing on primary and secondary materials, this is a sociological interpretation of the rise of metropolitan art institutions and their role in modernism and the modernization of art in England. It explores the complex relationships between the artist as creator, notions of class and taste, and the power of institutions (academies, museums, workshops, exhibitions, art dealers and publishing houses) to enable or constrain creativity, and to reflect and shape artistic expression. In particular, it looks at the experiences of submerged artists (for example, reproductive engravers and the Chantrey artists) and their interpretations of the changing art world. The radicalism of engravers and their claim to be artists is an important and neglected aspect of the 19th-century art world; and the aesthetic dispute over the Chantrey Bequest epitomized conflicts of taste, cultural dependence and interdependence between opposed art institutions and the Treasury.

This collection of essays by an international group of scholars offers an account of Dante's reception in a wide range of media: visual art, literature, theatre, cinema, and music, from the late eighteenth century through to the early twentieth. It thus explores various appropriations and interpretations of his works and persona during the era of modernization in Europe, the United States, and beyond. It includes work by internationally recognized experts and a new generation of scholars in the field, and the eighteen essays are grouped in sections which relate both to themes and regions. The volume begins and ends by addressing Italy's reception of the national poet, and its other main sections show how a worldwide dialogue with Dante developed in France, Britain, Germany, the United States, Ireland, India, and Turkey. The whole collection demonstrates how this dialogue explicitly or implicitly informed the construction, recovery or re-definition of cultural identity among various nations, regions and ethnic groups during the 'long nineteenth century'. It not only aims at wide coverage of the period's voices and concerns, and includes discussion of well-known writers such as Ugo Foscolo, Giosue Carducci, Mary Shelley, John Ruskin, George Eliot, Charles Eliot Norton and Ralph Waldo Emerson - along with a large number of significant but less familiar figures. It also emphasizes the importance of a multidisciplinary and multilingual approach to the subject of Dante and nineteenth-century nationalism, and it will thus be of interest to scholars and students in comparative literary and nineteenth-century studies, as well as to those with a general interest in cultural studies and the history of ideas.

Over the past century, The Huntington has collected more than 12,000 drawings and watercolors by British artists from the late 16th to mid-20th century. Excursions of Imagination showcases 100 stunning works on paper from this "hidden museum", many of them never published before. This generously illustrated volume features landscape and figurative subjects by the acknowledged masters of the medium-J. M. W. Turner, Thomas Girtin, John Constable, and Henry Fuseli-as well as artists associated with the Pre-Raphaelite movement and such modernists as David Bomberg and Paul Nash. An introduction by curator Melinda McCurdy discusses the formation of The Huntington's British drawings collection. An essay by Ann Bermingham, a historian of British art, places The Huntington's collection within the context of the historical practice of drawing in Britain.

The experience of colour underwent a significant change in the second half of the nineteenth century, as new coal tar-based synthetic dyes were devised for the expanding textile industry. These new, artificial colours were often despised in artistic circles who favoured ancient and more authentic forms of polychromy, whether antique, medieval, Renaissance or Japanese. However faded, ancient hues were embraced as rich, chromatic alternatives to the bleakness of industrial modernity, fostering fantasized recreations of an idealized past. The interdisciplinary essays in this collection focus on the complex reception of the colours of the past in the works of major Victorian writers and artists. Drawing on close analyses of artworks and literary texts, the contributors to this volume explore the multiple facets of the chromatic nostalgia of the Victorians, as well as the contrast between ancient colouring practices and the new sciences and techniques of colour.

Our Albert Racinet Ancient Egypt art is a nod to vintage art and design that helped influence Art Deco of the early 20th century. Albert-Charles-Auguste-Racinet (1825-1893) was a French costume historian, painter, illustrator, and author. Racinet's publication L'Ornement Polychrome is a monumental collection of more than 100 richly-coloured lithographic plates depicting decorative artwork from ancient civilisations through the 18th century. 500-piece jigsaw puzzle Durable, compact, 2-piece box Gift box: 152 x 198 x 50 mm Completed puzzle: 482 x 355 mm teNeues NYC Stationery keeps up with fun and games at home with our museum-quality printed 500-Piece Puzzles. Packaged in durable, compact boxes, our 500-Piece Puzzles feature full-colour artwork, expertly-printed with nontoxic inks on sturdy, puzzle grey board.

The importance of A. W. N. Pugin (1812-52) in the history of the Gothic Revival, in the development of ecclesiology, in the origins of the Arts and Crafts Movement, and in architectural theory is incontestable. A leading British architect who was also a designer of furniture, textiles, stained glass, metalwork, and ceramics, he is one of the most significant figures of the mid-nineteenth century and one of the greatest designers. His correspondence is important because it provides more insight into the man and more information about his work than any other source. In this volume, the third of five, which spans the years 1846 to 1848, Pugin's two most important churches are completed and the first part of the House of Lords is opened. He makes his only trip to Italy, and he marries for the third time. His correspondence sheds light too on the religious life of the time, especially ecclesiastical politics.

Together with important First Nations material, the Thomson Canadian Collection is the largest of all private holdings of Canadian art. There are rare and incomparable examples of Northwest Coast Aboriginal art. Krieghoff's inspired accounts of life in the Canadas, prior to Confederation, bring the light and atmosphere of history fully into the present. A staggering power to capture the fleeting and the fugitive in paint still distinguishes the work of the early 20th-century painter Morrice.

A landmark compendium - the first authoritative publication to cover in its entirety one of the most significant holdings of Matisse in the world. Here is a vibrant celebration - slipcased and beautifully produced - of the Barnes's extraordinary Matisse collection. Composed of fifty-nine works from every stage of the artist's career, it is among the most important in the world. At its heart are Matisse's most historically significant paintings, Le Bonheur de vivre, also called The Joy of Life, and The Dance, the monumental mural that Albert C. Barnes commissioned to fill the lunettes of the Foundation's main gallery, transforming both the space and the artist's career. An essay by Yve-Alain Bois addresses the evolution of The Dance and its role in Matisse's career; Karen Butler looks at what Barnes thought of Matisse; and Claudine Grammont's considers how and why he collected his work. The artworks themselves, sumptuously reproduced, are the subjects of interpretive analyses that tell the stories of their acquisition and address their critical reception. The book includes major contributions by Barbara Buckley and Jennifer Mass on the artist’s technique and a report on the latest findings on the pigments used in Le Bonheur de vivre.