African-American art has made an increasingly vital contribution to the art of the United States from the time of its origins in early-eighteenth-century slave communities. This major reassessment of the subject discusses folk and decorative arts such as ceramics, furniture, and quilts alongside fine art -- sculptures, paintings, and photography -- produced by African Americans, both enslaved and free, throughout the nineteenth century. It explores art and politics, the influence of galleries and museums, and examines the New Negro Movement of the 1920s, the Era of Civil Rights and Black Nationalism through the 1960s and 1970s, and the emergence of new black artists and theorists in the 1980s and 1990s. African-American Art shows that in its cultural diversity and synthesis of cultures it mirrors those in American society as a whole.

`a much needed text. . . breaks down the barrier between folk and formal art, and articulates an interrelationship of both concepts to African-American people and their culture' Keith Morrison, Artist and Dean of the College of Arts, San Francisco State University.

`a fine survey of contemporary African-American art and ideas... a volume, which, like no other, can be used both as an unusual reference book and a good read' Emma Amos, Artist and Professor of Art at Rutgers University

"Princeton and the Gothic Revival" investigates America's changing attitudes toward medieval art around the turn of the twentieth century through the lens of Princeton University and its role as a major patron of Gothic Revival art and architecture. Johanna Seasonwein charts a shift from eclecticism to a more unified, "authentic" approach to medieval art, and examines how the language of medieval forms was used to articulate a new model of American higher education in campus design and the classroom.

The catalog for an exhibition at the Princeton University Art Museum, "Princeton and the Gothic Revival" breaks new ground by addressing why universities, and Princeton in particular, were so effective at bringing together what had been disparate interests in the Middle Ages. Revivalists and Medievalists were often at odds, yet at Princeton they used the language of the Middle Ages to create a new identity for the American university, one that was steeped in the traditions of Oxford and Cambridge but also embraced the model of the German research university.

"Princeton and the Gothic Revival" provides an overview of Princeton's Romanesque and Gothic Revival architecture and examines the changing approach to the idea of the "Gothic" by looking at three Princeton buildings and their stained glass windows: the Marquand Chapel, Procter Hall at the Graduate College, and the University Chapel.

Best known for his depictions of fierce samurai warriors in battle, Utagawa Kuniyoshi also produced landscapes, portraits of Kabuki actors, and images of mythical animals. His dynamic action scenes and fantastic creatures are recognized today as precursors of manga and anime. This dazzling volume by Matthi Forrer, one of the leading experts on ukiyo-e art, traces Kuniyoshi's entire career. Chapters look at the major aspects of Kuniyoshi's oeuvre; his book illustrations and portraits of fashionable women; his enormously popular series featuring actors, warriors, and landscapes; and the influence of Western art on his career. Meticulous, large-scale reproductions highlight the work's clear outlines, elegantly muted palette, and precise details-from electrifying depictions of a tiger, mid-pounce, and light-hearted interpretations of Chinese folktales, to the terrifying figures of samurai swordsmen and romantic winter landscapes. A Japanese-style binding and box complete this luxurious package that promises an endlessly absorbing journey into the life of Kuniyoshi during the latter days of Japan's Edo period.

Curators make many decisions when they build collections or design exhibitions, plotting a passage of discovery that also tells an essential story. Collecting captures the past in a way useful to the present and the future. Exhibits play to our senses and orchestrate our impressions, balancing presentation and preservation, information and emotion. Curators consider visitors' interactions with objects and with one another, how our bodies move through displays, how our eyes grasp objects, how we learn and how we feel. Inside the Lost Museum documents the work museums do and suggests ways these institutions can enrich the educational and aesthetic experience of their visitors. Woven throughout Inside the Lost Museum is the story of the Jenks Museum at Brown University, a nineteenth-century display of natural history, anthropology, and curiosities that disappeared a century ago. The Jenks Museum's past, and a recent effort by artist Mark Dion, Steven Lubar, and their students to reimagine it as art and history, serve as a framework for exploring the long record of museums' usefulness and service. Museum lovers know that energy and mystery run through every collection and exhibition. Lubar explains work behind the scenes-collecting, preserving, displaying, and using art and artifacts in teaching, research, and community-building-through historical and contemporary examples. Inside the Lost Museum speaks to the hunt, the find, and the reveal that make curating and visiting exhibitions and using collections such a rewarding and vital pursuit.

Herschel B. Chipp's Theories of Modern Art: A Source Book By Artists and Critics is a collection of texts from letters, manifestos, notes and interviews. Sources include, as the title says, artists and critics-some expected, like van Gogh, Gauguin, Apollinaire, Mondrian, Greenberg, just to name a few-and some less so: Trotsky and Hitler, in the section on Art and Politics. The book is a wonderful resource and insight into the way artists think and work.

Looking at the newspaper clipping from 1870 to 1930 in art and science, this study examines knowledge production and its visual and material background, combining the perspectives of media history with art history and the history of science. It traces the biography of a newspaper clipping in different fields, ranging from highly sophisticated ordering systems in the sciences, to bureaucratic archives, to their appearance in the collages of the Dadaists. Te Heesen emphasises the materiality of paper and analyses the practices connected with it, placing them and their instruments and tools within a theoretical framework. This history also sheds light on the handling of information, information overload and the generation of knowledge, drawing parallels with the internet. Te Heesen offers a counterpoint to existing works on the iconographic meaning of materials by opening up an interdisciplinary framework through the use of different case studies. -- .

This is the story of Marianne North, an unmarried middle-aged Victorian lady of comfortable means, set off in 1871 on her first expedition to make a pictorial record of the tropical and exotic plants of the world. Marianne produced more than 800 paintings which are housed in a special gallery at Kew. Now in second edtion, this book provides an overview of her paintings and the Marianne North Gallery (built under her patronage) where almost all her paintings hang, the history of the gallery and its architecture and its restoration. The beautiful gift book details Marianne's life and travels, fully illustrated throughout with her stunning botanical paintings. This second edition of the bestseller features updated information and the new format allows Marianne's paintings to be reproduced on a larger scale.

Since the publication of Eliza May Butler's "Tyranny of Greece over Germany" in 1935, the obsession of the German educated elite with the ancient Greeks has become an accepted, if severely underanalyzed, cliche. In "Down from Olympus," Suzanne Marchand attempts to come to grips with German Graecophilia, not as a private passion but as an institutionally generated and preserved cultural trope. The book argues that nineteenth-century philhellenes inherited both an elitist, normative aesthetics and an ascetic, scholarly ethos from their Romantic predecessors; German "neohumanists" promised to reconcile these intellectual commitments, and by so doing, to revitalize education and the arts. Focusing on the history of classical archaeology, Marchand shows how the injunction to imitate Greek art was made the basis for new, state-funded cultural institutions. Tracing interactions between scholars and policymakers that made possible grand-scale cultural feats like the acquisition of the Pergamum Altar, she underscores both the gains in specialized knowledge and the failures in social responsibility that were the distinctive products of German neohumanism.

This book discusses intellectual and institutional aspects of archaeology and philhellenism, giving extensive treatment to the history of prehistorical archaeology and German "orientalism." Marchand traces the history of the study, excavation, and exhibition of Greek art as a means to confront the social, cultural, and political consequences of the specialization of scholarship in the last two centuries."

Analyzing the rise of art in the 18th century, this treatise demonstrates how painting, sculpture and literature were not regarded as valuable art forms before the emergence of a new bourgeois culture. The author reveals how Romantic poets and philosophers invented art as we know it today.

La peinture occupe une place privilegiee dans A la recherche du temps perdu dans la mesure ou elle fonctionne comme metaphore de l'ecriture. La peinture et l'ecriture, toutes les deux creatrices d'images, sont les moyens qui permettent a l'artiste de devoiler l'essence des choses. En integrant la peinture dans son ecriture, Proust propose un equivalent visible de l'ecriture. La peinture fait sortir du livre l'image et la met a la portee du lecteur. Ainsi, grace a la peinture, l'ecriture sort du cadre des mots pour avoir une existence visuelle. Dans La Peinture ou les lecons esthetiques chez Marcel Proust, Yae-Jin Yoo developpe une theorie de la metaphore proustienne a laquelle meneront les analyses de la relation entre la peinture et l'ecriture dans le progres du narrateur en quete de son identite et de son art. Ce livre propose une nouvelle perspective de la peinture chez Proust faisant appel a l'esthetique de la metaphore.

Algebraic Art explores the invention of a peculiarly Victorian account of the nature and value of aesthetic form, and it traces that account to a surprising source: mathematics. The nineteenth century was a moment of extraordinary mathematical innovation, witnessing the development of non-Euclidean geometry, the revaluation of symbolic algebra, and the importation of mathematical language into philosophy. All these innovations sprang from a reconception of mathematics as a formal rather than a referential practice-as a means for describing relationships rather than quantities. For Victorian mathematicians, the value of a claim lay not in its capacity to describe the world but its internal coherence. This concern with formal structure produced a striking convergence between mathematics and aesthetics: geometers wrote fables, logicians reconceived symbolism, and physicists described reality as consisting of beautiful patterns. Artists, meanwhile, drawing upon the cultural prestige of mathematics, conceived their work as a 'science' of form, whether as lines in a painting, twinned characters in a novel, or wavelike stress patterns in a poem. Avant-garde photographs and paintings, fantastical novels like Flatland and Lewis Carroll's children's books, and experimental poetry by Swinburne, Rossetti, and Patmore created worlds governed by a rigorous internal logic even as they were pointedly unconcerned with reference or realist protocols. Algebraic Art shows that works we tend to regard as outliers to mainstream Victorian culture were expressions of a mathematical formalism that was central to Victorian knowledge production and that continues to shape our understanding of the significance of form.

Continuing with the theme of his work Renaissance Perspectives in Literature and the Visual Arts, Murray Roston applies to a later period the same critical principle: that for each generation there exists a central complex of inherited ideas and urgent contemporary concerns to which each creative artist and writer responds in his or her own way. Roston demonstrates that what emerges is not a fixed or monolithic pattern for each generation but a dynamic series of responses to shared challenges. The book relates leading English writers and literary modes to contemporary developments in architecture, painting, and sculpture. "A sumptuous book...Clearly and gracefully written and cogently argued, Roston's admirable achievement is of paramount significance to literary studies, to cultural and art history, and to aesthetics...Outstanding."--Choice Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

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.

Imaginary Distance' is the first book to undertake a survey of the literature produced by nineteenth-century settler emigration. It argues that the demographic shift in the nineteenth century to settler colonies in Canada, Australia, New Zealand was also a textual one: a vast literature supported and underpinned this movement of people. The monograph brings printed emigrants' letters, manuscript shipboard newspapers and settler fiction into conversation with each other across the first three chapters to explore the generic features of 'emigration literature': textual mobility, a sense of place, and home-making. The last two chapters demonstrate how pervasive the textual cultures of settler emigration were in shaping the nineteenth-century cultural imagination: concerns raised in emigration literature were pervasive and seeped through representations of space and place: the works of Charles Dickens, Elizabeth Gaskell and Ford Madox Brown, amongst others, draw upon emigration to explore the networks of people and texts extending across the settler world.

Continuing with the theme of his work Renaissance Perspectives in Literature and the Visual Arts, Murray Roston applies to a later period the same critical principle: that for each generation there exists a central complex of inherited ideas and urgent contemporary concerns to which each creative artist and writer responds in his or her own way. Roston demonstrates that what emerges is not a fixed or monolithic pattern for each generation but a dynamic series of responses to shared challenges. The book relates leading English writers and literary modes to contemporary developments in architecture, painting, and sculpture. "A sumptuous book. . . . Clearly and gracefully written and cogently argued, Roston's admirable achievement is of paramount significance to literary studies, to cultural and art history, and to aesthetics. . . . Outstanding."--Choice

Originally published in 1992.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

This is a vivid portrait of the French historical profession in the nineteenth and early twentieth centuries, concluding just before the emergence of the famous "Annales" school of historians. It places the profession in its social, academic, and political context and shows that historians of the period have been unfairly maligned as amateurish and primitive in comparison to their more celebrated successors.

Pim den Boer begins by sketching the contours of French historiography in the nineteenth century, examining the quantity of historical writing, its subject matter, and who wrote it. He traces the growing influence of professional historians. He shows the increasing involvement of the national government in historical studies, paying special attention to the impact of political factions, ranging from ultraroyalists to radical republicans. He explores how historical research and teaching changed at schools and universities. And he shows how nineteenth-century historians' keen understanding of the past and of historical methodology laid the foundations for historiography in the twentieth century. archives, including official documents, confidential reports, and personal letters. Den Boer makes use of statistical, biographical, and methodological analysis and demonstrates comprehensive knowledge of both minor historians and leading scholars, including Charles Seignobos and Charles-Victor Langlois.

Originally published in 1998.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

The theory and practice of art underwent a number of fascinating changes between the sixteenth and the eighteenth centuries, changes which are clearly revealed in this unique collection of letters, journals, essays, and other writings by the artists and their contemporaries. In the poems of Michelangelo, the Dialogues of Carducho, or the Discourses of Sir Joshua Reynolds, one discovers the stylistic and philosophical concerns of the artist, while the record of Veronese's trial before the Holy Tribunal, the diary of Bernini's journey in France, the letters of Rubens and Poussin or biographical sketches of Rembrandt and Watteau reveal not only the personalities but also the conditions of the times. These basic and illuminating documents, now again available in paperback, provide an unparalleled opportunity for insight into the art and ideas of the periods the author discusses.

Explores the interconnected creative partnerships of the Wattses and De Morgans - Victorian artists, writers and suffragists This is the first book dedicated to examining the marital relationships of Mary and George Watts and Evelyn and William De Morgan as creative partnerships. The study demonstrates how they worked, individually and together, to support greater gender equality and female liberation in the nineteenth century. The author traces their relationship to early and more recent feminism, reclaiming them as influential early feminists and reading their works from twentieth-century theoretical perspectives. By focusing on neglected female figures in creative partnerships, the book challenges longstanding perceptions of them as the subordinate wives of famous Victorian artists and of their marriages as representatives of the traditional gender binary. This is also the first academic critical study of Mary Watts's recently published diaries, Evelyn De Morgan's unpublished writings and other previously unexplored archival material by the Wattses and the De Morgans. Key Features: Reveals the ways in which the couples promoted progressive socio-political ideas Draws on extensive archival research and analyses unpublished writings, including diaries and poems Focuses on neglected female figures in creative partnerships to challenge longstanding perceptions of them as the submissive or subordinate wives of famous Victorian artists, and of their marriages as representatives of the traditional gender binary Shows how male and female writers and artists engaged with mid-to-late Victorian feminism together and individually, reclaiming them as influential early feminists

Albert Duvall Quigley spent most of his life painting the people and landscapes of the Monadnock region. A self-taught musician, he built and repaired fiddles, wrote dance tunes, and played at local dances. He also made frames known for their beautiful workmanship and originality, and prized by many Monadnock artists. This catalog has been compiled for an exhibition celebrating Quigley's life and work that will open at the Historical Society of Cheshire County (NH) in May 2017, and for the 250th anniversary celebration of the town of Nelson, NH, where Quigley lived for many years.

Ink-Stained Hands fulfils a considerable gap in Irish visual arts publications as the first book to present the activities of printmakers in Ireland from the end of the nineteenth century to the present. The central narrative of this profusely illustrated and documented book is the foundation of Graphic Studio Dublin in 1960, an event which revolutionized the graphic arts in Ireland and made the European tradition of printmaking available to Irish artists.

Julia Margaret Cameron's 'fancy subjects' is the first study of Cameron's allegorical photographs and the first to examine the intellectual connections of this imagery to British culture and politics of the 1860s and 1870s. In these photographs, Cameron depicted passages from classical mythology, the Old and New Testament, and historical and contemporary literature. She costumed her friends, domestic help, and village children in dramatic poses, turning them into goddesses and nymphs, biblical kings and medieval knights; she photographed young women in the style of the Elgin marbles, making sculpture come alive, and re-imagined scenes depicted in the poetry of Byron and Tennyson. Cameron chose allegory as her primary artistic device because it allowed her to use popular iconography to convey a latent or secondary meaning. In her photographs, a primary meaning is first conveyed by the title of the image; then, social and political ideas that the artist implanted in the image begin to emerge, contributing to and commenting on the contemporary cultural, religious and political debates of the time. Cameron used the term 'fancy subjects' to embed these moral, intellectual and political narratives in her photographs. This book reconnects her to the prominent minds in her circle who influenced her thinking, including Benjamin Jowett, George Grote and Henry Taylor, and demonstrates her awareness and responsiveness to popular graphic art, including textiles and wall paper, book illustrations and engravings from period folios, cartoons from Punch and line drawings from the Illustrated London News, cabinet photographs and autotype prints. -- .

Two Literary Critics Romancing the Archive at London's National Portrait Gallery. Part biography, part detective novel, part love story, and part meditation on archival research, Love Among the Archives is an experiment in writing a life. This is the story of two literary critics' attempts to track down Sir George Scharf, the founding director of the National Portrait Gallery in London, famous in his day and strangely obscure in our own. After discovering Scharf's scrapbook of menus and invitations from England's most stately homes, the authors began their adventures in the archives of London, searching Scharf's diaries, sketchbooks, and letters for traces of the man who so loved dining out. Addicted to Victorian novels, the authors looked for a marriage plot, but found Scharf's passionate attachment to a younger man who had hidden from him a secret engagement; they looked for a Bildungsroman, but found that Scharf never left his beloved mother. Always short of money, self-educated, talented, irascible, gregarious, prolific, and snobbish, this son of a poor immigrant artist was to become the right-hand man of an earl he called "my best friend." The written record of his nightmares, debts, gifts, and dinner parties comes together to produce a rich Victorian character whose personal and professional lives challenge what we think we know about sex, class, and profession in his time. Helena Michie is Agnes Cullen Arnold Professor in Humanities and Professor of English at Rice University. She is the author of Victorian Honeymoons: Journeys to the Conjugal (2006), Sororophobia: Differences Among Women in Literature and Culture (1991) and The Flesh Made Word: Female Figures and Women's Bodies (1987) and co-editor with Ronald Thomas of Nineteenth-Century Geographies: From the Victorian Age to the American Century (2002). Robyn Warhol is Arts and Humanities Distinguished Professor of English at the Ohio State University, where she is a core faculty member of Project Narrative. She is the author of Having a Good Cry: Effeminate Feelings and Pop Culture Forms (2003) and Gendered Interventions: Narrative Discourse in the Victorian Novel (1989) and co-editor with Susan S. Lanser of Narrative Theory Unbound: Queer and Feminist Interventions (2015).

Caspar David Friedrich (1774-1840) is heralded as the greatest painter of the Romantic movement in Germany, and Europe's first truly modern artist. His mysterious and melancholy landscapes, often peopled with lonely wanderers, are experiments in a radically subjective artistic perspective--one in which, as Freidrich wrote, the painter depicts not "what he sees before him, but what he sees within him." This vulnerability of the individual when confronted with nature became one of the key tenets of the Romantic aesthetic. Now available in a compact, accessible format, this beautifully illustrated book is the most comprehensive account ever published in English of one of the most fascinating and influential nineteenth-century painters. "This is a model of interpretative art history, taking in a good deal of German Romantic philosophy, but founded always on the immediate experience of the picture. . . . It is rare to find a scholar so obviously in sympathy with his subject."--"Independent"

The artist who created the statue for the Lincoln Memorial, John Harvard in Harvard Yard, and The Minute Man in Concord, Massachusetts, Daniel Chester French (1850-1931) is America's best-known sculptor of public monuments. Monument Man is the first comprehensive biography of this fascinating figure and his illustrious career. Full of rich detail and beautiful archival photographs, Monument Man is a nuanced study of a preeminent artist whose evolution ran parallel to, and deeply influenced, the development of American sculpture, iconography, and historical memory. Monument Man was specially commissioned by Chesterwood / National Trust for Historic Preservation. The release will coincide with the fiftieth anniversary of the opening of Chesterwood, his country home and studio, as a public site and with a major renovation of the Lincoln Memorial. The book includes a comprehensive geographical guide to French's public work.