'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 Contextual Nature of Design and Everyday Things focuses on the history of industrial design beginning in the 18th century in principally in Europe and the United States but does so with a thematic twist. Instead of revealing the world of everyday things in a chronological manner as many books do, The Contextual Nature of Design and Everyday Things does so by way of different themes. This direction is taken for one principal reason: design never occurs out of context. In other words, the design of everyday things is a reflection of place, people and process. It cannot be otherwise. Consequently, these broader issues become the themes for the exploration of everyday things. There are ten themes in all. These are: World View of Design, which examines the very broad picture of industrial design as an everyday activity undertaken by everyone and throughout the world; Design and the Natural World, which explores the interdependence between the Natural World and the Artificial World; Design and Economics, which delves into industrial design as a force of both macro- and micro-economics; Design and Technology, which looks at the evolution of materials and processes and their impact on industrial design; Design and Transportation, which reviews the role that industrial design has played in the development of transportation, especially rail, road and air; Design and Communication, which situates the place of industrial design in communication, both human communication and technical innovations in communication; Design and Education, which covers the development of the teaching and training of industrial designers; Design and Material Culture, which considers several case studies in industrial design as contemporary examples of material culture; Design and Politics, which positions industrial design as an integral part albeit indirect of one political system or another; and Design and Society, in which the fruits of industrial design can be perceived as mirrors or reflections of societal values. The Contextual Nature of Design and Everyday Things is an ideal book for face-to-face courses in industrial design history as well as those offered as hybrid and online.

Volume III in the 'Studies in the History of Collection' series, published in association with the Beazley Archive in the University of Oxford. 14 papers on The Mechanisms of the Art Market 1660-1830 presented at a symposium at the Wallace Collection, London in December 2003. Contents: Introduction (Neil De Marchi); 1) The Art Trade and its Urban Context: England and the Netherlands compared, 1550-1750 (David Ormrod); 2) The Auction Duty Act of 1777: the beginning of institutionalisation of auctions in Britain (Satomi Ohashi); 3) The Almoneda: the second-hand art market in Spain (Mari-Tere Alvarez); 4) The Market for Netherlandish Paintings in Paris, 1750-1815 (Hans J. Van Miegroet); 5) Le tableau et son prix a Paris, 1760-80 (Patrick Michel); 6) The System Governing Appraised Value in Ancien Regime France (Alden R. Gordon); 7) The Marquis de Vasse Against the Art Dealer Jacques Lenglier: a case-study of an eighteenth-century Parisian auction (Francois Marandet); 8) Pierre Sirois (1665-1726): le premier marchand de Watteau (Guillaume Glorieux); 9) The Purchase of the Past: Dr Richard Rawlinson (1690-1755) and the collecting of history (John Cherry); 10) John Anderson and John Bouttats: picture dealers in eighteenth-century London (David Connell); 11) Sir Godfrey Copley as Patron and Consumer, 1685-1705 (David Mitchell); 12) The Rise and Fall of a British Connoisseur: the career of Michael Bryan (1757-1821), picture dealer extraordinaire (Julia Armstrong-Totten); 13) 'In Keeping with the Truth': the German art market and its role in the development of connoisseurship in the eighteenth century (Thomas Ketelsen); 14) Abraham Hume e Giovanni Maria Sasso: il mercato artistico tra Venezia e Londra nel settecento (Linda Borean).

Originally published in Dutch and translated to Spanish for the fourth centenary celebration of the death of El Greco in 2014, this book is a comprehensive study of the rediscovery of El Greco -- seen as one of the most important events of its kind in art history. The Nationalization of Culture versus the Rise of Modern Art analyses how changes in artistic taste in the second half of the nineteenth century caused a profound revision of the place of El Greco in the artistic canon. As a result, El Greco was transformed from an extravagant outsider and a secondary painter into the founder of the Spanish School and one of the principle predecessors of modern art, increasingly related to that of the Impressionists -- due primarily to the German critic Julius Meier-Graefe's influential History of Modern Art (1914). This shift in artistic preference has been attributed to the rise of modern art but Eric Storm, a cultural historian, shows that in the case of El Greco nationalist motives were even more important. This study examines the work of painters, art critics, writers, scholars and philosophers from France, Germany and Spain, and the role of exhibitions, auctions, monuments and commemorations. Paintings and associated anecdotes are discussed, and historical debates such as El Greco's supposed astigmatism are addressed in a highly readable and engaging style. This book will be of interest to both specialists and the interested art public.

Amateur Craft provides an illuminating and historically-grounded account of amateur craft in the modern era, from 19th century Sunday painters and amateur carpenters to present day railway modellers and yarnbombers. Stephen Knott's fascinating study explores the curious and unexpected attributes of things made outside standardised models of mass production, arguing that amateur craft practice is 'differential' - a temporary moment of control over work that both departs from and informs our productive engagement with the world. Knott's discussion of the theoretical aspects of amateur craft practice is substantiated by historical case studies that cluster around the period 1850-1950. Looking back to the emergence of the modern amateur, he makes reference to contemporary art and design practice that harnesses or exploits amateur conditions of making. From Andy Warhol to Simon Starling, such artistic interest elucidates the mercurial qualities of amateur craft. Invaluable for students and researchers in art and design, contemporary craft, material culture and social history, Amateur Craft counters both the marginalisation and the glorification of amateur craft practice. It is richly illustrated with 41 images, 14 in colour, including 19th century ephemera and works of contemporary art.

In 1792, when he was forty-seven, the Spanish painter Francisco de Goya contracted a serious illness which left him stone deaf. In this extraordinary book Julia Blackburn follows Goya through the remaining thirty-five years of his life. It was a time of political turmoil, of war, violence and confusion, and Goya transformed what he saw happening in the world around him into his visionary paintings, drawings and etchings. These were also years of tenderness for Goya, of intimate relationships with the Duchess of Alba and with Leocadia, his mistress, who was with him to the end.

Julia Blackburn writes of the elderly painter with the intimacy of an old friend, seeing through his eyes and sharing the silence in his head, capturing perfectly his ferocious energy, his passion and his genius.

The Tanenbaum gift of over two hundred works of internationally significant nineteenth-century European art is one of the most important art donations to a Canadian gallery. A diverse and original collection, it features works by Leon Bonnat, Frank Brangwyn, Charles Cordier, Gustave Dore, Pierre Puvis de Chavannes, Kathe Kollwitz, Henry Raeburn, Joaquin Sorolla, James Tissot, and Anders Zorn. This beautifully illustrated volume presents seventy-five of the key highlights by fifty-nine international artists. It offers insight into a broad range of artistic production in the nineteenth century, encompassing painting, sculpture, drawing, and printmaking. Author Alison McQueen provides an in-depth analysis of the social and historical context of each work, and full-color images illuminate her close study of the aesthetics of every piece. The artwork entries are accompanied by provenance, exhibition history, and bibliography. This book challenges many lasting misconceptions about nineteenth-century art. It includes a preface by collectors Joey and Toby Tanenbaum and an introductory essay on the collection by Alison McQueen.

This beautiful book brings you the very best of art throughout history - using a truly innovative timeline-led approach. Savour iconic paintings such as Leonardo da Vinci's Last Supper and Monet's Waterlilies, and discover less well-known artists, styles, and movements the world over - from Indigenous Australian art to the works of Ming-era China. And explore recurring themes, such as love and religion, and important genres from Romanesque to Conceptual art, along the way. Timelines of Art provides detailed analysis of the works of key artists, showing details of their technique - such as Leonardo's use of light and shade. It tells the story of avant-garde works like Manet's Le Déjeuner sur l'herbe (Lunch on the Grass), which scandalised society, and it traces how certain artists, genres or movements informed the works of others - showing how the Impressionists were inspired by Gustave Courbet, for example, or how Van Gogh was influenced by Japanese prints. Comprehensive, accessible, and lavishly illustrated throughout, Timelines of Art is an essential guide to the pantheon of world art, so dive straight into discover: - An overview of each movement, including the social and cultural background of the period, grounds the works of art in the spirit of their times. - Turning-point paintings that triggered or epitomised each artistic movement are identified and explained, against a backdrop of influences - the technical advances, admired techniques of an earlier artist, and changes in society that enabled new directions in art. - Glossary of technical terms and comprehensive index help make this an indispensable work of reference for any art-lover. Timelines of Art is the perfect art history book for students of art and/or history, proving ideal for families, schools and libraries and doubling up as a great gift for the art lover in your life.

William Hogarth is a house-hold name across the country, his prints hang in our pubs and leap out from our history-books. He painted the great and good but also the common people. His art is comically exuberant, 'carried away by a passion for the ridiculous', as Hazlitt said. Jenny Uglow, acclaimed author of Elizabeth Gaskell, Nature's Engraver and In These Times, uncovers the man, but also the world he sprang from and the lives he pictured. He moved in the worlds of theatre, literature, journalism and politics, and found subjects for his work over the whole gamut of eighteenth century London, from street scenes to drawing rooms, and from churches to gambling halls and prisons. After striving years as an engraver and painter, Hogarth leapt into lasting fame with A Harlot's Progress and A Rake's Progress, but remained highly critical of the growing gulf between the luxurious lives of the ruling elite and the wretched poverty of the massess. William Hogarth was an artist of flamboyant, overflowing imagination, he was a satirist with an unerring eye; a painter of vibrant colour and tenderness; an ambitious professional who broke all the art-world taboos. Never content, he wanted to excel at everything - from engraving to history painting - and a note of risk runs through his life. Shortlisted for the Whitbread Prize, Hogarth: A Life and a World brings art history to life in the voices of Hogarth's own age. The result is an unforgettable portrait of a great artist and a proud, stubborn, comic, vulnerable man.

This book provides the most comprehensive survey of contemporary Palestinian art to date. The development of contemporary practice, theory and criticism is understood as integral to the concomitant construction of Palestinian national identities. In particular the book explores the intricate relationship between art and nationalism in which the idea of origin plays an important and problematic role. The book deconstructs the existing narratives of the history of Palestinian art, which search for its origins in the 19th century, and argues that Palestinian contemporary art demonstrates pluralistic, politically and philosophically complex attitudes towards identity and nation that confound familiar narratives of origin and belonging. The book builds upon theories of art, nationalism and post-colonialism particularly in relation to the themes of fragmentation and dispersal. It takes the Arabic word for Diaspora Shatat (literally broken apart) as a central concern in contemporary understanding of Palestinian culture and develops it, along with Edward Said's paradoxical formula of a 'coherence of dispersal' as the organising concept of the book. This aspect of contemporary Palestinian art is peculiarly suited to the conditions produced by the globalisation of art and we show how Palestinian artists, despite not having a state, have developed an international profile.

This book provides the most comprehensive survey of contemporary Palestinian art to date. The development of contemporary practice, theory and criticism is understood as integral to the concomitant construction of Palestinian national identities. In particular the book explores the intricate relationship between art and nationalism in which the idea of origin plays an important and problematic role. The book deconstructs the existing narratives of the history of Palestinian art, which search for its origins in the 19th century, and argues that Palestinian contemporary art demonstrates pluralistic, politically and philosophically complex attitudes towards identity and nation that confound familiar narratives of origin and belonging. The book builds upon theories of art, nationalism and post-colonialism particularly in relation to the themes of fragmentation and dispersal. It takes the Arabic word for Diaspora Shatat (literally broken apart) as a central concern in contemporary understanding of Palestinian culture and develops it, along with Edward Said's paradoxical formula of a 'coherence of dispersal' as the organising concept of the book. This aspect of contemporary Palestinian art is peculiarly suited to the conditions produced by the globalisation of art and we show how Palestinian artists, despite not having a state, have developed an international profile.

How the approaches and methods of think tanks-including systems theory, operational research, and cybernetics-paved the way for a peculiar genre of midcentury modernism. In Think Tank Aesthetics, Pamela Lee traces the complex encounters between Cold War think tanks and the art of that era. Lee shows how the approaches and methods of think tanks-including systems theory, operations research, and cybernetics-paved the way for a peculiar genre of midcentury modernism and set the terms for contemporary neoliberalism. Lee casts these shadowy institutions as sites of radical creativity and interdisciplinary practice in the service of defense strategy. Describing the distinctive aesthetics that emerged from such institutions as the RAND Corporation, she maps the multiple and overlapping networks that connected nuclear strategists, mathematicians, economists, anthropologists, artists, designers, and art historians. Lee recounts, among other things, the decades-long colloquy between Albert Wohlstetter, a RAND analyst, and his former professor, the famous art historian Meyer Schapiro; the anthropologist Margaret Mead's deployment of innovative visual aids that recall midcentury abstract art; and the combination of cybernetics and modernist design in an "Opsroom" for the short-lived socialist government of Salvador Allende in 1970s Chile (and its restaging many years later as a work of art). Lee suggests that we think of these connections less as disciplinary border crossings than as colonization of the specific interests of arts by the approaches and methods of the sciences. Hearing the echoes of think tank aesthetics in today's pursuit of the interdisciplinary and in academia's science-infused justification of the humanities, Lee wonders what territory has been ceded in a laboratory approach to the arts.

The theme of the erotic is ever present in the work of Auguste Rodin, both in his sculptures and in his many drawings. Throughout his career, he depicted sexual desire in all its facets, in every mood from delicate innocence to frank intensity, bearing witness to an endless fascination with the flesh and a love of the female form. Taking a chronological path through Rodin's life, this is an intimate approach to the many faces of sex and sensuality in his body of work and in the society within which his art was forged. The text discusses his relationships with women, his friendships with poets and artists, and the controversy that his sculptures caused in the late 19th and early 20th centuries, when French society was marked by a hypocritical disparity between public morals and private desires. This witty and perceptive book, packed with beautiful images, will shed new light on this intriguing aspect of the artist's world and his skill at capturing the fleeting nature of pleasure in timeless art.

'Louis C. Tiffany and the Art of Devotion' is the first volume to explore the vast assortment of church decorations and memorials produced by Louis C. Tiffany (1848-1933) and the Tiffany Studios. For over 50 years Tiffany oversaw the production and marketing of a multitude of decorative elements for numerous chapels, churches and synagogues, afforded by the late 19th century American boom in religious building. Although an important part of the ecclesiastical business consisted of the vibrantly coloured leaded-glass windows most famously associated with his name, Tiffany was interested in the bigger picture and employed designers, draftsmen, and craftspeople to produce a complete interior design, including mosaics, windows, floors,lighting, furniture, altarpieces, pulpits, candlesticks, headstones and mausolea, vestments and jewellery. This beautifully illustrated volume includes preliminary designs, cartoons, watercolour sketches and archival photographs designs and products, many never published before. In numerous cases these are the only surviving remnants of buildings which have long since been demolished.

This richly illustrated book covers 250 years of painting in Spain, opening with art created at the splendid16th-century court of Philip II, before turning to art and patronage in the cities of Toledo, Valencia and Seville. It then returns to Madrid to explore the work at the 17th-century Habsburg court, before introducing the transitions brought by the Bourbon monarchy. Janis Tomlinson traces the myriad influences reflected in the paintings of generations of artists from Sofonisba Anguissola, El Greco, Velazquez, and Zubaran to the unique accomplishment of Francisco Goya.

Aby Warburg in America: An Album When Aby Warburg left for the United States in September 1895, it was not foreseeable that his search for the symbolic foundations of art would become one of the most fascinating events in the history of his field. Warburg’s American journey lasted only months, and his stay in the Pueblo communities only a few weeks, but in 1923 he presented his findings in the groundbreaking lecture on the “Snake Ritual”. Using selected photographs, ethnologic drawings, and numerous documents, this story and picture book details a journey of discovery. It traverses a vast continent of research, showing Warburg’s diverse interlocutors — from chiefs to missionaries — and especially his records of dances, ritual objects, and artworks full of symbolic representations. The documents are evidence of the emerging shift in Warburg’s scholarly thinking, which would eventually lead to the cross-border cultural comparative methodology for which he is now held in worldwide esteem.

Revealing documents, reprinted from rare, limited edition, throw much light on the painter's inner life, his tumultuous relationship with van Gogh, evaluations of Degas, Monet, and other artists; hatred of hypocrisy and sham, life in the Marquesas Islands, much more. Twenty-seven full-page illustrations by Gauguin. Preface by Emil Gauguin.

The American Art-Union, based in New York City, was founded in 1844 with the goal of fostering the arts in America through education and publication. Modeled after European organizations, the American Art-Union sought to establish a national aesthetic in the United States and unite all regions of the country through art.

A small subscription fee entitled members of the Art-Union to at least one engraving of a prominent piece per year, as well as entry in an annual lottery distributing larger works of art. The Art-Union appealed especially to genre painters; William Sidney Mount, George Caleb Bingham, Charles Deas, William Tylee Ranney, and other noted artists submitted their works for jury and acceptance. As the United States grew increasingly divided in the 1840s, the Art-Union's selections came under heavy scrutiny and there were accusations of supposed abolitionist and Whig sentiments. Low on funds and facing an ultimately successful lawsuit over the legality of the lottery, the American Art-Union disbanded in 1852.

This book provides a new look at the American Art-Union and the culture of the United States in the 1840s.

Perhaps the most prolific artist of the nineteenth century, Sir John Gilbert (1817-97) was President of the Royal Watercolour Society, a regular exhibitor at the Royal Academy and illustrator for numerous illustrated papers, novels and children's books. Yet despite his impressive list of achievements, his name has become lost among figures such as Leighton, Watts, Millais and Burne-Jones who dominated the Victorian art world of which he was a part. Re-assessment of Gilbert's contribution to British art history reveals an artist who created powerful images - strong on narrative, romantic, illustrative and escapist - that have much to offer the viewer today. In addition, Gilbert is an interesting figure, both for what his story can tell us about Victorian taste and the vagaries of the art market, and because of his unusual practice of working contemporaneously in oils, watercolour and as an illustrator; blurring the boundaries between these media and using them interchangeably. Bringing together a selection of large-scale historical paintings, modest and rarely seen landscape watercolours, illustrated novels and children's books, newspaper illustrations and ephemera from both public and private sources, this groundbreaking publication explores both an unduly neglected figure and some important aspects of Victorian life. Offering first-class, original research, Sir John Gilbert is essential reading for all those with a particular interest in Victorian art, literature and society.

A century and a half of masterpieces is covered in this chronologically arranged volume that beautifully captures the development of art in a new age. Starting with James Abbott McNeill Whistler and ending with Matthew Barney, nearly every prominent figure in Modern art is represented in vibrant double-page spreads that show how these artists continued to redefine norms and challenge tradition. Fascinating biographical and anecdotal information about each artist is provided alongside large reproductions of their most celebrated works, stunning details, and images of the artists themselves. A color-coded timeline spans the entire volume, showing overlapping careers and important historical dates. From the impressionists to the surrealists, the cubists to the pop-artists-readers will find a wealth of information as well as hours of enjoyment learning about this popular and prolific period in art history.

"Romantic Paris" is a richly illustrated survey of cultural life in Paris during some of the most tumultuous decades of the city's history. Between the coups d'etat of Napoleon Bonaparte and of his nephew, Louis-Napoleon, Paris weathered extremes of political and economic fortune. Once the shining capital of a pan-European empire, it was overrun by foreign armies. Projects for grand public works were delayed and derailed by plague, armed uprisings, and civil war.
At the same time, Paris was the theater of a revolution in the arts that challenged classical culture by depicting the vagaries of contemporary life and the thrill of unbridled experimentation. "Romantic Paris" produced Delacroix's "Liberty Leading the People" and Courbet's "Burial at Ornans." It was both the setting and inspiration for Hugo's "Les Miserables" and "The Hunchback of Notre-Dame." Meyerbeer's "Robert le Diable" set new standards for operatic productions, and audiences thrilled to the virtuoso performances of Paganini and Liszt, Talma and Taglioni. Established patterns of living, eating, dressing, and sociability were retooled for new urban spaces, new modes of personal mobility, and new forms of public self-presentation.
The cultural legacy of Romantic Paris includes a museum that shelters fragments rescued from the rubble of the Revolution, as well as the display of masterpieces, open to one and all, that we visit today as the Louvre.. In addition, this period contributed an architectural legacy that now gives Paris its distinct and world-renowned reputation as a cultural and artistic center. In "Romantic Paris, " Michael Marrinan plots the zigzag trajectory of the monuments, spaces, and habits of a city that looks both to the past and the future with all the optimism, self-doubts, and creative energy of a culture poised at the threshold of modernity.

By the late 18th century, the practice of painting outdoors ("en plein air") was widespread, especially in Italy, where picturesque views of Tivoli and the Campagna were irresistible to French and British artists. Fifty years later in France, the Barbizon group--including Jean-Baptiste-Camille Corot, Theodore Rousseau, and Charles-Francois Daubigny--eagerly escaped the studio to paint landscapes, rivers, and beach scenes of their native land. These painters were a crucial influence on a new generation of artists who would eventually become known as the Impressionists. In this delightful and accessible exploration of the National Gallery's collection of 18th- and 19th-century landscape paintings, Sarah Herring introduces and explains the enduring appeal of these charming small works of art, both to their original collectors and to the present-day viewer.

"Romantic Paris" is a richly illustrated survey of cultural life in Paris during some of the most tumultuous decades of the city's history. Between the coups d'etat of Napoleon Bonaparte and of his nephew, Louis-Napoleon, Paris weathered extremes of political and economic fortune. Once the shining capital of a pan-European empire, it was overrun by foreign armies. Projects for grand public works were delayed and derailed by plague, armed uprisings, and civil war.
At the same time, Paris was the theater of a revolution in the arts that challenged classical culture by depicting the vagaries of contemporary life and the thrill of unbridled experimentation. "Romantic Paris" produced Delacroix's "Liberty Leading the People" and Courbet's "Burial at Ornans." It was both the setting and inspiration for Hugo's "Les Miserables" and "The Hunchback of Notre-Dame." Meyerbeer's "Robert le Diable" set new standards for operatic productions, and audiences thrilled to the virtuoso performances of Paganini and Liszt, Talma and Taglioni. Established patterns of living, eating, dressing, and sociability were retooled for new urban spaces, new modes of personal mobility, and new forms of public self-presentation.
The cultural legacy of Romantic Paris includes a museum that shelters fragments rescued from the rubble of the Revolution, as well as the display of masterpieces, open to one and all, that we visit today as the Louvre.. In addition, this period contributed an architectural legacy that now gives Paris its distinct and world-renowned reputation as a cultural and artistic center. In "Romantic Paris, " Michael Marrinan plots the zigzag trajectory of the monuments, spaces, and habits of a city that looks both to the past and the future with all the optimism, self-doubts, and creative energy of a culture poised at the threshold of modernity.