The Norwegian painter, novelist, and social critic Christian Krohg (1852-1925) is best known for creating highly political paintings of workers, prostitutes, and Skagen fishermen of the 1880s and for serving as a mentor to Edvard Munch. One of the Nordic countries' most avant-garde naturalist artists, Krohg was influenced by French thinkers such as Emile Zola, Claude Bernard, and Hippolyte Taine, and he shocked the provincial sensibilities of his time. His work reached beyond the art world when his book Albertine and its related paintings were banned upon publication. Telling the story of a young seamstress who turns to a life of prostitution, it galvanized support for outlawing prostitution in Norway-but Krohg was also punished for the work's sexual content. Examining the theories of Krohg and his fellow naturalists and their reception in Scandinavian intellectual circles, Oystein Sjastad places Krohg in an international perspective and reveals his striking contribution to European naturalism. In the process, Christian Krohg's Naturalism provides an unparalleled account of Krohg's art.

Inspired by newly discovered antiquities of the ancient world exhibited in the museums of Europe and celebrated in the illustrated press of the day, the leading British history painters Sir Lawrence Alma-Tadema, Sir Edward Poynter and Edwin Long created a striking body of artworks in which archaeology was a prime focus. Of the growing community of historicist and classicist painters in mid-nineteenth century Britain, these artists expressed a passion for archaeological detail, and their aesthetic engagement with ancient material culture played a key role in fostering the enthusiasm for antiquity with wider audiences. Painting Antiquity explores the archaeological dimension of their paintings in detail, addressing how the relationship these artists had with ancient objects represented a distinctive and important development in the cultural reception of the past. The book also considers the inspiration for the movement defined as "archaeological genre painting," the artistic and historic context for this new style, the archaeological sources upon which the artworks were based, and the critical reception of the paintings in the world of Victorian art criticism. Alongside extensive visual evidence, rendered here in both striking color and black-and-white imagery, Stephanie Moser shows how this artistic practice influenced our understanding of ancient Egypt. Further, she argues that these paintings affected the development of archaeology as a discipline, revealing how the painters had an intense engagement with archaeology, representing artefacts in extraordinary detail and promoting the use of ancient material culture according to an aesthetic agenda. The issues raised by placing importance on concepts of beauty and decoration, over values such as rarity, function, or historical use continue to divide archaeologists and art historians in the present day. Ultimately, by demonstrating how the artistic dialogue with antiquity contributed to defining it, Painting Antiquity sheds important new light on the two-way exchanges between visual representations of the past and knowledge formation.

In this volume, emerging and established scholars bring ethical and political concerns for the environment, nonhuman animals and social justice to the study of nineteenth-century visual culture. They draw their theoretical inspiration from the vitality of emerging critical discourses, such as new materialism, ecofeminism, critical animal studies, food studies, object-oriented ontology and affect theory. This timely volume looks back at the early decades of the Anthropocene to query the agency of visual culture to critique, create and maintain more resilient and biologically diverse local and global ecologies.

Doceuments work of the most important names associated with 19th century cameo glass.

From Hogarth to Reynolds, from Gainsborough to Turner, the great protagonists of English painting between the eighteenth and nineteenth centuries. This is the first comprehensive overview of the extraordinary development of British painting during the eighteenth century, which anticipated themes, styles, and techniques that later became paradigms of modernity. This volume focuses on the English context at a time when the growth of artistic standing was accompanied by the country's conquest of hegemony on a historical, political, and economic plane. The volume is arranged chronologically in seven sections, which include a selection of over 100 masterpieces by the most significant English painters. The main objective is to enable readers to rediscover the genres of portrait and landscape, which have always characterized British art. Readers can admire the work of artists like William Hogarth, Henry Fuseli (Johann Heinrich Fussli), Sir Joshua Reynolds, Thomas Gainsborough, Joseph Wright of Derby, George Stubbs, John Constable, and William Turner, who offer a completely original cross section of eighteenth- and early nineteenth-century painting in Great Britain.

Walter Pater's European Imagination addresses Pater's literary cosmopolitanism as the first in-depth study of his fiction in dialogue with European literature. Pater's short pieces of fiction, the so-called 'imaginary portraits', trace the development of the European self over a period of some two thousand years. They include elements of travelogue and art criticism, together with discourses on myth, history, and philosophy. Examining Pater's methods of composition, use of narrative voice, and construction of character, the book draws on all of Pater's oeuvre and includes discussions of a range of his unpublished manuscripts, essays, and reviews. It engages with Pater's dialogue with the visual portrait and problematises the oscillation between type and individual, the generic and the particular, which characterises both the visual and the literary portrait. Exploring Pater's involvement with nineteenth-century historiography and collective memory, the book positions Pater's fiction solidly within such nineteenth-century genres as the historical novel and the Bildungsroman, while also discussing the portraits as specimens of biographical writing. As the 'Ur-texts' from which generations of modernist life-writing developed, Pater's 'imaginary portraits' became pivotal for such modernist writers as Virginia Woolf and Harold Nicolson. Walter Pater's European Imagination explores such twentieth-century successors, together with French contemporaries like Sainte-Beuve and followers like Marcel Schwob.

A celebration of the work and lives of women artists who shaped the art world of 19th-century Paris In the second half of the 19th century, Paris attracted an international gathering of women artists, drawn to the French capital by its academies and museums, studios and salons. Featuring thirty-six artists from eleven different countries, this beautifully illustrated book explores the strength of these women's creative achievements, through paintings by acclaimed Impressionists such as Mary Cassatt and Berthe Morisot, and extraordinary lesser-known artists such as Marie Bashkirtseff, Anna Bilinska-Bohdanowicz, Paula Modersohn-Becker, and Hanna Pauli. It examines their work against the sociopolitical background of the period, when women were mostly barred from formal artistic education but cleverly navigated the city's network of ateliers, salons, and galleries. Essays consider the powerfully influential work of women Impressionists, representations of the female artist in portraiture, the unique experiences of Nordic women artists, and the significant presence of women artists throughout the history of the Paris Salon. By addressing the long-undervalued contributions of women to the art of the later 19th century, Women Artists in Paris pays tribute to pioneers who not only created remarkable paintings but also generated momentum toward a more egalitarian art world. Published in association with the American Federation of Arts Exhibition Schedule: Denver Art Museum (10/22/17-01/14/18) Speed Art Museum (02/17/18-05/13/18) Clark Art Institute (06/09/18-09/03/18)

Few American artists have captured painters imaginations with the gripping force of Albert Pinkham Ryder (1847-1917). The brooding spirituality of his works, coupled with formal innovation decades ahead of its time, have long made Ryder a favorite of innovators like Jackson Pollock, Marsden Hartley, and Robert Rauschenberg. And yet, the artist s biography and practices remain elusive. A Wild Note of Longing whose title is taken from a Ryder poem--takes up the challenge, bringing a new generation of scholarship to the most comprehensive collection of Ryder masterworks assembled to date. Ryder is considered a seminal artist for both the late-nineteenth-century Gilded Age and for the emerging modernism of the early twentieth century. This publication presents research from the last ten years including William Agee s recent work on Ryder s influence and context within modernism. New evidence has also debunked some of the historical myths around Ryder, such as the degree of his elusiveness and social eccentricities and the lack of deliberateness with which he experimented with color and luminosity. New perspectives include a deep focus on Ryder from the perspective of his hometown of New Bedford, Massachusetts. This monumental project will represent multiple voices from leaders in the field on the continuing and ever evolving relevance of Albert Pinkham Ryder on modern art.

Nudity, lasciviousness, sensuality, provocation, shamelessness, or obscenity. During the 19th century, eroticism takes on a new place in Western visual culture, in particular thanks to the development of reproduction such as photography, press or lithography. Result of long and meticulous research, this book reviews the major reflections carried out on the theme of nudity in the field of art history and the history of sensibilities. It studies the reception of nudity in France, based on documentary and iconographic sources renewed (little-known works, drawings and photographs, newspapers, archives, texts of laws) and allows us to better understand this history of erotic art of the nineteenth century, long perpetuated by the sole taste of description. By placing the works in their context, by comparing expressions and aesthetics, and studying visual culture of time, Claire Maingon opens up new fields of reflection, while allowing to discover unknown or forgotten artists such as Broc, Gavarni, , Dubufe, Galimard, Ranft, Eakins, alongside the big names in the history of 19th century, David, Ingres, Delacroix, Courbet, Manet, Rodin. Text in French.

Elegant representations of nature and the four seasons populate a wide range of Japanese genres and media-from poetry and screen painting to tea ceremonies, flower arrangements, and annual observances. In Japan and the Culture of the Four Seasons, Haruo Shirane shows how, when, and why this practice developed and explicates the richly encoded social, religious, and political meanings of this imagery. Refuting the belief that this tradition reflects Japan's agrarian origins and supposedly mild climate, Shirane traces the establishment of seasonal topics to the poetry composed by the urban nobility in the eighth century. After becoming highly codified and influencing visual arts in the tenth and eleventh centuries, the seasonal topics and their cultural associations evolved and spread to other genres, eventually settling in the popular culture of the early modern period. Contrasted with the elegant images of nature derived from court poetry was the agrarian view of nature based on rural life. The two landscapes began to intersect in the medieval period, creating a complex, layered web of competing associations. Shirane discusses a wide array of representations of nature and the four seasons in many genres, originating in both the urban and rural perspective: textual (poetry, chronicles, tales), cultivated (gardens, flower arrangement), material (kimonos, screens), performative (noh, festivals), and gastronomic (tea ceremony, food rituals). He reveals how this kind of "secondary nature," which flourished in Japan's urban architecture and gardens, fostered and idealized a sense of harmony with the natural world just at the moment it was disappearing. Illuminating the deeper meaning behind Japanese aesthetics and artifacts, Shirane clarifies the use of natural images and seasonal topics and the changes in their cultural associations and function across history, genre, and community over more than a millennium. In this fascinating book, the four seasons are revealed to be as much a cultural construction as a reflection of the physical world.

Henri Dorra, in his comprehensive new book, presents the development and the aesthetic theories of the symbolist movement in art and literature. Included are writings (many never before translated or reprinted) by artists, designers, architects, and critics, along with Dorra's learned commentary. Fifty photographs of symbolist works complement his encyclopedic coverage. Dorra traces symbolism and its roots from artist to artist and critic to critic from the mid-nineteenth to the early twentieth century. The decorative arts and architecture are examined as well as painting and sculpture. The Arts and Crafts movement, art nouveau, the work of Eiffel in France, and that of Sullivan in the United States are well represented. The close relations between symbolist poets and artists are reflected in the chapter on literary developments. Baudelaire, Rimbaud, Verlaine, and Mallarme are here, but so, too, are writers less well known. A section on the post-impressionists and the "artists of the soul" rounds out Dorra's rich and varied text, and his Epilogue lays the groundwork for what was to follow symbolism. Here Dorra discusses, on the one hand, the new trend toward abstraction and the related development of formalist criticism and, on the other, the new stress on interplay between the tangible and the intangible, fact and dream, that eventually led to surrealism. Dorra beautifully integrates the different aesthetic branches of symbolism, the different media, and national variations, without ever losing sight of the whole. The historical context provided makes this a particularly appealing collection for students and scholars of art history and literature, as well as for anyone interested inthe evolution of symbolism.

Responding to the decline of the monarchy and the church in post-revolutionary France, theorists representing a wide spectrum of leftist ideologies proposed comprehensive blueprints for society that assigned a crucial role to aesthetics. In this full-length investigation of social romanticism, Neil McWilliam explores the profound impact of radical philosophies on contemporary aesthetics and art criticism, and traces efforts to conscript the arts for doctrinal ends. He highlights the complexity and diversity of systems such as Saint-Simonianism, Fourierism, Republicanism, and Christian Socialism--movements that set out to exploit the ameliorative effect of aesthetic form on human consciousness--and challenges the previous linking of social art to narrow didacticism. This book seeks an understanding both of the conventions of artistic judgment and reception and of the aims and significance of radical political ideologies. Drawing on a broad spectrum of previously neglected journalistic criticism, visual material, and archival sources, together with key political texts by figures such as Saint-Simon, Philippe Buchez, and Pierre Leroux, this work reveals an important facet of radical history and modifies received understandings of French art in the wake of Romanticism. In the process it probes the role of culture within oppositional political practice, arguing that the ultimate failure to realize a social art exposes the limits of the radicals' break with dominant discourse and their hesitancy in forging links with a culturally disenfranchised working class. Originally published in 1993. 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.

This book is a study of the complex relationship between matter and idea that shaped the nineteenth-century culture of art, and that in turn determined the course of still-current accounts of art's nature and value. Fundamental questions about the effects of material conditions on the creation and reception of art arose as early as the nineteenth century, and put important pressures on later eras. The place of class distinctions in the making and reception of art, the relationship between copy and original, the effects of display on art appreciation, even the role of pleasure itself: this book treats these and related issues as productive conceptual challenges with an unresolved relationship to matter at their core. Drawing on recent scholarship on the history of art and its institutions, Material Inspirations places cultural developments such as the emergence of new sites for exhibition and the astonishing proliferation of printed reproductions alongside a wide range of texts including novels, poems, travel guidebooks, compendia of antiquities, and especially the great line of critical writing that emerged in the period. The study vivifies a dynamic era, which is still too often seen as static and unchanging, by emphasizing the transformations taking place throughout the period in precisely those areas that have appeared to promise little more than repetition or continuity: collection, exhibition, and reproduction. The book culminates with the two great critics of the period, John Ruskin and Walter Pater, but it also includes close analysis of other prose writers, as well as poets and novelists ranging from William Blake to Robert Browning, George Eliot to Henry James. Significant developments addressed include the vogue for the representation of Old Masters in the first half of the century, ongoing innovations in the creation and diffusion of reproductions, and the emergence of the field of art history itself. At the heart of each of these the book identifies a material pressure shaping concepts, texts, and works of art.

The modern media world came into being in the nineteenth century, when machines were harnessed to produce texts and images in unprecedented numbers. In the visual realm, new industrial techniques generated a deluge of affordable pictorial items, mass-printed photographs, posters, cartoons, and illustrations. These alluring objects of the Victorian parlor were miniaturized spectacles that served as portals onto phantasmagoric versions of 'the world.' Although new kinds of pictures transformed everyday life, these ephemeral items have received remarkably little scholarly attention. Picture World shines a welcome new light onto these critically neglected yet fascinating visual objects. They serve as entryways into the nineteenth century's key aesthetic concepts. Each chapter pairs a new type of picture with a foundational keyword in Victorian aesthetics, a familiar term reconceived through the lens of new media. 'Character' appears differently when considered with caricature, in the new comics and cartoons appearing in the mass press in the 1830s; likewise, the book approaches 'realism' through pictorial journalism; 'illustration' via illustrated Bibles; 'sensation' through carte-de-visite portrait photographs; 'the picturesque' by way of stereoscopic views; and 'decadence' through advertising posters. Picture World studies the aesthetic effects of the nineteenth century's media revolution: it uses the relics of a previous era's cultural life to interrogate the Victorian world's most deeply-held values, arriving at insights still relevant in our own media age.

The enduring influence of naturalist and explorer Alexander von Humboldt on American art, culture, and politics Alexander von Humboldt (1769-1859) was one of the most influential scientists and thinkers of his age. A Prussian-born geographer, naturalist, explorer, and illustrator, he was a prolific writer whose books graced the shelves of American artists, scientists, philosophers, and politicians. Humboldt visited the United States for six weeks in 1804, engaging in a lively exchange of ideas with such figures as Thomas Jefferson and the painter Charles Willson Peale. It was perhaps the most consequential visit by a European traveler in the young nation's history, one that helped to shape an emerging American identity grounded in the natural world. In this beautifully illustrated book, Eleanor Jones Harvey examines how Humboldt left a lasting impression on American visual arts, sciences, literature, and politics. She shows how he inspired a network of like-minded individuals who would go on to embrace the spirit of exploration, decry slavery, advocate for the welfare of Native Americans, and extol America's wilderness as a signature component of the nation's sense of self. Harvey traces how Humboldt's ideas influenced the transcendentalists and the landscape painters of the Hudson River School, and laid the foundations for the Smithsonian Institution, the Sierra Club, and the National Park Service. Alexander von Humboldt and the United States looks at paintings, sculptures, maps, and artifacts, and features works by leading American artists such as Albert Bierstadt, George Catlin, Frederic Church, and Samuel F. B. Morse. Published in association with the Smithsonian American Art Museum, Washington, DC Exhibition Schedule Smithsonian American Art Museum, Washington, DC September 18, 2020-January 3, 2021

From the author of the bestselling phenomenon The Hare with Amber Eyes As you may have guessed by now, I am not in your house by accident. I know your street rather well. The Camondos lived just a few doors away from Edmund de Waal's forebears. Like de Waal's family, they were part of belle epoque high society. They were also targets of anti-Semitism. Count Moise de Camondo created a spectacular house filled with art for his son to inherit. Over a century later, de Waal explores the lavish rooms and detailed archives and, in a haunting series of letters addressed to Camondo, he tells us what happened next. 'Illuminating... A wonderful tribute to a family and to an idea' Guardian 'Letters to Camondo immerses you in another age... Dazzling' Financial Times

Iconic Designs is a beautifully designed and illustrated guide to fifty classic 'things' - designs that we find in the city, in our homes and offices, on page and screen, and in our everyday lives. In her introduction, Grace Lees-Maffei explores what makes a design 'iconic', and fifty essays by leading design and cultural critics tell the story of each iconic 'thing', its innovative and unique qualities, and its journey to classic status. Subjects range from the late 19th century to the present day, and include the Sydney Opera House, the Post-It Note, Coco Chanel's classic suit, the Sony Walkman (TM), Hello Kitty (TM), the typeface Helvetica, the Ford Model T, Harry Beck's diagrammatic map of the London Underground and the Apple iMac G3. This handsome volume provides a treasure trove of 'stories' that will shed new light on the iconic designs that we use without thinking, aspire to possess, love or hate (or love to hate) and which form part of the fabric of our everyday lives.

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

This volume provides the most comprehensive selection of Audubon's writings ever published, along with a portfolio of his drawings.

A comprehensive survey of The Phillips Collection's spectacular holdings in American art American art has been essential to The Phillips Collection since its founding by Duncan Phillips in 1921. Phillips's collecting interests were decidedly against the grain: he acquired the work of living American artists, especially those outside the mainstream, when it was unpopular to do so and promoted diversity, as seen in works by self-taught artists, artists of color, and naturalized Americans, resulting in a rich assembly of independent-minded artists, including Milton Avery, Stuart Davis, Arthur Dove, and Georgia O'Keeffe. The Phillips Collection's superb collection of American art, acquired over half a century, is presented here for the first time in a comprehensive overview, featuring 160 works from heroes of the late 19th century-such as William Merritt Chase, Thomas Eakins, and Winslow Homer, who set the course for modern art in America-to abstract expressionists Willem de Kooning, Richard Diebenkorn, Adolph Gottlieb, and Mark Rothko, whose efforts to create a new visual language following World War II brought a new global significance to American art. A perennial guide to this important collection, the book includes scholarly essays on Phillips and on the Rothko Room, introductions to key groups of works in the collection, more than one hundred biographies of the most influential artists represented, and a chronology of Phillip's acquisitions and interactions with American artists. Published in association with The Phillips Collection Exhibition Schedule: The Phillips Collection (03/01/14-08/31/14)

Thanks to its very nature, performance enters into natural dialogue with art, new media, politics, and the social sphere as a whole. Always happening in the here and now, and with a unique freedom and openness to the unknown, performance is a medium with a special ability to question its own subjects, materials, and languages. As a result, it is often best reflected in the dynamic character of contemporary art and contemporaneity in the broadest sense of the word. Points of Convergence explores these ideas and investigates critical approaches to performance, ultimately aiming to stimulate new discussion between theorists and practitioners. With twelve essays by leading figures in the field of performance arts, this illustrated volume is structured in two parts. The first, authored by academics in the discipline, features an introduction to key areas of scholastic research. The second part, authored by curators and other researchers, then focuses on an account of individual traditions of performance. Taken together, the contributions identify new possibilities for interaction between the theoretical aspects of performance art and the ways performance plays out within local contexts.

"This important book will instantly claim a place among the standard works on Courbet. Petra Chu has done an admirable job of tying together art, literature, and history to put Courbet in context in a way that has not been done before. She reveals a Courbet who is ambitious to succeed and who realizes that the new media of nineteenth-century France can be harnessed to his ambition. With this book, Chu brings to fruition a lifetime of studying Courbet and nineteenth-century French art."--Patricia Mainardi, City University of New York

"Petra Chu has worked on Courbet throughout her long and productive career and this book is a capstone of her work, the product of considerable thought, insight, perception, and interpretation. Covering all phases of his evolution, from his earliest self-portraits to his late landscapes, she contextualizes Courbet in new ways and ties him to celebrity and media culture so that we can see how he thought as well as why he reacted in his work as he did. This is no small achievement."--Gabriel P. Weisberg, University of Minnesota

""The Most Arrogant Man in France" is an original study of Courbet's entrepreneurial methods, and as such distinguishes itself from the rest of the voluminous recent writing on the artist. Petra Chu carefully sifts through Courbet's contacts with the press, newly investigates his patronage, and speculates about his appeal to the wider public. The book will interest not just art historians but also general readers since it dissects the intelligence and entrepreneurial flair of a canonical artistic personality who anticipates artists such as Dali and Warhol."--Albert Boime, UCLA

This book deals with the theme of landscape in a transversal way, by presenting a set of important works by Gustave Courbet (mainly from the collections of the Gustave Institute and the Courbet d'Ornans Museum) and other 19th century artists - collaborators or friends of Courbet - who have fully embraced nature and the landscape, putting them at the heart of their artistic approaches. Among other things, will be revealed the involvement of Saint-Claude's George Besson (1882- 1971), who worked for the acquisition of Courbet's birthplace - which would later house the museum - then that of Guy Bardone (1927-2015), donor of the collection preserved by the Abbey Museum, who would then be General Secretary of the Courbet Institute for nearly 15 years. Text in English and French.

One of the most important British graphic artists of the nineteenth century, George Cruikshank (1792-1878) illustrated over 860 books, including several by Charles Dickens, and produced a vast number of etchings, paintings, and caricatures. The ten essays collected here first appeared in a special limited edition. In a new preface written for this paperback edition, Robert Patten shows how the insights of these seminal essays have been amplified by recent exhibitions and scholarship. The introduction by John Fowles has been retained and an index has been added. In addition to the many Cruikshank illustrations reproduced in the volume, there are original drawings by contemporary artists David Levine and Ronald Searle.

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