Images of crosses, the Virgin Mary, and Christ, among other devotional objects, pervaded nearly every aspect of public and private life in early modern Spain, but they were also a point of contention between Christian and Muslim cultures. Writers of narrative fiction, theatre, and poetry were attuned to these debates, and religious imagery played an important role in how early modern writers chose to portray relations between Christians and Muslims. Drawing on a wide variety of literary genres as well as other textual and visual sources - including historical chronicles, travel memoirs, captives' testimonies, and paintings - Catherine Infante traces the references to religious visual culture and the responses they incited in cross-confessional negotiations. She reveals some of the anxieties about what it meant to belong to different ethnic or religious communities and how these communities interacted with each other within the fluid boundaries of the Mediterranean world. Focusing on the religious image as a point of contact between individuals of diverse beliefs and practices, The Arts of Encounter presents an original and necessary perspective on how Christian-Muslim relations were perceived and conveyed in print.

Due to the technological advances of the nineteenth century, an abundance of black drawing media exploded onto the market. Charcoal, conte crayon, and fabricated black chalks and crayons; fixatives; various papers; and many lifting devices gave rise to an unprecedented amount of experimentation. Indeed, innovation became the rule, as artists developed their own unique-and often experimental-processes. The exploration of black media in drawing is inextricably bound up with the exploration of black in prints, and this volume presents an integrated study that rises above specialization in one over the other. This richly illustrated catalogue brings together such diverse artists as Francisco de Goya, Maxime Lalanne, Gustave Courbet, Odilon Redon, and Georges Seurat and explores their inventive works on paper. Sidelining labels like "conservative" or "avant-garde," the essays in this book employ all the tools that art history and modern conservation have given us, inviting the reader to look more broadly at the artists' methods and materials. This volume accompanies an exhibition of the same name on view at the J. Paul Getty Museum from February 9 to May 15, 2016.

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

A charming and heartfelt story about war, art, and the lengths a woman will go to find the truth about her family. 'As devourable as a thriller... Incredibly moving' Elle 'Pauline Baer de Perignon is a natural storyteller - refreshingly honest, curious and open' Menachem Kaiser 'A terrific book' Le Point It all started with a list of paintings. There, scribbled by a cousin she hadn't seen for years, were the names of the masters whose works once belonged to her great-grandfather, Jules Strauss: Renoir, Monet, Degas, Tiepolo and more. Pauline Baer de Perignon knew little to nothing about Strauss, or about his vanished, precious art collection. But the list drove her on a frenzied trail of research in the archives of the Louvre and the Dresden museums, through Gestapo records, and to consult with Nobel laureate Patrick Modiano. What happened in 1942? And what became of the collection after Nazis seized her great-grandparents' elegant Parisian apartment? The quest takes Pauline Baer de Perignon from the Occupation of France to the present day as she breaks the silence around the wrenching experiences her family never fully transmitted, and asks what art itself is capable of conveying over time.

Using the tools of the "new" art history (feminism, Marxism, social context, etc.) An Introduction to Nineteenth-Century Art offers a richly textured, yet clear and logical, introduction to nineteenth-century art and culture. This textbook will provide readers with a basic historical framework of the period and the critical tools for interpreting and situating new and unfamiliar works of art.

Michelle Facos goes beyond existing histories of nineteenth-century art, which often focus solely on France, Britain, and the United States, to incorporate artists and artworks from Scandinavia, Germany, and Eastern Europe.

The book expertly balances its coverage of trends and individual artworks: where the salient trends are clear, trend-setting works are highlighted, and the complexity of the period is respected by situating all works in their proper social and historical context. In this way, the student reader achieves a more nuanced understanding of the way in which the story of nineteenth-century art is the story of the ways in which artists and society grappled with the problem of modernity.

Key pedagogical features include:

• Data boxes provide statistics, timelines, charts, and historical information about the period to further situate artworks.
• Text boxes highlight extracts from original sources, citing the ideas of artists and their contemporaries, including historians, philosophers, critics, and theorists, to place artists and works in the broader context of aesthetic, cultural, intellectual, social, and political conditions in which artists were working.
• Beautifully illustrated with over 250 color images.
• Margin notes and glossary definitions.
• Online resources at www.routledge.com/textbooks/facos with access to a wealth of information, including original documents pertaining to artworks discussed in the textbook, contemporary criticism, timelines and maps to enrich your understanding of the period and allow for further comparison and exploration.

Chapters take a thematic approach combined within an overarching chronology and more detailed discussions of individual works are always put in the context of the broader social picture, thus providing students with a sense of art history as a controversial and alive arena of study.

Michelle Facos teaches art history at Indiana University, Bloomington. Her research explores the changing relationship between artists and society since the Enlightenment and issues of identity. Prior publications include Nationalism and the Nordic Imagination: Swedish Painting of the 1890s (1998), Art, Culture and National Identity in Fin-de-Siecle Europe, co-edited with Sharon Hirsh (2003), and Symbolist Art in Context (2009).

An unprecedented exploration of Gauguin's works in various media, from works on paper to clay and furniture Paul Gauguin (1848-1903) was a creative force above and beyond his legendary work as a painter. Surveying the full scope of his career-spanning experiments in different media and formats-clay, works on paper, wood, and paint, as well as furniture and decorative friezes-this volume delves into his enduring interest in craft and applied arts, reflecting on their significance to his creative process. Gauguin: Artist as Alchemist draws on extensive new research into the artist's working methods, presenting him as a consummate craftsman-one whose transmutations of the ordinary yielded new and remarkable forms. Beautifully designed and illustrated, this book includes essays by an international team of scholars who offer a rich analysis of Gauguin's oeuvre beyond painting. By embracing other art forms, which offered fewer dominant models to guide his work, Gauguin freed himself from the burden of artistic precedent. In turn, these groundbreaking creative forays, especially in ceramics, gave new direction to his paintings. The authors' insightful emphasis on craftsmanship deepens our understanding of Gauguin's considerable achievements as a painter, draftsman, sculptor, ceramist, and printmaker within the history of modern art. Distributed for the Art Institute of Chicago Exhibition Schedule: The Art Institute of Chicago (06/25/17-09/10/17) Grand Palais, Paris (10/09/17-01/21/18)

Before unification, Germany was a loose collection of variously sovereign principalities, nurtured on deep thought, fine music and hard rye bread. It was known across Europe for the plentiful supply of consorts to be found among its abundant royalty, but the language and culture was largely incomprehensible to those outside its lands. In the long eighteenth and nineteenth centuries- between the end of the Thirty Years War in 1648 and unification under Bismarck in 1871 - Germany became the land of philosophers, poets, writers and composers. This particularly German cultural movement was able to survive the avalanche of Napoleonic conquest and exploitation and its impact was gradually felt far beyond Germany's borders. In this book, Roderick Cavaliero provides a fascinating overview of Germany's cultural zenith in the eighteenth and nineteenth centuries. He considers the work of Germany's own artistic exports - the literature of Goethe and Grimm, the music of Wagner, Schumann, Mendelssohn and Bach and the philosophy of Schiller and Kant - as well as the impact of Germany on foreign visitors from Coleridge to Thackeray and from Byron to Disraeli. Providing a comprehensive and highly-readable account of Germany's cultural life from Frederick the Great to Bismarck, 'Genius, Power and Magic' is fascinating reading for anyone interested in European history and cultural history.

The French Republic--with its rallying cry for liberty, equality, and fraternity--emerged in 1870, and by 1880 had developed a coherent republican ideology. The regime pursued secular policies and emphasized its commitment to science and technology. Naturalism was an ideal aesthetic match for the republican ideology; it emphasized that art should be drawn from the everyday world, that all subjects were worthy of treatment, and that there should be flexibility in representation to allow for different voices.

"Art of the Actual" examines the use of naturalism in the 19th-century. It explores how pictures by artists such as Roll, Lhermitte, and Friant could be read as egalitarian and republican, assesses how well-known painters including Degas, Monet, and Toulouse-Lautrec situated their painting vis-a-vis the dominant naturalism, and opens up new arguments about caricatural and popular style. By illuminating the role of naturalism in a broad range of imagery in late 19th-century France, Richard Thomson provides a new interpretation of the art of the period.

In the 1880s, Suzanne Valadon was considered the Impressionists' most beautiful model. But behind her captivating facade lay a closely-guarded secret. Born in poverty in rural France, as a teenager Suzanne began, in Montmartre, posing for - and having affairs with - some of the age's most renowned painters. Then Renoir caught her indulging in a passion she had been trying to conceal: the model was herself a talented artist. Some found her vibrant still lifes and frank portraits as shocking as her bohemian lifestyle. At eighteen, she gave birth to an illegitimate child, future painter Maurice Utrillo. But her friends Toulouse-Lautrec and Degas could see her skill. Rebellious and opinionated, she refused to be confined by tradition or gender, and in 1894, her work was accepted to the Salon de la Societe Nationale des Beaux-Arts, an extraordinary achievement for a working-class woman with no formal art training. Renoir's Dancer tells the remarkable tale of an ambitious, headstrong woman fighting to find a professional voice in a male-dominated world.

Picturing Cuba explores the evolution of Cuban visual art and its links to cubanía, or Cuban cultural identity. Featuring artwork from the Spanish colonial, republican, and postrevolutionary periods of Cuban history, as well as the contemporary diaspora, these richly illustrated essays trace the creation of Cuban art through shifting political, social, and cultural circumstances.Contributors examine colonial-era lithographs of Cuba's landscape, architecture, people, and customs that portrayed the island as an exotic, tropical location. They show how the avant-garde painters of the vanguardia, or Havana School, wrestled with the significance of the island's African and indigenous roots, and they also highlight subversive photography that depicts the harsh realities of life after the Cuban Revolution. They explore art created by the first generation of postrevolutionary exiles, which reflects a new identity—lo cubanoamericano, Cuban-Americanness—and expresses the sense of displacement experienced by Cubans who resettled in another country. A concluding chapter evaluates contemporary attitudes toward collecting and exhibiting post-revolutionary Cuban art in the United States. Encompassing works by Cubans on the island, in exile, and born in America, this volume delves into defining moments in Cuban art across three centuries, offering a kaleidoscopic view of the island's people, culture, and history.

Sculpture Victorious highlights the diversity, originality, and ubiquity of sculptural production during the reign of Queen Victoria. This lavishly illustrated book examines how colorful marbles, bronzes, finely wrought silver, and exquisitely detailed electrotypes, as well as gems, cameos, and porcelain, related to and contributed to the contemporary world. In an age of unprecedented territorial expansion, sculpture reflected the power of the British empire; at the same time, increased access to materials and resources facilitated artistic production and innovation. The partnership between art and industry was equally generative and creative, enabling daring explorations of sculpture's possibilities, both political and aesthetic. Bringing to bear a range of materials including statuary, reliefs, models, drawings, and objets d'art, as well as prints, photographs, and paintings, this stunning tome assembles, for the first time, the vibrancy, inventiveness, and modernity of Victorian sculpture. Published in association with the Yale Center for British Art Exhibition Schedule: Yale Center for British Art (09/11/14-11/30/14) Tate Britain (02/24/15-05/24/15)

Mary Greensted tells the story of the birth and development of the Arts and Craft movement in Britain with the help of numerous illustrations showing the buildings, furniture, metalwork, and the people who influenced it. The movement was concerned with the revival of traditional crafts, and a return to the vernacular, and it had socialist ideals at its heart. This movement, which flourished in the early twentieth century, has not only bequeathed us with a wealth of fine objects and buildings, but also a way of thinking about life and craft that continues to influence many today.
Contains information on dozens of designers, artists, architects and thinkers, including:
William Morris
CFA Voysey
Charles Rennie Mackintosh
AH Mackmurdo
CR Ashbee
Ernest Gimson

Iconographies of Occupation is the first book to address how the "collaborationist" Reorganized National Government (RNG) in Japanese-occupied China sought to visualize its leader, Wang Jingwei (1883-1944); the Chinese people; and China itself. It explores the ways in which this administration sought to present itself to the people over which it ruled at different points between 1939 (when the RNG was first being formulated) and August 1945, when it folded itself out of existence. What sorts of visual tropes were used in regime iconography and how were these used? What can the intertextual movement of visual tropes and motifs tell us about RNG artists and intellectuals and their understanding of the occupation and the war? Drawing on rarely before used archival records relating to propaganda and a range of visual media produced in occupied China by the RNG, the book examines the means used by this "client regime" to carve out a separate visual space for itself by reviving pre-war Chinese methods of iconography and by adopting techniques, symbols, and visual tropes from the occupying Japanese and their allies. Ultimately, however, the "occupied gaze" that was developed by Wang's administration was undermined by its ultimate reliance on Japanese acquiescence for survival. In the continually shifting and fragmented iconographies that the RNG developed over the course of its short existence, we find an administration that was never completely in control of its own fate-or its message. Iconographies of Occupation presents a thoroughly original visual history approach to the study of a much-maligned regime and opens up new ways of understanding its place in wartime China. It also brings China under the RNG into dialogue with wider theoretical debates about the significance of "the visual" in the cultural politics of foreign occupation more broadly.

The Body in Time looks at two different genres in relation to the construction of femininity in late nineteenth-century France: Degas's representation of ballet dancers and the transforming tradition of female portraiture. Class, gender, power, and agency are at stake in both arenas, but they play themselves out in different ways via different pictorial languages. Degas's depictions of anonymous young female ballerinas at the Paris Opera reflect his fascination with the physical exertions and prosaic setting of the dancer's sexualized body. Unlike the standard Romantic depictions of the ballerina, Degas's dancers are anonymous spread-legged workers on public display. Female portraiture and self-portraiture, in contrast, depicted the unique and the distinctive: privileged women, self-assured individuals transgressing gender conventions. Focusing on Degas's representation of the dancer, Tamar Garb examines the development of Degas's oeuvre from its early Realist documentary ambitions to the abstracted Symbolist renderings of the feminine as cypher in his later works. She argues that despite the apparent depletion of social significance and specificity, Degas's later works remain deeply enmeshed in contemporary gendered ways of viewing and experiencing art and life. Garb also looks at the transformation in the genre of portraiture heralded by the "new woman," examining the historical expectations of female portraiture and demonstrating how these expectations are challenged by new notions of female autonomy and interiority. Women artists such as Anna Klumpke, Rosa Bonheur, and Anna Bilinska deployed the language of Realism in their own self-representation. The figure of femininity remained central to the personal, political, and pictorial imperatives of artists across the spectrum of modern aesthetics. Gender and genre intersect throughout this book to show how these categories mutually impact one another.

Representations of first contact - the first meetings of European explorers and Native Americans - have always had a central place in our nation's historical and visual record. They have also had a key role in shaping and interpreting that record. In Framing First Contact author Kate Elliott looks at paintings by artists from George Catlin to Charles M. Russell and explores what first contact images tell us about the process of constructing national myths - and how those myths acquired different meanings at different points in our nation's history. First contact images, with their focus on beginnings rather than conclusive action or determined outcomes, might depict historical events in a variety of ways. Elliott argues that nineteenth century artists, responding to the ambiguity and indeterminacy of the subject, used the visualized space between cultures meeting for the first time to address critical contemporary questions and anxieties. Taking works from the 1840s through the 1910s as case studies - paintings by Robert W. Weir, Thomas Moran, and Albert Bierstadt, along with Catlin and Russell - Elliott shows how many first contact representations, especially those commissioned and conceived as official history, speak blatantly of conquest, racial superiority, and imperialism. And yet, others communicate more nuanced messages that might surprise contemporary viewers. Elliott suggests it was the very openness of the subject of first contact that allowed artists, consciously or not, to speak of contemporary issues beyond imperialism and conquest. Uncovering those issues, Framing First Contact forces us to think about why we tell the stories we do, and why those stories matter.

A Revolution in Movement is the first book to illuminate how collaborations between dancers and painters shaped Mexico's postrevolutionary cultural identity. K. Mitchell Snow traces this relationship throughout nearly half a century of developments in Mexican dance-the emulation of Diaghilev's Ballets Russes in the 1920s, the adoption of U.S.-style modern dance in the 1940s, and the creation of ballet-inspired folk dance in the 1960s.Snow describes the appearances in Mexico by Russian ballerina Anna Pavlova and Spanish concert dancer Tortola Valencia, who helped motivated Mexico to express its own national identity through dance. He discusses the work of muralists and other visual artists in tandem with Mexico's theatrical dance world, including Diego Rivera's collaborations with ballet composer Carlos Chavez; Carlos Merida's leadership of the National School of Dance; Jose Clemente Orozco's involvement in the creation of the Ballet de la Ciudad de Mexico; and Miguel Covarrubias, who led the "golden age" of Mexican modern dance. Snow draws from a rich trove of historical newspaper accounts and other contemporary documents to show how these collaborations produced an image of modern Mexico that would prove popular both locally and internationally and continues to endure today.

Spirited Prospect: A Portable History of Western Art from the Paleolithic to the Modern Era is a lively, scholarly survey of the great artists, works, and movements that make up the history of Western art. Within the text, important questions are addressed: What is art, and who is an artist? What is the West, and what is the Canon? Is the Western Canon closed or exclusionary? Why is it more important than ever for individuals to engage and understand it? Readers are escorted on a concise, chronological tour of Western visual culture, beginning with the first art produced before written history. They learn about the great ancient cultures of Egypt, Mesopotamia, Greece, and Italy; the advent of Christianity and its manifestations in Byzantine, Medieval, Renaissance, and Baroque art; and the fragmentation of old traditions and the proliferation of new artistic choices that characterize the Enlightenment and the Modern Era. The revised second edition features improved formatting, juxtaposition, sizing, and spacing of images throughout. Spirited Prospect is an ideal textbook for introductory courses in the history of art, as well as courses in studio art and Western civilization at all levels.

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.

John Lockwood Kipling (1837-1911) started his career as an architectural sculptor at the South Kensington Museum (today the Victoria and Albert Museum). Much of his life, however, was spent in British India, where his son Rudyard was born. He taught at the Bombay School of Art and later was appointed principal of the new Mayo School of Art (today Pakistan's National College of Art and Design) as well as curator of its museum in Lahore. Over several years, Kipling toured the northern provinces of India, documenting the processes of local craftsmen, a cultural preservation project that provides a unique record of 19th-century Indian craft customs. This is the first book to explore the full spectrum of artistic, pedagogical, and archival achievements of this fascinating man of letters, demonstrating the sincerity of his work as an artist, teacher, administrator, and activist. Published in association with Bard Graduate Center Exhibition Schedule: Victoria and Albert Museum, London (01/14/17-04/02/17) Bard Graduate Center, New York (09/15/17-01/07/18)

This is the third of three text books, published in association with the Open University, which offer an innovatory exploration of art and visual culture. Through carefully chosen themes and topics rather than through a general survey, the volumes approach the process of looking at works of art in terms of their audiences, functions and cross-cultural contexts. While focused on painting, sculpture and architecture, it also explores a wide range of visual culture in a variety of media and methods. "1850-2010: Modernity to Globalisation" includes essays which engage directly with topical issues around art and gender, globalisation, cultural difference and curating, as well as explorations of key canonical artists and movements and of some less well-documented work of contemporary artists.

Thomas Nast (1840-1902), the founding father of American political cartooning, is perhaps best known for his cartoons portraying political parties as the Democratic donkey and the Republican elephant. Nast's legacy also includes a trove of other political cartoons, his successful attack on the machine politics of Tammany Hall in 1871, and his wildly popular illustrations of Santa Claus for Harper's Weekly magazine. Throughout his career, his drawings provided a pointed critique that forced readers to confront the contradictions around them. In this thoroughgoing and lively biography, Fiona Deans Halloran focuses not just on Nast's political cartoons for Harper's but also on his place within the complexities of Gilded Age politics and highlights the many contradictions in his own life: he was an immigrant who attacked immigrant communities, a supporter of civil rights who portrayed black men as foolish children in need of guidance, and an enemy of corruption and hypocrisy who idolized Ulysses S. Grant. He was a man with powerful friends, including Mark Twain, and powerful enemies, including William M. ""Boss"" Tweed. Halloran interprets Nast's work, explores his motivations and ideals, and illuminates Nast's lasting legacy on American political culture.

British Musical Modernism explores the works of eleven key composers to reveal the rapid shifts of expression and technique that transformed British art music in the post-war period. Responding to radical avant-garde developments in post-war Europe, the Manchester Group composers - Alexander Goehr, Peter Maxwell Davies, and Harrison Birtwistle - and their contemporaries assimilated the serial-structuralist preoccupations of mid-century internationalism to an art grounded in resurgent local traditions. In close readings of some thirty-five scores, Philip Rupprecht traces a modernism suffused with the formal elegance of the 1950s, the exuberant theatricality of the 1960s, and - in the works of David Bedford and Tim Souster - the pop, minimalist, and live-electronic directions of the early 1970s. Setting music-analytic insights against a broader social-historical backdrop, Rupprecht traces a British musical modernism that was at once a collective artistic endeavor, and a sounding myth of national identity.