How does museum location shape the interpretation of an art object by critics, curators, art historians, and others? To what extent is the value of a work of art determined by its location? Providing a close examination of individual works of American art in relation to gallery and museum location, this anthology presents case studies of paintings, sculpture, photographs, and other media that explore these questions about the relationship between location and the prescribed meaning of art. It takes an alternate perspective in that it provides in-depth analysis of works of art that are less well known than the usual American art suspects, and in locations outside of art museums in major urban cultural centers. By doing so, the contributors to this volume reveal that such a shift in focus yields an expanded and more complex understanding of American art. Close examinations are given to works located in small and mid-sized art museums throughout the United States, museums that generally do not benefit from the resources afforded by more powerful cultural establishments such as the Museum of Modern Art and the Metropolitan Museum of Art in New York. Works of art located at institutions other than art museums are also examined. Although the book primarily focuses on paintings, other media created from the Colonial Period to the present are considered, including material culture and craft. The volume takes an inclusive approach to American art by featuring works created by a diverse group of artists from canonical to lesser-known ones, and provides new insights by highlighting the regional and the local.

British Models of Art Collecting and the American Response - Reflections Across the Pond presents 14 essays by distinguished art - and cultural - historians. Collectively, they examine points of similarity and difference in the approaches to art collecting practiced in Britain and the United States. Unlike most of their Continental European counterparts, the English and Americans have historically been exceptionally open to collecting the art made by and for other cultures. At the same time, they developed a tradition of opening private collections to a public eager for educational and cultural advancement. Approximately half the essays examine the trends and market forces that dominated the British art collecting scene of the nineteenth century, such as the Orleans sale and the shift away from aristocratic collections to those of the new urban merchant class. The essays that focus on American collectors use biographical sketches of collectors and dealers, as well as case studies of specific transactions to demonstrate how collectors in the United States embraced and embellished on the British model to develop their own, often philanthropic approach to art collecting.

Speed, acceleration and rapid change characterize our world, and as we design and construct buildings that are to last at least a few decades and sometimes even centuries, how can architecture continue to act as an important cultural signifier? Focusing on how an important nineteenth-century architect addressed the already shifting relation between architecture, time and history, this book offers insights on issues still relevant today-the struggle between imitation and innovation, the definition (or rejection) of aesthetic experience, the grounds of architectural judgment (who decides and how), or fundamentally, how to act (i.e. build) when there is no longer a single grand narrative but a plurality of possible histories. Six drawings provide the foundation of an itinerary through Charles Robert Cockerell's conception of architecture, and into the depths of drawings and buildings. Born in England in 1788, Cockerell sketched as a Grand Tourist, he charted architectural history as Royal Academy Professor, he drew to build, to exhibit, to understand the past and to learn from it, publishing his last work in 1860, three years before his death. Under our scrutiny, his drawings become thresholds into the nineteenth century, windows into the architect's conception of architecture and time, complex documents of past and projected constructions, great examples that reveal a kinetic approach to ornamentation, and the depth of architectural representation.

The Art and Thought of John La Farge: Picturing Authenticity in Gilded Age America offers an unprecedented portrait of one of the most celebrated artists of the Gilded Age and opens a window onto nineteenth-century American culture. The book reveals how the work of John La Farge contributed to a rich philosophical dialogue concerning the trustworthiness of human perception. In his struggle against a 'common truth' of iconic symbols presented by a new mass visual culture, La Farge developed a subversive approach to visual representation that focused attention not on the artwork itself, but on the complex, real encounter of artist, subject and medium from which the artwork came. Katie Kresser charts La Farge's efforts to assert his own reality - his own intrinsic uniqueness - in a postwar society that increasingly based personal identity on standardized vocational labels and economic productivity. La Farge's work is contrasted with that of Kenyon Cox, James Whistler and Henry Adams, all of whom (for La Farge) had fallen prey to the crass new visual environment - albeit in very different ways. This innovative study suggests that La Farge dealt with issues still relevant in a world characterized by ubiquitous mass media and the proliferation of 'normative' visions.

Arguing in favour of renewed critical attention to the 'nation' as a category in art history, this study examines the intertwining of art theory, national identity and art production in Britain from the early eighteenth century to the present day. The book provides the first sustained account of artwriting in the British context over the full extent of its development and includes new analyses of such central figures as Hogarth, Reynolds, Gilpin, Ruskin, Roger Fry, Herbert Read, Art & Language, Peter Fuller and Rasheed Araeen. Mark A. Cheetham also explores how the 'Englishing' of art theory-which came about despite the longstanding occlusion of the intellectual and theoretical in British culture-did not take place or have effects exclusively in Britain. Theory has always travelled with art and vice versa. Using the frequently resurgent discourse of cosmopolitanism as a frame for his discourse, Cheetham asks whether English traditions of artwriting have been judged inappropriately according to imported criteria of what theory is and does. This book demonstrates that artwriting in the English tradition has not been sufficiently studied, and that 'English Art Theory' is not an oxymoron. Such concerns resonate today beyond academe and the art world in the many heated discussions of resurgent Englishness.

Focusing on W.B. Yeats's ideal of mutual support between the arts, Karen Brown sheds new light on how collaborations and differences between members of the Yeats family circle contributed to the metamorphosis of the Irish Cultural Revival into Irish Modernism. Making use of primary materials and fresh archival evidence, Brown delves into a variety of media including embroidery, print, illustration, theatre, costume design, poetry, and painting. Tracing the artistic relationships and outcome of W.B. Yeats's vision through five case studies, Brown explores the poet's early engagement with artistic tradition, contributions to the Dun Emer and Cuala Industries, collaboration between W.B. Yeats and Norah McGuinness, analysis of Thomas MacGreevy's pictorial poetry, and a study of literary influence and debt between Jack Yeats and Samuel Beckett. Having undertaken extensive archival research relating to word and image studies, Brown considers her findings in historical context, with particular emphasis on questions of art and gender and art and national identity. Interdisciplinary, this volume is one of the first full-length studies of the fraternite des arts surrounding W.B. Yeats. It represents an important contribution to word and image studies and to debates surrounding Irish Cultural Revival and the formation of Irish Modernism.

Focusing specifically on portraiture as a genre, this volume challenges scholarly assumptions that regard interior spaces as uniquely feminine. Contributors analyze portraits of men in domestic and studio spaces in France during the long nineteenth century; the preponderance of such portraits alone supports the book's premise that the alignment of men with public life is oversimplified and more myth than reality. The volume offers analysis of works by a mix of artists, from familiar names such as David, Delacroix, Courbet, Manet, Rodin, and Matisse to less well-known image makers including Dominique Doncre, Constance Mayer, Anders Zorn and Lucien-Etienne Melingue. The essays cover a range of media from paintings and prints to photographs and sculpture that allows exploration of the relation between masculinity and interiority across the visual culture of the period. The home and other interior spaces emerge from these studies as rich and complex locations for both masculine self-expression and artistic creativity. Interior Portraiture and Masculine Identity in France, 1789-1914 provides a much-needed rethinking of modern masculinity in this period.

Exploring the concept of portrait as memoir, Women, Portraiture and the Crisis of Identity in Victorian England: My Lady Scandalous Reconsidered examines the images and lives of four prominent Victorian women who steered their way through scandal to forge unique identities. The volume shows the effect of celebrity, and even notoriety, on the lives of Mary Elizabeth Braddon, Lady Dilke, Millicent Garrett Fawcett, and Sarah Grand. For these women, their portraits were more than speaking likenesses-whether painted or photographic, they became crucial tools the women used to negotiate their controversial identities. Women, Portraiture and the Crisis of Identity in Victorian England shows that the fascinating power of celebrity - and specifically its effects on women - was as much of a phenomenon in Victorian times as it is today. Colleen Denney explores how these women used their portraits as tools of persuasion, performing a domestic masquerade to secure privacy and acceptance, or sites of resistance, tearing down male constructions of female propriety and fighting Victorian stereotypes of intellectual women. Questioning the classic Victorian notions of "separate spheres," this volume celebrates women's search for self within the constraints of the nineteenth century, as well as within the world of present-day academia.

Previously announcedThis original and eloquent study brings Frederic Leighton's portrait of May Sartoris to life as an expression of the artist's remarkable friendship with May's mother, celebrated opera singer Adelaide Sartoris. The young Leighton frequented Adelaide's artistic and literary salon in Rome in the early 1850s, and was on intimate terms with her by the time he painted her daughter's likeness in England around 1860. Malcolm Warner places the work both within the tradition of British child portraiture since Joshua Reynolds and within its immediate biographical setting. Bringing together much new research into the circumstances of its creation, he suggests that its wistful mood and intimations of mortality reflect Adelaide Sartoris's melancholy temperament as well as Victorian views of childhood. Distributed for the Kimbell Art Museum, Fort Worth

Crossing disciplinary and chronological boundaries, this volume integrates text and image, essays and object pages to explore the processes inherent in gender representation, rather than resituating women in particular categories or spheres as other scholarly publications and exhibitions have done. Taking its lead from the 'Picturing' Women project on which it reflects and builds, the volume makes a substantial methodological contribution to the analysis of gender discourse and visuality. It offers new and stimulating scholarship that confronts historical patterns of representation that have defined what women were and are seen to be, and presents new contexts for unveiling what art historian Linda Nochlin has called the 'mixed messages' of representations of women.

A study of the ways landscape was perceived in nineteenth-century Britain and France, this book draws on evidence from poetry, landscape gardens, spectacular public entertainments, novels and scientific works as well as paintings in order to develop its basic premise that landscape and the processes of perceiving it cannot be separated. Vision embraces panoramic seeing from high places, but also the seeing of ghosts and spectres when madness and hallucination impinge upon landscape. The rise of geology and the spread of empires upset the existing comfortable orders of comprehension of landscape. Reverie and imagination produced powerful interpretive actions, while landscape in French culture proved central to the rejection of conservative classicism in favour of perceptual questioning of experience. The experience of subjectivity proved central to the perception of landscape while the visual culture of landscape became of paramount importance to modernity during the period in question.

The Artist and the State, 1777-1855: The Politics of Universal History in British & French Painting is the first book-length study to examine political uses of 'universal history', or the philosophy of history, in European art from 1777 to 1855. Daniel R. Guernsey discusses a range of mural paintings and sculptural works produced in England and France between the American Revolution and the Universal Exposition of 1855, comparing the ways artists such as James Barry, Eugene Delacroix, Paul Chenavard, David d'Angers, and Gustave Courbet expressed linear or cyclical histories of progress and decline. By considering the work of these important European artists together, he reveals not only the rich artistic interaction that took place between England and France - as well as Germany - at this time, but also how the notion of 'universal history' was to become a major preoccupation in the work of these individual artists, each one participating in shaping a highly significant mode of eighteenth- and nineteenth-century political art.

The premise of Anna Green's timely and original book, is that nineteenth-century representations of childhood and adolescence-in paintings, but also in other forms of visual culture and in diverse written discourses of the period-are critical for understanding modernity. Whilst such well-worn signifiers for modernity as the city, the dandy and the prostitute have been well mined, childhood and adolescence have not. Paintings of the young produced in France from 1848 to 1886, Green contends, inform not only our understanding of modern life but also our perception of modernist or avant-garde painting. Figuring largely are Manet and the Impressionists, as well as a gamut of more traditional painters of children who are crucial in providing context for the avant garde. Because modernity is an essentially urban phenomenon, Green's focus is primarily on the city, usually Parisian, child. The painted youth of her study are organized initially by class and gender. Then the chapters are structured according to themes (parent-child relations, modes of discipline, work, education, and play, the spectacle, sexuality) that straddle the congruences among the book's triple trajectory: the young, their modernist representations, and the experience of modernity. Green's interdisciplinary approach ensures that this book will be of interest not only to art historians but to all those concerned with the cultural and social history of childhood.

The meaning of a painted portrait and even its subject may be far more complex than expected, Tamar Garb reveals in this book. She charts for the first time the history of French female portraiture from its heyday in the early nineteenth century to its demise in the early twentieth century, showing how these paintings illuminate evolving social attitudes and aesthetic concerns in France over the course of the century. The author builds the discussion around six canonic works by Ingres, Manet, Cassatt, Cezanne, Picasso, and Matisse, beginning with Ingres's idealized portrait of Mme de Sennones and ending with Matisse's elegiac last portrait of his wife. During the hundred years that separate these works, the female portrait went from being the ideal genre for the expression of painting's capacity to describe and embellish "nature," to the prime locus of its refusal to do so. Picasso's Cubism, and specifically "Ma Jolie," provides the fulcrum of this shift.

This book addresses the lively artistic dialogue that took place between Russia and the West-in particular with the United States, Britain, and France-from the 1860s to the Khrushchev Thaw. Offering stimulating new readings of cross-cultural exchange, it illuminates Russia's compelling, and sometimes combative, relation with western art in this period of profound cultural transformation. Russian Art and the West breaks new ground in the range of its material and its chronological span. Attending both to vanguard tendencies and to the official artistic institutions and practices of the tsarist and Soviet eras, it casts light on seminal developments little studied in western scholarship, while also providing new contexts for, and fresh insights into, the avant-garde of the early twentieth century. The book's eleven essays by leading experts on Russian art and design explore painting, architecture, and the decorative arts, considering not only the objects but also the patrons, audiences, exhibitions, and critical readings that together shaped national culture in an international context. Written in an accessible style and encompassing a variety of approaches, they collectively rethink conventional polarities and influences, and unpack the myths of separateness and isolation so often associated with artistic endeavor in late imperial or Soviet Russia. This illustrated volume will appeal to students, scholars, and general readers seeking to understand the fuller context of Russian artistic culture during a remarkable century of social and political change.

"The Culture of Love" interprets the sweeping change in loving that spanned a period when scientific discoveries reduced the terrors and dangers of sex, when new laws gave married women control over their earnings and their bodies, when bold novelists and artists shook off the prudishness and hypocrisy that so paralyzed the Victorians. As public opinion, family pressure, and religious conviction loosened, men and women took charge of their love. Stephen Kern argues that, in contrast to modern sex, Victorian sex was anatomically constricted, spatially confined, morally suspect, deadly serious, and abruptly over.

Kern divides love into its elements and traces profound changes in each: from waiting for love to ending it. Most revealing are the daring ways moderns began to talk about their current lovemaking as well as past lovers. While Victorians viewed jealousy as a "foreign devil," moderns began to acknowledge responsibility for it. Desire lost its close tie with mortal sin and became the engine of artistic creation; women's response to the marriage proposal shifted from mere consent to active choice. There were even new possibilities of kissing, beyond the sudden, blind, disembodied, and censored Victorian meeting of lips.

Kern's evidence is mainly literature and art, including classic novels by the Brontes, Flaubert, Hugo, Eliot, Hardy, Forster, Colette, Proust, Mann, Joyce, Woolf, Lawrence, Hemingway, Fitzgerald, and Musil as well as the paintings and sculptures of Millais, Courbet, Gerome, Rodin, Munch, Klimt, Schiele, Valadon, Chagall, Kandinsky, Kokoschka, Picasso, Matisse, and Brancusi. The book's conceptual foundation comes from Heidegger's existential philosophy, inparticular his authentic-inauthentic distinction, which Kern adapts to make his overall interpretation and concluding affirmation of the value of authenticity: "The moderns may have lost some of the Victorians' delicacy and poignancy, perhaps even some of their heroism, but in exchange became more reflective of what it means to be a human being in love and hence better able to make that loving more their very own."

'What is this life if, full of care, We have no time to stand and stare.' - W.H. Davies Walking around London is one of life's great pleasures. There is a huge amount that you can only see on foot - but sometimes it is hard to know where to look. Luckily, Christopher Winn, bestselling author of I Never Knew That About London, knows where all the hidden treasures are. This book takes the reader on a series of stimulating original walks through different areas of central London, focusing on one particular period of history, the Victorian, so ubiquitous that we take it for granted, and yet so astonishing and so far reaching in its variety, imagination, ambition and detail. Discover... ..the remarkable 300-foot bell tower at the Houses of Parliament you never knew was there.... ..the extraordinary fairytale house in Kensington where the Mikado was inspired... ..the best Victorian loos in the world near Old Street... ..a hidden chapel in Bloomsbury described by Oscar Wilde as 'the most delightful private chapel in London'... ..London's best preserved high class Victorian shop near Tottenham Court Road... ...an almost complete Victorian townscape boasting the world's oldest surviving mansion block... Walk through history and discover the hidden gems of Victorian London!

Thomas Cole's influence after his death, through both the finished and unfinished paintings that remained in his self-designed studio, was truly profound. This book brings new understanding to Cole's last paintings and how they affected later artists. Written by one of the foremost American art historians, it examines the artist's ambition to create paintings that expressed complex and elevated meanings. Images of works not seen for many years will illustrate Cole's intentions and influence.

Por primera vez en la historia de los estudios sobre Gustavo Adolfo Becquer, El color del romanticismo presenta un nuevo punto de vista basado en un doble analisis comparativo: por un lado, entre el romanticismo aleman, en la persona de Novalis, y el espanol, en la persona de Becquer; y por otro lado, entre literatura y pintura, pues ambos escritores usan el color, especialmente el azul, como instrumento pictorico que les sirve a ambos para solucionar la insuficiencia lingueistica de la que parece adolecer la literatura romantica europea. A la zaga de los teoricos del color decimononicos, principalmente Goethe y su libro Zur Farbenlehre (Hacia una teoria de los colores), de 1810, el estudio semantico del uso del color azul en ambos poetas permite una clasificacion entre usos oniricos y no oniricos de dicho color, que situa a Becquer en un mas apropiado lugar en el panorama de los romanticos europeos.

Abner Cook has long been acknowledged as the most important architect in antebellum Texas, but this extensively illustrated volume is the first to document fully his life and works. This well-told history of Cook's life also presents a vivid account of his city--nineteenth-century Austin.

This volume is unique in its focus on cross-fertilisation in the arts, on very specific exploration of liminal spaces, and on the representation of marginal figures in writing. The essays here grew out of the Borders and Margins colloquium, held at Leeds Trinity University, UK, in April 2010, which was the fourth in a series of colloquia. This collection, moreover, contributes to a growing area of scholarship which explores Anglo-French interactions and exchanges. In choosing the term "liminality", the editors are aware of its nuanced implications, allowing suggestions both of the initial and the transitional. The contributors here are academics from the fields of literature, history and art history, and their essays cover art history, literature, cultural history, the arts, and faith. Altogether, this collection evokes a sense of temporal shift, in that changes in values and focus are uncovered as the nineteenth century progresses. Some have an ekphrastic quality, showing how pictures can have a narrative, and how pictures, as well as texts, can be encoded with moral and social interpretations. Close scrutiny is applied to different kinds of texts, fiction and non-fiction, and the purposes for which they were produced. This book will appeal to scholars and academics interested in a wide range of cross-categorisational transactions in nineteenth-century Britain. It will be of interest to scholars of Victorian culture, and English nineteenth-century literature and art, particularly in terms of genre, as well as to academics interested in the development of social, personal, and national identities.

The first volume of" French Drawings and Sketchbooks of the Nineteenth Century," the third part in an ongoing series of text-fiche publications presenting the distinguished drawing collection of the Art Institute, contains works by artists born between 1770 and 1830. This period includes Ingres, who is represented by nine drawings, including five exemplary pencil portraits, and Gericault, whose extraordinary album of sixty-four sheets, reproduced here, represents two crucial phases of the artist's career. The text-fiche also contains drawings by Delacroix and Daumier, which range from casual study sheets to complete pictorial compositions, as well as important groups of drawings by Millet and Bresdin, a group of important, but as yet unknown, drawings by the great sculptor Carpeaux, and an impressive sheet by Courbt.

The French Popular Lithographic Imagery, 1815-1870 series reproduces in twelve volumes approximately 5000 nineteenth-century lithographs from the collections of the Bibliotheque nationale. Beatrice Farwell's multivolume text-fiche catalog is an essential resource to art historians and will appeal to all those interested in nineteenth-century France.