This volume of the Golden Age of Illustration Series contains Hans Christian Andersen's 'Thumbelina', first published in May of 1835. This classic fairy tale has been continuously in print in different editions since its first publication, with many, many, different artists illustrating the story over the years. This edition features a beautiful collection of the best of that art, taken from the likes of Arthur Rackham, W. Heath Robinson, Harry Clarke, Mabel Lucie Attwell, Milo Winter, among others. This series of books celebrates the Golden Age of Illustration. During this period, the popularity, abundance and - most importantly - the unprecedented upsurge in the quality of illustrated works marked an astounding change in the way that publishers, artists and the general public came to view this hitherto insufficiently esteemed art form. The Golden Age of Illustration Series, has sourced the rare original editions of these books and reproduced the beautiful art work in order to build a unique collection of illustrated fairy tales.

As technology becomes an important part of human-computer interaction, improving the various conceptual models and understanding of technological interfaces in design becomes essential. Enhancing Art, Culture, and Design With Technological Integration provides emerging research on the methods and techniques of technology to advance and improve design and art. While highlighting topics such as augmented reality, culture industry, and product development, this publication explores the applications of technology in online creation and learning. This book is an important resource for academics, graphic designers, computer engineers, practitioners, students, and researchers seeking current research on observations in technological advancement for culture and society.

A history of the development of the art market spanning the 17th century to contemporary art today.In modern times the profession of the dealer had its start in the late fifteenth or early sixteenth centuries and was essentially due to the revolution brought about by the invention of the printing press. Prints could be offered as readymade images to a widespread market. Durer said he made more money out of his prints, more easily than he did from his commissioned paintings. His mother was his dealer, offering them in the marketplace at Nuremberg.With the rise and expansion of mercantile capitalism the sale of readymade works, supplied by third parties, not directly commissioned from the artist himself nor directly specified by the ultimate client, became a more and more common form of trading in art. This was particularly the pattern in the Low Countries and it also helped to sustain the increasingly large community of foreign artists, Netherlandish and German, who made their way to Italy, where they had no immediate social connections and needed intermediaries in order to make a livelihood. These intermediaries undoubtedly encouraged artists to tackle subject matter they believed would sell.By the early 18th century the profession of art dealer was well-established, in opposition to the official academies. Watteau's painting L'Enseigne de Gersaint portrays an upmarket Parisian establishment of this type. It is perhaps no accident that it shows a portrait of the reigning French monarch, Louis XV, being unceremoniously packed away in a box. Emblems of power now counted for less that symbols of luxury. A large mirror propped up on the right suggests that little distinction needed to be made, in this context, between paintings and looking glasses. Both were furnishings, the essential trappings of a civilized life-style, and both served to display not only their possessors' taste, but also their wealth. The big mirror, in fact, may have been more valuable than any of the paintings crowding the walls.The French Revolution and the Napoleonic Wars that followed it saw a radical redistribution of art works. Naturally dealers played a large part in this - also in defining what was prestigious, therefore saleable, and what was not. In the Victorian period in London, as attention swung towards then contemporary creations, dealers such as the still surviving Fine Art Society (founded in 1877) played a major role in shaping taste. The history of this gallery in Bond Street and that of the late 19th century Aesthetic Movement are closely intertwined.In late 19th century, dealers such as Durand-Ruel (in this case through his support of the Impressionists) were increasingly important in changing the currents of taste. In Durand-Ruel's case, his influence became international. This went hand in hand with a different kind of international influence, exercised by the great British dealer Lord Duveen, In alliance with the art historian Bernard Berenson, Duveen devised a way of selling Old Master paintings, often of religious or esoteric mythological subjects, to a clientele who had little natural liking for that kind of subject-matter, by emphasizing the formal qualities of these works, rather than what they portrayed. This was a first step towards the acceptance of abstraction in art.As the Modern Movement progressed dealers such as Vollard and Paul Guilluame had a greater and greater say in defining what was important in contemporary art and what was not. This influence continued as the centre of avant-garde activity moved from Paris to New York. Galleries such as that of Pierre Matisse and Peggy Gugenheim's Art of This Century Gallery pioneered the way to the acceptance of new forms of artistic expression. Later, Leo Castelli, an immigrant from the cosmopolitan Italian city of Trieste, was instrumental in establishing the reputations of Jasper Johns and Roy Lichtenstein. Castelli's 1962 solo show for Lichtenstein was a major step in the worldwide success of Pop art.This pattern continues today, on an even more ambitious and global scale. Galleries such as Gagosian (with multiple international sites) and White Cube here in London play a major part in creating contemporary perceptions about what is and is not important in art.

This fascinating new study is about cultural change and continuities. At the core of the book are discrete literary studies of Scotland and Shakespeare, Walter Scott, R.L. Stevenson, Arthur Conan Doyle, the modern Scottish Renaissance of the 1920s and more recent cultural and literary phenomena. The central theme of literature and popular 'representation' recontextualises literary analysis in a broader, multi-faceted picture involving all the arts and the changing sense of what 'the popular' might be in a modern nation. New technologies alter forms of cultural production and the book charts a way through these forms, from oral poetry and song to the novel, and includes studies of paintings, classical music, socialist drama, TV, film and comic books. The international context for mass media cultural production is examined as the story of the intrinsic curiosity of the imagination and the intensely local aspect of Scotland's cultural self-representation unfolds.

The arts are situated at the centre of policies and programs seeking to make communities more creative, cohesive or productive. This book highlights the governmental, aesthetic and economic contexts which shape art in community, offering a constructive account of the ties between government, culture and the citizen.

Fiction or Nonfi ction, You read it and decide yourself... I don't have to try to justify my story... for I lived thru and experienced this chain of events.

Bringing together eminent scholars and emerging critics who offer a range of perspectives and critical methods, this collection sets a new standard in Beddoes criticism. In line with the goals of Ashgate's Research Companion series, the editors and contributors provide an overview of Beddoes's criticism and identify significant new directions in Beddoes studies. These include exploring Beddoes's German context, only recently a site of critical attention; reading Beddoes's plays in light of gender theory; and reassessing Beddoes's use of dramatic genre in the context of recent work by theatre historians. Rounding out the volume are essays devoted to key areas in Beddoes's scholarship such as nineteenth-century medical theories, psychoanalytic myth, and Romantic ventriloquism. This collection makes the case for Beddoes's centrality to contemporary debates about nineteenth-century literary culture and its contexts and his influence on Modernist conceptions of literature.

Regina Mingotti was the first female impresario to run London's opera house. Born in Naples in 1722, she was the daughter of an Austrian diplomat, and had worked at Dresden under Hasse from 1747. Mingotti left Germany in 1752, and travelled to Madrid to sing at the Spanish court, where the opera was directed by the great castrato, Farinelli. It is not known quite how Francesco Vanneschi, the opera promoter, came to hire Mingotti, but in 1754 (travelling to England via Paris), she was announced as being engaged for the opera in London 'having been admired at Naples and other parts of Italy, by all the Connoisseurs, as much for the elegance of her voice as that of her features'. Michael Burden offers the first considered survey of Mingotti's London years, including material on Mingotti's publication activities, and the identification of the characters in the key satirical print 'The Idol'. Burden makes a significant contribution to the knowledge and understanding of eighteenth-century singers' careers and status, and discusses the management, the finance, the choice of repertory, and the pasticcio practice at The King's Theatre, Haymarket during the middle of the eighteenth century. Burden also argues that Mingotti's years with Farinelli influenced her understanding of drama, fed her appreciation of Metastasio, and were partly responsible for London labelling her a 'female Garrick'. The book includes the important publication of the complete texts of both of Mingotti's Appeals to the Publick, accounts of the squabble between Mingotti and Vanneschi, which shed light on the role a singer could play in the replacement of arias.

Juxtaposing artistic and musical representations of the emotions with medical, philosophical and scientific texts in Western culture between the Renaissance and the twentieth century, the essays collected in this volume explore the ways in which emotions have been variously conceived, configured, represented and harnessed in relation to broader discourses of control, excess and refinement. Since the essays explore the interstices between disciplines (e.g. music and medicine, history of art and philosophy) and thereby disrupt established frameworks within the histories of art, music and medicine, traditional narrative accounts are challenged. Here larger historical forces come into perspective, as these papers suggest how both artistic and scientific representations of the emotions have been put to use in political, social and religious struggles, at a variety of different levels.

Through a close look at the history of the modernist hooked rug, this book raises important questions about the broader history of American modernism in the first half of the twentieth century. Although hooked rugs are not generally associated with the avant-garde, this study demonstrates that they were a significant part of the artistic production of many artists engaged in modernist experimentation. Cynthia Fowler discusses the efforts of Ralph Pearson and of Zoltan and Rosa Hecht to establish modernist hooked rug industries in the 1920s, uncovering a previously undocumented history. The book includes a consideration of the rural workers used to create the modernist narrative of the hooked rug, as cottage industries were established throughout the rural Northeast and South to serve the ever increasing demand for hooked rugs by urban consumers. Fowler closely examines institutional enterprises that highlighted and engaged the modernist hooked rugs, such as key exhibitions at the Museum of Modern Art and the Metropolitan Museum of Art in the 1930s and '40s. This study reveals the fluidity of boundaries among art, craft and design, and the profound efforts of a devoted group of modernists to introduce the general public to the value of modern art.

Using a broad definition of the Durkheimian tradition, this book offers the first systematic attempt to explore the Durkheimians' engagement with art. It focuses on both Durkheim and his contemporaries as well as later thinkers influenced by his work. The first five chapters consider Durkheim's own exploration of art; the remaining six look at other Durkheimian thinkers, including Marcel Mauss, Henri Hubert, Maurice Halbwachs, Claude Levi-Strauss, Michel Leiris, and Georges Bataille. The contributors-scholars from a range of theoretical orientations and disciplinary perspectives-are known for having already produced significant contributions to the study of Durkheim. This book will interest not only scholars of Durkheim and his tradition but also those concerned with aesthetic theory and the sociology and history of art.

This book provides a fresh interdisciplinary perspective on genre and identifies developments in genre studies in the early 21st century. Genre approaches are applied to examine a fascinating range of texts including ancient Greek poems, Holocaust visual and literary texts, contemporary Hollywood films, selfies, melodrama, and classroom practices.

The first of its kind, this book focuses on empirical studies into creative output that use and test the systems approach. The collection of work from cultural studies, sociology, psychology, communication and media studies, and the arts depicts holistic and innovative ways to understand creativity as a system in action.