First published in 1980, Steel-Engraved Book Illustration in England is a detailed and comprehensive survey of the steel engravings that were so popular in the nineteenth century. With an extensive range of illustrations, the book refutes the assumption that steel engravings are of little artistic value or importance, a common attitude rooted largely in the connection between steel engravings and mass-produced books. Beginning with an exploration of the identification problems and early history of steel engravings, it moves through the production and printing of the plates and on to a study of several engravers and artists, as well as of the books themselves. Steel-Engraved Book Illustration in England will appeal to anyone interested in the history of printing and illustration.

Until recently the impact of the Lutheran Reformation has been largely regarded in political and socio-economic terms, yet for most people it was not the abstract theological debates that had the greatest impact upon their lives, but what they saw in their parish churches every Sunday. This collection of essays provides a coherent and interdisciplinary investigation of the impact that the Lutheran Reformation had on the appearance, architecture and arrangement of early modern churches. Drawing upon recent research being undertaken by leading art historians and historians on Lutheran places of worship, the volume emphasises often surprising levels of continuity, reflecting the survival of Catholic fixtures, fittings and altarpieces, and exploring how these could be remodelled in order to conform with the tenets of Lutheran belief. The volume not only addresses Lutheran art but also the way in which the architecture of their churches reflected the importance of preaching and the administration of the sacraments. Furthermore the collection is committed to extending these discussions beyond a purely German context, and to look at churches not only within the Holy Roman Empire, but also in Scandinavia, the Baltic States as well as towns dominated by Saxon communities in areas such as in Hungary and Transylvania. By focusing on ecclesiastical 'material culture' the collection helps to place the art and architecture of Lutheran places of worship into the historical, political and theological context of early modern Europe.

Windtower offers a unique insight into a past way of life, exploring Dubai's rich and storied past and heritage. This new and extended edition celebrates the 50th anniversary of the formation of the United Arab Emirates, diving deeper into the merchant community's central role in Dubai's pre-oil economy and social life. This new edition also considers the lessons to be learned from Dubai's traditional windtowers at a time of global warming and climate crisis, and how this knowledge might benefit contemporary urban design. The title features a foreword from His Highness, Charles, Prince of Wales, who writes: "I do hope this book will enable other people to join in appreciating the unique nature of these buildings and that it will encourage an awareness of how relevant many of their distinctive features are to the modern challenges of building sustainable communities in a way that maximizes the use of renewable energy." With exclusive archival photography, custom maps, as well as original architectural plans and diagrams, Windtower is a must-have book for anyone interested in Dubai's architecture, culture and fascinating historical development.

Fifty Key Texts in Art History is an anthology of critical commentaries selected from the classical period to the late modern. It explores some of the central and emerging themes, issues and debates within Art History as an increasingly expansive and globalised discipline. It features an international range of contributors , including art historians, artists, curators and gallerists. Arranged chronologically, each entry includes a bibliography for further reading and a key word index for easy reference. Text selections range across issues including artistic value, cultural identity, modernism, gender, psychoanalysis, photographic theory, poststructuralism and postcolonialism. Rozsika Parker and Griselda Pollock Old Mistresses, Women, Art & Ideology (1981) Victor Burgin's The End of Art Theory: Criticism and Postmodernity (1986) Homi Bhabha The Location of Culture: Hybridity, Liminal Spaces and Borders (1994) Geeta Kapur When was Modernism in Indian Art? (1995) Judith Butler's Gender Trouble (1999) Georges Didi Huberman Confronting Images. Questioning the Ends of a Certain History of Art (2004)

WATERSTONES BOOK OF THE YEAR 2022 THE INSTANT SUNDAY TIMES BESTSELLER 'A long overdue, revisionist history of art by the brilliant Katy Hessel . . . Never stuffy or supercilious, Hessel's book is a revelation and an important first step towards redressing the balance of an art world in which women have been sidelined, stepped over and trampled upon for far too long.' REFINERY29 'An extraordinary achievement that will have a disruptive cultural legacy and help deter mine the landscape for years to come.' HARPER'S BAZAAR 'Katy Hessel is a brilliant chronicler of the overlooked. I am so thrilled this book exists as an empowering, enlightening guide to the unforgettable vision of these brilliant artists. Essential reading.' ELIZABETH DAY 'Will change the history of art . . . thank God.' TRACEY EMIN 'I was not aware how hungry I was for this book until I dropped everything and ate it from cover to cover. I was not aware how angry I was that this book did not exist until it existed. It's an urgently needed, un-put-downable, joyful, insightful, glorious, perspective-shifting revision of the Story of Art.' ES DEVLIN __________________________________ How many women artists do you know? Who makes art history? Did women even work as artists before the twentieth century? And what is the Baroque anyway? Have your sense of art history overturned, and your eyes opened to many art forms often overlooked or dismissed. From the Cornish coast to Manhattan, Nigeria to Japan, this is the story of art for our times - one with women at its heart, brought together for the first time by the creator of @thegreatwomenartists. __________________________________ 'A spirited, inspiring, brilliantly illustrated history of female artistic endeavour . . . The Story of Art Without Men should be on the reading list of every A-level and university art history course and on the front table of every museum and gallery shop.' LAURA FREEMAN, THE TIMES 'Passionate, enthusiastic and witty . . . I wish I had had this book as a teenager' THE I

This book engages artistic interventions in the aerial elements to investigate the aesthetics and politics of atmosphere. Sensing Art in the Atmosphere: Elemental Lures and Aerosolar Practices traces the potential of artistic, community-driven experiments to amplify our sensing of atmosphere, marrying attentions to atmospheric affect with visceral awareness of the materials, institutions and processes hovering in the air. Drawing on six years of practice-led research with artistic and activist initiatives Museo Aero Solar and Aerocene, initiated by artist Tomas Saraceno, each chapter develops creative relations to atmosphere from the studio to stratospheric currents. Through narrative-led writing, the voices of artists and collaborators are situated and central. In dialogue with these aerographic stories and sites, the book develops a notion of elemental lures: the sensual and imaginative propositions of aerial, atmospheric and meteorological phenomena. The promise of elemental lures, Engelmann suggests, is to reconcile our sensing of atmosphere with the myriad social, cultural and political forces suspended in it. Through tales of floating journeys, shared envelopes of breath and surreal levitations, the book foregrounds the role of art in crafting alternative modes of perceiving, moving and imagining (in) the air. The book ends with a call for elemental experiments in the geohumanities. It makes an important and original contribution to elemental geographies, the geohumanities and interdisciplinary scholarship on air and atmosphere.

Writing Architecture in Modern Italy tells the history of an intellectual group connected to the small but influential Italian Einaudi publishing house between the 1930s and the 1950s. It concentrates on a diverse group of individuals, including Bruno Zevi, an architectural historian and politician; Giulio Carlo Argan, an art historian; Italo Calvino, a fiction writer; Giulio Einaudi, a publisher; and Elio Vittorini and Cesare Pavese, both writers and translators. Linking architectural history and historiography within a broader history of ideas, this book proposes four different methods of writing history, defining historiographical genres, modes, and tones of writing that can be applied to history writing to analyze political and social moments in time. It identifies four writing genres: myths, chronicles, history, and fiction, which became accepted as forms of multiple postmodern historical stories after 1957. An important contribution to the architectural debate, Writing Architecture in Modern Italy will appeal to those interested in the history of architecture, history of ideas, and architectural education.

A diverse set of contributions to the expanding field of ecocritical studies Seeking a broad reexamination of visual culture through the lenses of ecocriticism, environmental justice, and animal studies, Picture Ecology offers a diverse range of art historical criticism formulated within an ecological context. This book brings together scholars whose contributions extend chronologically and geographically from eleventh-century Chinese painting to contemporary photography of California wildfires. The book's fifteen interdisciplinary essays provide a dynamic, cross-cultural approach to an increasingly vital area of study, emphasizing the environmental dimensions inherent in the content and materials of aesthetic objects. Picture Ecology provides valuable new approaches for considering works of art in ways that are timely, intellectually stimulating, and universally significant. With contributions by Alan C. Braddock, Maura Coughlin, Rachael Z. DeLue, T. J. Demos, Monica Dominguez Torres, Finis Dunaway, Stephen F. Eisenman, Emily Gephart, Karl Kusserow, De-nin D. Lee, Gregory Levine, Anne McClintock, James Nisbet, Andrew Patrizio, Sugata Ray, and Greg M. Thomas. Distributed for the Princeton University Art Museum

Pictures are often admired for their aesthetic merits but they are rarely treated as if they had as much to offer as the written word. They are often overlooked as objects of analysis themselves, and tend to be seen simply as adjuncts to the text. Images, however, are not passive, and have a direct impact that engages attention in ways independent of any specific text. Advertising, entertainment and propaganda have realised the extent of this power to shape ideas, but the scientific community has hitherto neglected the ways in which visual material conditions the ways in which we think. With subjects including prehistoric artworks, excavation illustrations, artists' impressions of ancient sites and peoples and contemporary landscapes, photographs and drawings, this study explores how pictures shape our perceptions and our expectations of the past. This volume is not concerned with the accuracy of pictures from the past or directly about the past itself, but is interested instead in why certain subjects are selected, why they are depicted the way they are, and what effects such images have on our idea of the past. This collection constitutes a ground-breaking study in historiography which radically reassesses the ways that history can be written.

This beautifully illustrated book provides a complete overview of the art of the Southern Netherlands from 1585 to 1700. The author examines the development of Flemish and specifically Antwerp painting, the work of Rubens and other leading masters, and the Antwerp tradition of specialization among painters as well as the sculpture and architecture of this period.
"A major moment of artistic culture has been magisterially sketched by one of its leading authorities."-- Larry Silver, "The Art Book
""Consistently rewarding . . . a book that is going to transform how Flemish art is understood."-- Jeremy Wood, "Apollo Magazine
""As well as examining the output and influence of leading figures such as Rubens and Van Dyke, Vlieghe provides the historical, social and cultural context for the development of history painting and other specializations. . . . This book will attract both the informed and general reader."-- Alison Smith, "Art Newspaper
""Essential for current study of Belgian art."-- "Choice"

This book advances an enactivist theory of aesthetics through the study of inscrutable artworks that challenge us to think because we do not know what to think about them. John M. Carvalho presents detailed analyses a four artworks that share this unique characteristic: Francis Bacon's Study After Velazquez's Portrait of Pope Innocent X (1953), the photographs of Duane Michals, based on a retrospective of his work, Storyteller, at the Carnegie Museum of Art (2014), Etant donnes (1968) by Marcel Duchamp, and Jean-Luc Godard's 1963 film Le Mepris (released in the United States as Contempt). Carvalho argues against the application of theory to derive appreciation or meaning from these artistic works. Rather, each study enacts an embodied cognitive engagement with the specific artworks intended to demonstrate the value of thinking about artworks that might be extended to our engagement with the world in general. This thinking happens, as these studies show, when we trust our embodied skills and their guide to what artworks and the world around us afford for the activation and refinement of those skills. Thinking with Images will be of interest to scholars working in the philosophy of art and philosophical aesthetics, as well as art historians concerned with the meaning and value of contemporary art.

This book offers a range of views on spolia and appropriation in art and architecture from fourth-century Rome to the late twentieth century. Using case studies from different historical moments and cultures, contributors test the limits of spolia as a critical category and seek to define its specific character in relation to other forms of artistic appropriation. Several authors explore the ethical issues raised by spoliation and their implications for the evaluation and interpretation of new work made with spolia. The contemporary fascination with spolia is part of a larger cultural preoccupation with reuse, recycling, appropriation and re-presentation in the Western world. All of these practices speak to a desire to make use of pre-existing artifacts (objects, images, expressions) for contemporary purposes. Several essays in this volume focus on the distinction between spolia and other forms of reused objects. While some authors prefer to elide such distinctions, others insist that spolia entail some form of taking, often violent, and a diminution of the source from which they are removed. The book opens with an essay by the scholar most responsible for the popularity of spolia studies in the later twentieth century, Arnold Esch, whose seminal article 'Spolien' was published in 1969. Subsequent essays treat late Roman antiquity, the Eastern Mediterranean and the Western Middle Ages, medieval and modern attitudes to spolia in Southern Asia, the Italian Renaissance, the European Enlightenment, modern America, and contemporary architecture and visual culture.

In Becoming Palestine, Gil Z. Hochberg examines how contemporary Palestinian artists, filmmakers, dancers, and activists use the archive in order to radically imagine Palestine's future. She shows how artists such as Jumana Manna, Kamal Aljafari, Larissa Sansour, Farah Saleh, Basel Abbas, and Ruanne Abou-Rahme reimagine the archive, approaching it not through the desire to unearth hidden knowledge, but to sever the identification of the archive with the past. In their use of archaeology, musical traditions, and archival film and cinematic footage, these artists imagine a Palestinian future unbounded from colonial space and time. By urging readers to think about archives as a break from history rather than as history's repository, Hochberg presents a fundamental reconceptualization of the archive's liberatory potential.

This book addresses the critical terminologies of place and space (and their role within medieval studies) in a considered and critical manner, presenting a scholarly introduction written by the editors alongside thematic case studies that address a wide range of visual and textual material. The chapters consider the extant visual and textual sources from the medieval period alongside contemporary scholarly discussions to examine place and space in their wider critical context, and are written by specialists in a range of disciplines including art history, archaeology, history, and literature.

Formal and informal institutions structure our social interactions by giving rise to normative expectations and patterns of collective behaviour. This collection grapples with how affect, imagination, and embodiment can operate to either constrain or enable the justice of institutions and the experiences of specific social identities. This anthology explores the myriad ways institutions work to systematically disadvantage people with particular identities whilst privileging others, and considers the legal, political, and normative interventions that might serve to promote a more just society. Taken together, the chapters represent the scope of existing research within institutional theory, affect theory, race theory, and theories of social imaginaries. Across a range of topics (human rights, racial and sexual violence, transitional justice and democratic movements) this collection critically assesses the extent to which theorists have attended to the conjoined influence of the imagination, embodiment, and affective phenomena on processes of institutional change that aim to achieve social justice. The chapters in this book were originally published as a special issue of the journal, Angelaki.

From the Golden Age to Goya. This is the first study wholly devoted to reception of Spanish art in Britain and Ireland. Examining the extent and sources of knowledge of Spanish art in the British Isles during an age of increasing contact, particularly in theaftermath of the Peninsular War, it contains contributions by leading scholars, including reprints of three essays by Enriqueta Harris Frankfort, to whose memory this book is dedicated. Focusing on Spanish art from the Golden Age to Goya, these studies chart the growth in understanding and appreciation of the Spanish School, and its punctuation by controversies and continuing distrust of religious images in Protestant Britain, as well as by the successive `discoveries' of individual artists - Murillo, Velazquez, Ribera, Zurbaran, El Greco and Goya. The book publishes important new research on art importation, collecting and dealing, and discusses the increase in access to andscholarship on works of art, including their reproduction through both traditional prints and copies and the newly invented photographic methods. It also considers for the first time the role of women in reflecting taste for thearts of Spain. It is richly illustrated with 17 colour and 54 black and white illustrations. NIGEL GLENDINNING is Emeritus Professor of Spanish and Fellow of Queen Mary University of London. HILARY MACARTNEY isHonorary Research Fellow of the Institute for Art History, University of Glasgow. Contributors: NIGEL GLENDINNING, HILARY MACARTNEY, JEREMY ROE, SARAH SYMMONS, MARJORIE TRUSTED, ENRIQUETA HARRIS FRANKFORT

Making a strong case for a revaluation of Wyndham Lewis (1882-1957), this collection argues that significant aspects of Lewis's writing, painting, and thinking have not yet received the attention they deserve. The contributors explore Lewis's contributions to the production and circulation of modernism and assess the links between Lewis's writing and painting and the work of other key contemporary figures, to position Lewis not only as one of the first twentieth-century cultural critics but also as one who anticipated the work of the Frankfurt School and other social theorists. Familiar topics and themes such as Vorticism receive fresh appraisals, and Lewis's significance as a philosopher-critic, novelist, and artist becomes fully realized in the context of his associations with important figures such as John Rodker, Charlie Chaplin, Evelyn Waugh, Naomi Mitchison, and Rebecca West. Lewis emerges as a figure whose writings on politics, corporate patronage, shell shock, anthropology, art, and cinema extend their influence into the late twentieth and early twenty-first centuries.

One of the more widely discussed and inventive exponents of contemporary British art, Sam Taylor-Wood has spent a decade creating film and photographic works that extend the boundaries of their media. She worked closely with Bruce Mau Design on this project to give unprecedented insight into the usually private or suppressed source images behind her work.

Originally conceived for an exhibition in London, Contact's wall of over 2000 test prints, 360 degree panoramas and contact images was reassembled in Mau's Toronto studio. Photographed in detail from every angle to replicate the experience of visiting an installation they have created a provocative spatial hybrid. Contact also gives a revealing exposure of the vulnerabilities of Taylor -- Wood's subjects -- including Kate Moss, Courtney Love and Damien Hirst -- creating a lively archive of the creative icons of her time, like Warhol's Polaroid portraits and screen tests.

Reconstruction and Restoration of Architectural Heritage 2020 includes contributions on the protection, and restoration of architectural monuments and the reconstruction of major historical urban development sites, as well as various complex issues and aspects of engineering reconstruction of monuments and preservation of historical heritage. The contributions were presented at the eponymous conference (RRAH 2020, St Petersburg, Russia, 25-28 March 2020), and cover a wide range of topics: - Historical, architectural and urban planning research and restoration of monuments - Urban and regional planning - Engineering reconstruction, performance of repair and reconstruction works on monuments - Training of architects and restorers Reconstruction and Restoration of Architectural Heritage 2020 will be of interest to academics and professionals involved in the history and restoration of nature reserves, estates, cities and monuments.

In the history of art, animals were the very first subject, as evidenced by the nearly 20,000 year old cave paintings at Lascaux. The human impulse to depict and capture the essence of animals underscores the importance of animals to human lives. For some artists, the evolutionary link between humans and other mammals is most compelling, and their choice of mammals as subject speaks to each artist's personal concerns. From traditional works to the fantastical, from sporting art to kitsch, the nearly 100 U.S. and international artists included hope to combine their own magic with the natural spirit of animals in their work. Over 500 of their pieces are represented here in stunning, full-color photographs. This elegant collection honors the artistic connection and age-old totemic relationship between animal and human. Herein lies the conversation between the spirit of the animal and the mind of the maker.

One of America's favorite carvers brings seven new step-by-step Santa projects to his many fans, old and new. These Santas have special interests including golf, fishing, and skiing, among others. As always Ron Ransom makes the carving easy, interesting, and fun.

The Victorian Art School documents the history of the art school in the nineteenth century, from its origins in South Kensington to its proliferation through the major industrial centres of Britain. Charles Rennie Mackintosh's Glasgow School of Art, together with earlier examples in Manchester and Birmingham demonstrate an unprecedented concern for the provision of plentiful light and air amidst the pollution of the Victorian city. As theories of design education and local governance converged, they also reveal the struggle of the provincial city for cultural independence from the capital. Examining innovations in the use of new technologies and approaches in the design of these buildings, The Victorian Art School offers a unique and explicitly environmental reading of the Victorian city. It examines how art schools complemented civic 'Improvement' programmes, their contribution to the evolution of art pedagogy, the tensions that arose between the provincial schools and the capital, and the role they would play in reimagining the relationship between art and public life in a rapidly transforming society. The architects of these buildings synthesised the potential of art with the perfection of the internal environment, indelibly shaping the future cultural life of Britain.

Painting the Novel: Pictorial Discourse in Eighteenth-Century English Fiction focuses on the interrelationship between eighteenth-century theories of the novel and the art of painting - a subject which has not yet been undertaken in a book-length study. This volume argues that throughout the century novelists from Daniel Defoe to Ann Radcliffe referred to the visual arts, recalling specific names or artworks, but also artistic styles and conventions, in an attempt to define the generic constitution of their fictions. In this, the novelists took part in the discussion of the sister arts, not only by pointing to the affinities between them but also, more importantly, by recognising their potential to inform one another; in other words, they expressed a conviction that the theory of a new genre can be successfully rendered through meta-pictorial analogies. By tracing the uses of painting in eighteenth-century novelistic discourse, this book sheds new light on the history of the so-called "rise of the novel".

Through Time and the City: Notes on Rome offers a new approach to exploring cities. Using Rome as a guide, the book follows familiar sites, geographies, and characters in search of their role within a larger narrative that includes the environmental processes required to generate enough space and material for the city, the emergent ecologies to which its buildings play host, and the social patterns its various structures help to organize. Through Time and the City argues that Rome is made and unmade by an endlessly evolving chorus that has, for better or worse, gained geological legitimacy; that the city absorbs and emits countless artifacts in its search for collective identity; that the city is a platform for the constant staging of negotiations between agents (humans, buildings, plants, animals, pathogens, goods, waste, water) that drive and are driven by the entanglements of climate and culture. This book provides textual and visual frameworks for identifying the material traces, emergent patterns, or speculated futures that expose a city as inseparable from its capacity to change.

In engaging with the full range of 'the arts', contributors to this volume consider the relationship between law, justice, the ethical and the aesthetic. Art continually informs the ethics of a legal theory concerned to address how theoretical abstractions and concrete oppressions overlook singularity and spontaneity. Indeed, the exercise of the legal role and the scholarly understanding of legal texts were classically defined as ars iuris - an art of law - which drew on the panoply of humanist disciplines, from philology to fine art. That tradition has fallen by the wayside, particularly in the wake of modernism. But approaching art in that way risks distorting the very inexpressibility to which art is attentive and responsive, whilst remaining a custodian of its mystery. The novelty and ambition of this book, then, is to elicit, in very different ways, styles and orientations, the importance of the relationship between law and art. What can law and art bring to one another, and what can their relationship tell us about how truth relates to power? The insights presented in this collection disturb and supplement conventional accounts of justice; inaugurating new possibilities for addressing the origin of violence in our world.