The Arts and Crafts Movement produced some of the country's most popular, loved and recognizable buildings. This book guides the general reader through its history from the mid-nineteenth century to the early twentieth. Of equal interest to those with a more informed interest, it will open your eyes to the richness and beauty of one of the most important artistic movements the British Isles ever produced. This beautifully illustrated book includes a comprehensive thematic introduction; an up-to-date history of Arts and Crafts architecture, the key individual and the characteristics of the buildings. In-depth case-studies of all the major buildings are given, as well as those overlooked by the current literature. There is a useful accompanying guide to places to visit and, finally, a list of stunning Arts and Crafts buildings you can stay in.

Transforming Saints explores the transformation and function of the images of holy females within wider religious, social, and political contexts of Old Spain and New Spain from the Spanish conquest to Mexican independence. The chapters here examine the rise of the cults of the lactating Madonna, St. Anne, St. Librada, St. Mary Magdalene, and the Suffering Virgin. Concerned with holy figures presented as feminine archetypes, images that came under Inquisition scrutiny, as well as cults suspected of concealing indigenous influences, Charlene VillaseNor Black argues that these images would come to reflect the empowerment and agency of women in viceregal Mexico. Her close analysis of the imagery additionally demonstrates artists' innovative responses to Inquisition censorship and the new artistic demands occasioned by conversion. The concerns that motivated the twenty-first century protests against Chicana artists Yolanda LOpez in 2001 and Alma LOpez in 2003 have a long history in the Hispanic world-anxieties about the humanization of sacred female bodies and fears of indigenous influences infiltrating Catholicism. In this context Black also examines a number of important artists in depth, including El Greco, Murillo, Jusepe de Ribera, and Pedro de Mena in Spain and Naples and Baltasar de Echave IbIa, Juan Correa, CristObal de Villalpando, and Miguel Cabrera.

Intermittently in and out of fashion, the persistence of the Rococo from the eighteenth century to the twenty-first is clear. From painting, print and photography, to furniture, fashion and film, the Rococo's diverse manifestations appear to defy temporal and geographic definition. In Rococo echo, a team of international contributors adopts a wide lens to explore the relationship of the Rococo with time. Through chapters organised around broad temporal moments - the French Revolution, the First World War and the turn of the twenty-first century - contributors show that the Rococo has been viewed variously as modern, late, ruined, revived, preserved and anticipated. Taking into account the temporality of the Rococo as form, some contributors consider its function as both a visual language and a cultural marker engaged in different ways with the politics of nationalism, gender and race. The Rococo is examined, too, as a mode of expression that encompassed and assimilated styles, and which functioned as a surprisingly effective means of resisting both authority - whether political, religious or artistic - and cultural norms of gender and class. Contributors also show how the Rococo, from its birth in France, reverberated through England, Germany, Italy, Portugal and the South American colonies to become a pan-European, even global movement. The Rococo emerges from these contributions as a discourse defined but not confined by its original historical moment, and whose adaptability to the styles and preoccupations of later periods gives it a value and significance that take it beyond the vagaries of fashion.

Although recently more studies have been devoted to the representations of Biblical heroines in modern European art, less is known about the contribution to the portrayals of Biblical women by modern Jewish artists. This monograph explores why and how heroines of the Scripture: Judith, Esther and the Shulamite received a particular meaning for acculturated Jewish artists originating from the Polish lands in the last decades of the nineteenth century and the first two decades of the twentieth century. It convincingly proves that artworks by Maurycy Gottlieb, Wilhem Wachtel, Ephraim Moses Lilien, Maurycy Minkowski, Samuel Hirszenberg and Boris Schatz significantly differed from renderings of contemporary non-Jewish artists, adopting a "Jewish perspective", creating complex and psychological portrayals of the heroines inspired by Jewish literature and as well as by historical and cultural phenomena of Jewish revival and the cultural Zionism movement.