Until now, no detailed examination has been made of the twenty-four portraits known to have been painted of Coleridge during his life. Most of these are still extant, and together they constitute a kind of biography, as well as revealing the assumptions, not only of the sitter and the artists, but also of the culture to which they belong. Each in its different way seems to reveal some aspect of Coleridge's personality. This sequence of images - to which various posthumous and imaginary portraits supply an interesting postscript - are the subject of this illustrated study and catalogue by the eminent Coleridgean and Romantic scholar Morton D. Paley. There are reproductions throughout, two of them in colour.

From the birth of the museum to the explosion of mass-produced illustrated books, the Romantic period (c. 1770-1840) was a moment of rapid change and fruitful experimentation in the fields of art and literature alike. New advances in print production encouraged a wider range of readers to engage with literary forms that opened a path into the once aristocratic field of the visual arts. This Companion captures the way recent engagements with visual studies have reshaped how we approach and understand the boundaries between print and visual culture in the period. It brings together 27 research-led chapters that offer a detailed account of the productive, if sometimes tense, interactions between emergent forms of intermedial expression that were redefining culture in the Romantic period -- as they continue to do today.

Smell loomed large in cultural discourse in the late nineteenth century, thanks to the midcentury fear of miasma, the drive for sanitation reform, and the rise in artificial perfumery. Meanwhile, the science of olfaction remained largely mysterious, prompting an impulse to “see smell” and inspiring some artists to picture scent in order to better know and control it. This book recovers the substantive role of the olfactory in Pre-Raphaelite art and Aestheticism. Christina Bradstreet examines the iconography and symbolism of scent in nineteenth-century art and visual culture. Fragrant imagery in the work of John Everett Millais, Dante Gabriel Rossetti, Simeon Solomon, George Frederic Watts, Edward Burne-Jones, and others set the trend for the preoccupation with scent that informed swaths of British, European, and American art and design. Bradstreet’s rich analyses of paintings, perfume posters, and other works of visual culture demonstrate how artworks mirrored the “period nose” and intersected with the most clamorous debates of the day, including evolution, civilization, race, urban morality, mental health, faith, and the “woman question.” Beautifully illustrated and grounded in current practices in sensory history, Scented Visions presents both fresh readings of major works of art and a deeper understanding of the cultural history of nineteenth-century scent.

Nicholas Capaldi's biography of John Stuart Mill traces the ways in which Mill's many endeavors are related and explores the significance of his contributions to metaphysics, epistemology, ethics, social and political philosophy, the philosophy of religion, and the philosophy of education. Capaldi shows how Mill was groomed for his life by both his father James Mill and Jeremy Bentham, the two most prominent philosophical radicals of the early 19th century. Mill, however, revolted against this education and developed friendships with both Thomas Carlyle and Samuel Taylor Coleridge who introduced him to Romanticism and political conservatism. A special feature of this biography is the attention devoted to Mill's relationship with Harriet Taylor. No one exerted a greater influence than the woman he was eventually to marry. Capaldi reveals just how deep her impact was on Mill's thinking about the emancipation of women. Nicholas Capaldi was until recently the McFarlin Endowed Professor of Philosophy and Research Professor of Law at the University of Tulsa. He is the founder and former Director of Legal Studies. His principal research and teaching interest is in public policy and its intersection with political science, philosophy, law, religion, and economics. He is the author of six books, including The Art of Description (Prometheus, 1987) and How to Win Every Argument (MJF Books, 1999), over fifty articles, and editor of six anthologies. He is a recent recipient of the Templeton Foundation Freedom Project Award.

"This stylish and erudite thematic study of the influence Romanticism exerts upon Western culture and particularly the visual arts is the companion volume to Honour's equally valuable Neo-classicism.... The text is supported by a useful selection of illustrations Excellent footnotes and a good index. Finely produced, Romanticism will stimulate the graduate and inform the undergraduate." -Choice "An interpretation that rings true for our own time.... His approach to his vast subject is essentially cool, analytic and balanced This is a book that covers an immense amount of material with a freshness of touch." -John Russell, The New York Times "A book of great interest and quality which gives form to a subject that is often treated very vaguely." -Kenneth Clark

This revelatory book traces how the Pre-Raphaelite Brotherhood and their close associates put scientific principles into practice across their painting, poetry, sculpture, and architecture. In their manifesto, The Germ, the Pre-Raphaelites committed themselves to creating a new kind of art modeled on science, in which precise observation could lead to discoveries about nature and humanity. In Oxford and London, Victorian scientists and Pre-Raphaelite artists worked together to design and decorate natural history museums as temples to God's creation. At the same time, journals like Nature and the Fortnightly Review combined natural science with Pre-Raphaelite art theory and poetry to find meaning and coherence within a worldview turned upside down by Darwin's theory of evolution. Offering reinterpretations of well-known works by John Everett Millais, William Holman Hunt, Dante Gabriel Rossetti, Ford Madox Brown, and William Morris, this major revaluation of the popular Victorian movement also considers less-familiar artists who were no less central to the Pre-Raphaelite project. These include William Michael Rossetti, Walter Deverell, James Collinson, John and Rosa Brett, John Lucas Tupper, and the O'Shea brothers, along with the architects Benjamin Woodward and Alfred Waterhouse. Published in association with the Paul Mellon Centre for Studies in British Art

Featuring works by Francisco Goya, Sergei Eisenstein and Robert Longo, Proof offers insight into the singularity of vision through which artists can reflect the social, cultural and political complexities of their times. Spanning eras and continents, each of these artists witnessed the turbulent transition from one century to another, experiencing the seismic impacts of revolution, civil rights movements and war. While Goya served church and king, Eisenstein the state, and Longo emerged during the rise of the contemporary art market--the dominant benefactors of each period--they all rose to prominence through developing nuanced practices that challenged expectations. With commissioned essays by journalist, activist and author Chris Hedges, artist Vadim Zakharov and Garage Chief Curator Kate Fowle, plus an interview with Longo, this book is published to accompany the exhibition of the same name.

The beauty of nature and man's loneliness are dominant themes in the work of Caspar David Friedrich (1774-1840). The artist often places a small human figure in a broad landscape, as in his famous paintings Monk by the Sea and The Wanderer above the Sea of Fog. For a long time the importance and influence of this great Romantic painter were underestimated. When he died, Friedrich had already been forgotten by his contemporaries and was only rediscovered in the early 20th century. Today he is considered to be the most important German painter of his generation and a precursor of Expressionism. Once Friedrich gave the following advice to an artist-colleague of his who was constricted by academic rules: "Shut your physical eye so that you first see your painting with your spiritual eye. Then bring to light what you saw in the dark so that it has an effect on others, shining inwards from outside." In other words, concentration and not imitation, essence and not frivolous brushwork. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

A fresh approach to nineteenth-century European painting; lusciously illustrated, it offers a comprehensive overview of the century's artistic innovation This extensive survey also includes biographies for each of the artists Nineteenth-Century European Painting: From Barbizon to Belle Epoque represents a comprehensive guide to the range of stylistically diverse genres of nineteenth-century European painting. Accessible and insightful, this exquisitely illustrated volume presents the historical context behind the century's essential artistic movements including Romantic Painting, The Pre-Raphaelite Brotherhood, Realist Painting, Academic Painting, and Impressionist Painting. Influenced by an overwhelming wave of political, military and social change, nineteenth-century Europe represented an era more diverse in painterly subjects and styles than any before it. Indeed, it was a period that saw many European painters moving away from the strictures of the academy system, choosing instead to use their training to develop new techniques and traditions. A collection of independent stories, this book also outlines the unique progression between the different movements, exciting and enlightening the reader about the most magnificent period of art the world has ever known. Contents: Foreword; Dr. Vern G. Swanson; Introduction; Author's Note; STYLES: The Barbizon School; Romantic Painting; Orientalist Painting; The Pre-Raphaelite Brotherhood; Realist Painting; Academic Painting; Impressionist Painting; The Newlyn School; Post-Impressionist Painting; SUBJECTS: Landscape Painting; Venetian View Painting; Maritime Painting; Sporting Painting; Animal Painting; Genre Painting; Cardinal Painting; Costume Painting; British Neoclassical Revival Painting; Belle Epoque Painting; Conclusion; Endnotes; Bibliography. Considered one of the world's foremost experts on 18th- and 19th-century European and American antiques, fine art and jewelry, Bill Rau has worked in his family-owned gallery, M.S Rau Antiques, for over 30 years. An avid collector and authority in his field, Bill has helped place several items in museums around the world. In addition to being a prominent member of many local business organizations, he was the youngest senior member ever accepted to the American Society of Appraisers. In addition to writing numerous articles published in a wide variety of national magazines and antique journals.

"Damaged Romanticism" features 15 internationally recognised contemporary artists whose work, in painting, sculpture, installations, and photography based media, belongs neither to a style nor a traditional 'school', but is thematically linked by a visual representation of how stubborn optimism, rather than utopianism, triumphs in the face of daily adversity. In her opening essay "Damaged Romanticism: A Mirror of Modern Emotion", Terrie Sultan offers an overview of the concept behind the exhibition and explains how the chosen works give form to contradictory sentiments of disillusionment, and defiance.David Pagel, in Romanticism's Aftermath, considers the role of Romanticism and Neoclassicism in the late eighteenth and nineteenth centuries and how 'damaged romanticism' is a reinterpretation of this. The links between art and film are further explored by Colin Gardner in the third essay, From here to eternity. Preceding the main catalogue is a short story by Nick Flynn, a crystal formed entirely of holes, a new work of fiction written especially for this exhibition.

In "The Roots of Romanticism," one of the twentieth century's most influential philosophers dissects and assesses a movement that changed the course of history. Brilliant, fresh, immediate, and eloquent, these celebrated Mellon Lectures are a bravura intellectual performance. Isaiah Berlin surveys the many attempts to define romanticism, distills its essence, traces its developments from its first stirrings to its apotheosis, and shows how it still permeates our outlook. He ranges over a cast of some of the greatest thinkers and artists of the eighteenth and nineteenth centuries, including Kant, Rousseau, Diderot, Schiller, the Schlegels, Novalis, Goethe, Blake, Byron, and Beethoven. The ideas and attitudes of these and other figures, Berlin argues, helped to shape twentieth-century nationalism, existentialism, democracy, totalitarianism, and our ideas about heroic individuals, self-fulfillment, and the exalted place of art.

This new edition, illustrated for the first time, also features a new foreword by philosopher John Gray, in which he discusses Berlin's belief that the influence of romanticism has been unpredictable and contradictory in the extreme, fuelling anti-liberal political movements but also reinvigorating liberalism; a revised text; and a new appendix that includes some of Berlin's correspondence about the lectures and the reactions to them.

A comprehensive presentation of the important collection of Barbizon School painting at the National Gallery, London The significant collection of 19th-century French paintings at the National Gallery, London, includes many important works by artists associated with the Barbizon School. In addition to paintings by Courbet, Millet, and Rousseau, there are over twenty works by Corot, including the monumental Italian Woman, or Woman with Yellow Sleeve (L'Italienne) recently acquired from the estate of Lucian Freud. Works by Corot range from an early oil study made in Italy to late studio landscapes. This meticulously researched and lavishly illustrated volume contains entries that examine all aspects of the paintings, from subject and stylistic significance to physical condition and conservation history. Setting the individual works within a broader context, essays explore the impact of plein-air practice; examine the relationship of the Barbizon School to the academic landscape painters and the Impressionists; and trace the history of the passionate collecting of these pictures in Britain well into the 20th century. Published by National Gallery Company/Distributed by Yale University Press

J.M.W. Turner was a fascinating and enigmatic figure. Both astonishingly prolific and extraordinarily innovative, he is widely seen as the greatest British landscape painter of them all, anticipating and surpassing the Impressionists in his dramatic interpretations of the effects of light and colour. "The Turner Book" goes beyond the usual interpretations of the artist, revealing the extraordinary self-belief and ambition that allowed him to continue steadfastly with his experimentation in the face of hostile critical attack. The book examines in detail key works and the techniques by which Turner realised them and features revealing extracts from his notebooks, travel journals and poetry. Beautifully illustrated with both famous and unknown works and ranging over the entire course of the artist's career, this is the essential guide to Turner's life and work. Sam Smiles is Professor of Art History at the University of Plymouth at Exeter and the author of numerous acclaimed books, including "J.M.W. Turner", "Two-way Traffic: British Art and Italian Art 1880-1980" and "The Image of Antiquity: Ancient Britain and the Romantic Imagination".

A comprehensive review of art in the first truly modern century A Companion to Nineteenth-Century Art contains contributions from an international panel of noted experts to offer a broad overview of both national and transnational developments, as well as new and innovative investigations of individual art works, artists, and issues. The text puts to rest the skewed perception of nineteenth-century art as primarily Paris-centric by including major developments beyond the French borders. The contributors present a more holistic and nuanced understanding of the art world during this first modern century. In addition to highlighting particular national identities of artists, A Companion to Nineteenth-Century Art also puts the focus on other aspects of identity including individual, ethnic, gender, and religious. The text explores a wealth of relevant topics such as: the challenges the artists faced; how artists learned their craft and how they met clients; the circumstances that affected artist's choices and the opportunities they encountered; and where the public and critics experienced art. This important text: Offers a comprehensive review of nineteenth-century art that covers the most pressing issues and significant artists of the era Covers a wealth of important topics such as: ethnic and gender identity, certain general trends in the nineteenth century, an overview of the art market during the period, and much more Presents novel and valuable insights into familiar works and their artists Written for students of art history and those studying the history of the nineteenth century, A Companion to Nineteenth-Century Art offers a comprehensive review of the first modern era art with contributions from noted experts in the field.

In 1865, the American landscape painter Frederic Edwin Church and his wife, Isabel, traveled to Jamaica on a sojourn of recovery after the tragic deaths of their two young children Herbert and Emma. A time to mourn and escape from the constant reminders found at their home, Olana, the Churches' trip to Jamaica also provided ample inspiration for Frederic.

The Olana Collection includes eight oil sketches, an ink drawing, and a pencil drawing Church made in Jamaica. Five of these oil sketches on paper Church chose to mount to canvas and frame for his and Isabel's enjoyment; over the years they have hung in different rooms at Olana. From these works, and others held by the Cooper-Hewitt, Church created two major studio oils, The Vale of St. Thomas, Jamaica, 1867 (the Wadsworth Atheneum) and The After Glow, 1867 (the Olana Collection). Within Church's oeuvre the studies of Jamaican sunsets, mountains, and foliage are particularly lovely. Church wrote of Jamaica: "The scenery is superb. . . . I have accomplished a great amount of work but there is so much to do that I am at a loss to decide day by day what to paint."

The 2010 exhibit at Olana will help explain Church's working process by showing Sunset Jamaica and the resulting studio work The After Glow together; it will include five works never before exhibited and reveal Church's interesting use of his photography collection both as an aide-memoire and as substrate for sketching. Fern Hunting among Picturesque Mountains includes forty-eight color illustrations, as well as essays by Elizabeth Mankin Kornhauser (on Church's Jamaica work) and Katherine Manthorne (about Church's friends and fellow artists who also traveled to Jamaica to paint)."

Framed by tensions between figural sculpture experienced in the round and its translation into two-dimensional representations, Animating the Antique explores enthralling episodes in a history of artistic and aesthetic encounters. Moving across varied locations-among them Rome, Florence, Naples, London, Dresden, and Paris-Sarah Betzer explores a history that has yet to be written: that of the Janus-faced nature of interactions with the antique by which sculptures and beholders alike were caught between the promise of animation and the threat of mortification. Examining the traces of affective and transformative sculptural encounters, the book takes off from the decades marked by the archaeological, art-historical, and art-philosophical developments of the mid-eighteenth century and culminantes in fin de siecle anthropological, psychological, and empathic frameworks. It turns on two fundamental and interconnected arguments: that an eighteenth-century ontology of ancient sculpture continued to inform encounters with the antique well into the nineteenth century, and that by attending to the enduring power of this model, we can newly appreciate the distinctively modern terms of antique sculpture's allure. As Betzer shows, these eighteenth-century developments had far-reaching ramifications for the making and beholding of modern art, the articulations of art theory, the writing of art history, and a significantly queer Nachleben of the antique. Bold and wide-ranging, Animating the Antique sheds light upon the work of myriad artists, in addition to that of writers ranging from Goethe and Winckelmann to Hegel, Walter Pater, and Vernon Lee. It will be especially welcomed by scholars and students working in eighteenth- and nineteenth-century art history, art writing, and art historiography.

This single-volume book provides students, educators, and politicians with an update to the classic Carey McWilliams work North From Mexico. It provides up-to-date information on the Chicano experience and the emergent social dynamics in the United States as a result of Mexican immigration. Carey McWilliam's North From Mexico, first published in 1948, is a classic survey of Chicano history. Now fully updated by Alma M. Garcia to cover the period from 1990 to the present, McWilliams's quintessential book explores all aspects of Chicano/a experiences in the United States, including employment, family, immigration policy, language issues, and other cultural, political, and social issues. The volume builds on the landmark work and also provides relevant up-to-date content to the 1990 edition revised by Matt S. Meier, which added coverage of the key period in Chicano history from the postwar period through to the late 1980s. As the largest group of immigrants in the United States, representing more than a quarter of foreign-born individuals in the United States, Mexican immigrants have had and will continue to have a tremendous impact on the culture and society of the United States as a whole. This freshly updated edition of North from Mexico addresses the changing demographic trends within Mexican immigrant communities and their implications for the country; analyzes key immigration policies such as the Immigration Act of 1990 and California's Proposition 187, with specific emphasis on the political mobilization that has developed within Mexican American immigrant communities; and describes the development of immigration reform as well as community organizations and electoral politics. The book contains new chapters that examine recent trends in Mexican immigration to the United States and identify the impact on politics and society of Mexican immigrants and later generations of U.S.-born Mexican Americans. The appendices provide readers and researchers with current immigration figures and information regarding today's socieconomic conditions for Mexican Americans. Provides readers with an in-depth understanding of the changing demographics of the Mexican immigrant population in the United States Analyzes the major trends in U.S. immigration, including anti-immigrant policies, issues facing the unauthorized immigrant population, and the development of the immigrant rights movement Examines the complex interrelationship between Mexican immigrants and later generations of U.S.-born Mexican Americans and the U.S. political system Covers important recent topics such as anti-immigration movements, language debates like Prop 227 and other anti-immigrant legislation that address the education of Spanish speakers, cultural developments and art of Mexican Americans, and the changing economic outlook for Mexican immigrants Offers the latest information on the complex interrelationship between Mexican immigrants and later generations of U.S.-born Mexican Americans

A revealing new portrait of J.M.W. Turner and the man behind the art, uncovering fresh material and shedding new light on this complicated and secretive artistic figure. Joseph Mallord William Turner is arguably Britain's greatest and most mysterious painter, whose range of work encompasses seascape and landscape, immensely powerful oil paintings and intimate watercolours. His friend and colleague C.R. Leslie remembered him thus: 'Turner was short and stout, and had a sturdy, sailor-like walk. He might be taken for the captain of a river steamboat at first glance; but a second would find more in his face than belongs in any ordinary mind. There was that peculiar keenness of expression in his eye that is only seen in men of constant habits of observation'. The son of a Covent garden barber and a woman who died in Bethlehem Hospital, Turner achieved fame and fortune during his lifetime. Although he possessed a wide-ranging imagination, he was an often incoherent speaker and writer, and his muddled will produced much discord - it is a wonder that, despite avaricious relatives and incompetent lawyers, so many of his works are now in the hands of the nation, and publicly proclaim his genius. In this riveting and revelatory biography, Anthony Bailey has drawn upon archival material, scholarly literature and research, as well as studying many of Turner's sketchbooks, paintings and watercolours, to shed new light on this complicated and secretive artistic figure.

With their broken lines and hasty brushwork, sketches acquired enormous ideological and aesthetic power during the Romantic period in England. Whether publicly displayed or serving as the basis of a written genre, these rough drawings played a central role in the cultural ferment of the age by persuading audiences that less is more. The Visual and Verbal Sketch in British Romanticism investigates the varied implications of sketching in late-eighteenth- and early-nineteenth-century culture. Calling on a wide range of literary and visual genres, Richard C. Sha examines the shifting economic and aesthetic value of the sketch in sources ranging from auction catalogs and sketching manuals to novels that employed scenes of sketching and courtship. He especially shows how sketching became a double-edged accomplishment for women when used to define "proper" femininity. Sha's work offers fresh readings of Austen, Gilpin, Wordsworth, and Byron, as well as less familiar writers, and provides sophisticated interpretations of visual sketches. As the first full-length work about sketching during the Romantic era, this volume is a rich interdisciplinary study of both representation and gender.

Between 1800 and 1920, the territory and influence claimed by Western empires came to cover a larger portion of the globe than at any time before or since. Why and how did this happen? What were the consequences of this unprecedented scramble for dominion? What methods have historians used to understand the increasingly large and structurally complex Western empires that emerged across the long 19th century? In this fifth volume, A Cultural History of Western Empires in the Age of Empire, we trace these questions across a period bookended by two devastating global wars. The forces that enabled unparalleled Western expansion were likewise violent. Often no less traumatically, the phenomenon was also one of cultural exchange and negotiated identities in which both colonized and colonizer were repeatedly made and remade. As cultural historians, we locate the power struggles of empire as much in identity and ways of life as in the movement of armies or the signing of treaties. New technologies of communication, transport and warfare brought an 'Age of Empire' into existence for the West. But it was equally grounded in new ways of thinking about human difference and new beliefs about the state's power to intervene in the most intimate domains of human behavior.

Dazzling works on paper from a vast and celebrated collection The Harvard Art Museums house one of the most significant collections of works on paper in North America. Among its many strengths are sheets by draftsmen of the French School, including notable masters such as Simon Vouet, Claude Lorrain, Nicolas Poussin, Jean-Antoine Watteau, François Boucher, Jean-Baptiste Greuze, and Jean-Honoré Fragonard. Following an introductory essay that charts the formation of this group of drawings, this catalogue provides thorough entries on more than 100 outstanding examples from the 16th to 18th century that encompass a range of genres and motifs—from landscapes and figure studies to historical and mythological scenes—many of which were produced for major commissions or mark key moments in the development of style and taste in early modern France. Alvin L. Clark Jr. marshals his decades-long engagement with these works, pairing a discerning eye with perceptive readings that deepen our understanding of the drawings and their makers. Distributed for the Harvard Art Museums

"Art is not what you see, but what you make others see." Edgar Degas Covering every era and over 650 artists, this comprehensive, illustrated guide offers an accessible yet expansive view of art history, featuring everything from iconic works and lesser-known gems to techniques and themes. Offering a comprehensive overview of Western artists, themes, paintings, techniques, and stories, Art: A Visual History is packed full of large, full-colour images of iconic works and lesser-known gems. Exploring every era, from 30,000BCE to the present, it includes features on the major schools and movements, as well as close-up critical appraisals of 22 masterpieces - from Botticelli's Primavera to J. M. W. Turner's The Fighting Temeraire. With detailed referencing, crisp reproductions and a fresh design, this beautiful book is a must-have for anyone with an interest in art history - from first-time gallery goers to knowledgeable art enthusiasts. What makes great art? Discover the answer now, with Art: A Visual History.

J. M. W. Turner is generally acknowledged not only as Britain's greatest painter, but as one of the finest and most original of all landscape painters. This work, written by a team of the world's foremost Turner scholars, is the first to provide an authoritative and comprehensive guide to his life and works, paying proper attention to the growth of scholarly and critical acclaim given to him, especially over the last two decades.

An original and breathtakingly beautiful perspective on how art developed through the ages, this book reveals how new materials and techniques inspired artists to create their greatest works. The Story of Painting will completely transform your understanding and enjoyment of art. Covering a comprehensive array of topics, from the first pigments and frescos to linear perspective in Renaissance paintings, the influence of photography, Impressionism, and the birth of modern art, it follows each step in the evolution of painting over the last 25,000 years, from the first cave paintings to the abstract works of the last 100 years. Packed with lavish colour reproductions of paintings and photographs of artists at work and the materials they used, it delves into the key paintings from each period to analyse the techniques and secrets of the great masters in detail. Immerse yourself in the pages of this stunning book and find yourself dazzled by new colours; marvel at the magic of perspective; wonder at glowing depictions of fabric and flesh; understand cubism; and embrace abstraction. You will look at paintings in a whole new light.