Philadelphia on Stone is the first work in over fifty years to examine the history of nineteenth-century commercial lithography in Philadelphia. The capstone to the Library Company of Philadelphia's multifaceted Philadelphia on Stone project, this heavily illustrated volume of thematic essays provides an analysis of the social, economic, and technological changes in the local trade from 1828 to 1878; biographies of premier lithographers P. S. Duval and James Queen; and new insights about genres of lithographs pertaining to book illustration, advertising, sensational news, and landscape imagery.

Illustrated with more than 130 full-color images, the text will appeal to local historians, scholars of printing history, and those studying visual and popular culture, advertising, and economic history. The depicted advertisements, cityscape and bird's-eye views, disaster prints, and zoological illustrations document Philadelphia while showcasing the skilled work of the city's lithographers. Philadelphia on Stone highlights the finesse and allure of the lithographic process, which radically altered the visual landscape of Philadelphia and the country.

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.

Exploring the relationship between visual art and literature in the Romantic period, this book makes a claim for a sister-arts 'moment' when the relationship between painting, sculpture, pottery and poetry held special potential for visual artists, engravers and artisans. Elaborating these cultural tensions and associations through a number of case studies, Thora Brylowe sheds light on often untold narratives of English labouring craftsmen and artists as they translated the literary into the visual. Brylowe investigates examples from across the visual spectrum including artefacts, such as Wedgwood's Portland Vase, antiquarianism through the work of William Blake, the career of engraver John Landseer, and the growing influence of libraries and galleries in the period, particularly Boydell's Shakespeare Gallery. Brylowe artfully traces the shifting cultural connections between the imaginative word and the image in a period that saw new print technologies deluge Britain with its first mass media.

In The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature, Emily Brady takes a fresh look at the sublime and shows why it endures as a meaningful concept in contemporary philosophy. In a reassessment of historical approaches, the first part of the book identifies the scope and value of the sublime in eighteenth-century philosophy (with a focus on Kant), nineteenth-century philosophy and Romanticism, and early wilderness aesthetics. The second part examines the sublime's contemporary significance through its relationship to the arts; its position with respect to other aesthetic categories involving mixed or negative emotions, such as tragedy; and its place in environmental aesthetics and ethics. Far from being an outmoded concept, Brady argues that the sublime is a distinctive aesthetic category which reveals an important, if sometimes challenging, aesthetic-moral relationship with the natural world.

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.

Flower painter Pierre-Joseph Redoute (1759-1840) devoted himself exclusively to capturing the diversity of flowering plants in watercolor paintings which were then published as copper engravings, with careful botanical descriptions. The darling of wealthy Parisian patrons including Napoleon's wife Josephine, he was dubbed "the Raphael of flowers," and is regarded to this day as a master of botanical illustration. This collection brings our best-selling XL-sized edition to a smaller, more convenient format, still gathering some of the finest color engravings from Redoute's illustrations of Roses, Lilies, and Choix des plus belles fleurs et quelques branches des plus beaux fruits (Selection of the Most Beautiful Blooms and Branches with the Finest Fruits). Offering a vibrant overview of Redoute's admixture of accuracy and beauty, it is also a privileged glimpse into the magnificent gardens and greenhouses of a bygone Paris. About the series TASCHEN is 40! Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible publishing, helping bookworms around the world curate their own library of art, anthropology, and aphrodisia at an unbeatable price. Today we celebrate 40 years of incredible books by staying true to our company credo. The 40 series presents new editions of some of the stars of our program-now more compact, friendly in price, and still realized with the same commitment to impeccable production.

Gregory Dart expands upon existing notions of Cockneys and the 'Cockney School' in the late Romantic period by exploring some of the broader ramifications of the phenomenon in art and periodical literature. He argues that the term was not confined to discussion of the Leigh Hunt circle, but was fast becoming a way of gesturing towards everything in modern metropolitan life that seemed discrepant and disturbing. Covering the ground between Romanticism and Victorianism, Dart presents Cockneyism as a powerful critical currency in this period, which helps provide a link between the works of Leigh Hunt and Keats in the 1810s and the early works of Charles Dickens in the 1830s. Through an examination of literary history, art history, urban history and social history, this book identifies the early nineteenth-century figure of the Cockney as the true ancestor of modernity.

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 radical, lively departure from received notions about art of the Romantic period For many, the term "neoclassicism" has come to imply discipline, order, restraint, and a certain myopia. Leaving the term behind, this book radically challenges enduring assumptions about the art produced from the late 18th century to the early Victorian period, casting new light on appropriations of the classical body by British artists. It is the first to foreground the intersections of gender, race, and class in discussions of British visual classicism, laying bare artists' alternately politicizing and emphatically sensual engagements with Greco-Roman art. Rather than rely exclusively on subsequent scholarship, the book takes up the poet John Keats (1795-1821) as a theoretical framework. Eschewing the "Golden Age" narrative, which sees J. M. W. Turner (1775-1851) as the pinnacle of the period's artistic achievement, the book examines overlooked artists, such as Henry Howard (1769-1847) and John Graham Lough (1798-1876). The result is a fresh account of underappreciated works of British painting and sculpture.

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)."

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.

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

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.

Delacroix's Journal is one of the great documents in art history, a magnificent work of literature as well as vital documentary source for scholars and students. In it the artist discusses his own paintings, his life, his sorrow and hopes; the paintings and sculptures of Rubens, Michelangelo, Constable, Bonington and others: old and new literature and the music of Mozart, Rossini and Chopin, the events of his time.

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

The man behind the paintings: the extraordinary life of J. M. W Turner, one of Britain's most admired, misunderstood and celebrated artists J. M. W. Turner is Britain's most famous landscape painter. Yet beyond his artistic achievements, little is known of the man himself and the events of his life: the tragic committal of his mother to a lunatic asylum, the personal sacrifices he made to effect his stratospheric rise, and the bizarre double life he chose to lead in the last years of his life. A near mythical figure in his own lifetime, Franny Moyle tells the story of the man who was considered visionary at best and ludicrous at worst. A resolute adventurer, he found new ways of revealing Britain to the British, astounding his audience with his invention and intelligence. Set against the backdrop of the finest homes in Britain, the French Revolution and the Industrial Revolution, this is an astonishing portrait of one of the most important figures in Western art and a vivid evocation of Britain and Europe in flux.

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.

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.

'A nourishing, occasionally provoking hybrid of group biography, cultural criticism and travelogue that seeks to restore to Romanticism its radicalism, and also show just how much the countryside shaped its manifesto' Hephzibah Anderson, Mail on Sunday We think we know the Romantic countryside: that series of picturesque landscapes familiar from paintings, poems and music that are still part of Britain's idea of itself today. But for the Romantics themselves, the countryside was a place where radical change was underway both within and around them. 'Romanticism isn't a cultural artefact; it's a way for thought to move,' writes highly acclaimed biographer and poet Fiona Sampson in this transporting and vividly evocative book, in which she spends a year walking in the Romantics' footsteps, from Kent to Kintyre. Setting out across ten landscapes, as the Romantics once did as they wrote, travelled, settled, or tried to define the rural environment, Fiona Sampson walks not with a sense of nostalgic cliche, but radically alive to interaction between the human and the natural world. So how were poets, writers, artists and philosophers of the time shaped by their natural environment? And how can we return to the vividness with which they experienced it? Starlight Wood is part group biography, part cultural history, and part an essay about place. In it, we find Percy Bysshe Shelley and Elizabeth Barrett Browning using diet as a symbol of radicalism, and John Constable revealing the emptiness of the post-Enclosure British countryside; while the young William Wordsworth follows the ideal of radical sensibility into the heart of Revolutionary France, and the biggest military structure in Britain since Hadrian's Wall is engineered on Romney Marsh to keep Napoleon at bay. Moving intuitively between art, politics, agriculture, science and philosophy, and punctuated by the author's personal reflections - most movingly on the death during the pandemic of her artist father, whose line-and-wash drawings act as gateways through which we embark on each walk - Starlight Wood brilliantly examines the importance of the countryside in shaping Romantic attitudes, and offers a gripping insight into the lives of some of the most influential figures of the age.

In this new monograph, part of Phaidon's Art and Ideas series, Simon Lee, Senior Lecturer in the History of Art the University of Reading, examines the work of Delacroix within the framework of his turbulent times, as France experienced the upheavals of the Napoleonic era. Written in a lively and accessible style, and incorporating the latest scholarship on the artist, Lee provides fresh analyses into the life and times of Delacroix and uncovers the creative process behind his most famous works.

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.

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.