In the age of revolutions, at the end of the eighteenth century, the mental and spiritual life of North America and Europe began to undergo a historic and irreversible change. The ideas of spontaneity, direct expression and natural feeling transformed the arts, encouraging artists to explore the extremes in human nature, from heroism to insanity and despair. Widely praised on its previous appearance as Romantic Art and now revised, William Vaughan's classic study analyzes the achievement of the leading artists of the age - masters such as Goya, Blake, Gericault, Turner and Delacroix - and sets in context a host of fascinating figures in painting, sculpture and architecture: Palmer, Runge, Soane, Gros, Overbeck, Schinkel, Flaxman, Pugin, Bingham and many more. The result is an invaluable account of a dramatic and contradictory artistic epoch.

In 1832, Eugene Delacroix accompanied a French diplomatic mission to Morocco, the first leg of a journey through the Maghreb and Andalusia that left an indelible impression on the painter. This comprehensive, annotated English-language translation of his notes and essays about this formative trip makes available a classic example of travel writing about the "Orient" from the era and provides a unique picture of the region against the backdrop of the French conquest of Algeria. Delacroix's travels in Morocco, Algeria, and southern Spain led him to discover a culture about which he had held only imperfect and stereotypical ideas and provided a rich store of images that fed his imagination forever after. He wrote extensively about these experiences in several stunningly beautiful notebooks, noting the places he visited, routes he followed, scenes he observed, and people he encountered. Later, Delacroix wrote two articles about the trip, "A Jewish Wedding in Morocco" and the recently discovered "Memories of a Visit to Morocco," in which he shared these extraordinary experiences, revealing how deeply influential the trip was to his art and career. Never before translated into English, Journey to the Maghreb and Andalusia, 1832 includes Delacroix's two articles, four previously known travel notebooks, fragments of two additional, recently discovered notebooks, and numerous notes and drafts. Michele Hannoosh supplements these with an insightful introduction, full critical notes, appendices, and biographies, creating an essential volume for scholars and readers interested in Delacroix, French art history, Northern Africa, and nineteenth-century travel and culture.

Thomas Gainsborough was one of the great English portrait and landscape painters of the eighteenth century. His modern manner of painting based on emotions was criticized by contemporaries such as Joshua Reynolds, but it gave Gainsborough a special position in an art world dominated by academic rigor and earned him the greatest appreciation from English society.

This fascinating book tells the story of a little-known masterpiece by the Italian sculptor Antonio Canova (1757-1822)-the statue of George Washington for the North Carolina State House, delivered in 1821 and destroyed by fire ten years later. It brings together for the first time Canova's full-sized preparatory plaster model, sketches, engravings, drawings, and a selection of Thomas Jefferson's letters about the commission. This is a major addition to the current body of published knowledge on the work of Antonio Canova, as well as on the classical revivalist sculpture of the early nineteenth century on both sides of the Atlantic.

A romantic view of 19th-century Canada -- a domestic complement to the work of Bartlett, Constable, and Kane.Anthony Flower (1792-1875) lived and worked in New Brunswick for most of his life. A farmer with a lifelong passion for art, he painted until his death at the age of eighty-three. His work opens a window on a time and place now gone. His paintings depict the life that he saw around him in rural New Brunswick and the events and scenes described in newspapers of the day.Anthony Flower's art was among the first in New Brunswick to depict rural New Brunswick. Through his paintings, we learn about day-to-day life, religion, how people dressed, what their interests were, and what was important to them, all important pieces to our understanding of everyday life in nineteenth-century Canada.Une vue romantique du Canada du XIXe siAcle. Un complA (c)ment domestique au travail de Bartlett, Constable et Kane.Anthony Flower (1792-1875) a vA (c)cu et travaillA (c) au Nouveau-Brunswick pendant la majeure partie de sa vie. Agriculteur passionnA (c) par l'art, il peint jusqu'A sa mort A l'Acge de quatre-vingt-trois ans. Son travail ouvre une fenAtre sur un temps et un lieu disparu. Ses peintures dA (c)peignent la vie qu'il a vue autour de lui dans les rA (c)gions rurales du Nouveau-Brunswick et les A (c)vA (c)nements et scAnes dA (c)crits dans les journaux de l'A (c)poque.L'art d'Anthony Flower a A (c)tA (c) parmi les premiers A reprA (c)senter le Nouveau-Brunswick rural. A travers ses peintures, nous apprenons la vie quotidienne, la religion, la faAon dont les gens s'habillent, quels sont leurs intA (c)rAts et ce qui est important pour eux, autant d'A (c)lA (c)ments importants pour notre comprA (c)hension de la vie quotidienne au Canada au XIXe siAcle.

Instead of the cross, the Albatross About my neck was hung. Samuel Taylor Coleridge's famous poem "The Rime of the Ancient Mariner" is often regarded as having heralded the beginning of the Romantic era in British literature. The poem narrates the story of a sailor who has returned home from a long voyage having suffered great loss, yet survived. In this Studies in Theology and the Arts volume, poet and theologian Malcolm Guite leads readers on a journey with Coleridge, whose own life paralleled the experience of the mariner. On this theological voyage, Guite draws out the continuing relevance of this work and the ability of poetry to communicate the truths of humanity's fallenness, our need for grace, and the possibility of redemption. The Studies in Theology and the Arts series encourages Christians to thoughtfully engage with the relationship between their faith and artistic expression, with contributions from both theologians and artists on a range of artistic media including visual art, music, poetry, literature, film, and more.

Only twenty-five at the time of his death in 1828, young Richard Parkes Bonington nevertheless was a seminal figure in the development of modernism in nineteenth-century French painting. This catalogue raisonne of his oil and watercolor paintings represents the first attempt to establish and present the artist's complete known oeuvre. Drawing on 25 years of research, Patrick Noon catalogues, analyzes, and reproduces 400 artworks now indisputably attributed to Bonington. Many of these paintings have never before been published. The book sets Bonington's achievement in the context of the intellectual, social, and artistic ferment of high romanticism in Paris and London, and it shows the profound effect of his style on his friend and contemporary, Eugene Delacroix, and many others. Noon's detailed and accurate study will inform all future discourse on Bonington and his remarkable legacy. Published for the Paul Mellon Centre for Studies in British Art

An innovative study of how the Victorians used books, portraits, fairies, microscopes, and dollhouses to imagine miniature worlds beyond perception In 1856, Elizabeth Gaskell discovered a trove of handmade miniature books that were created by Charlotte and Branwell Bronte in their youth and that, as Gaskell later recalled, "contained an immense amount of manuscript, in an inconceivably small space." Far from being singular wonders, these two-inch volumes were part of a wide array of miniature marvels that filled the drawers and pockets of middle- and upper-class Victorians. Victorian miniatures pushed the boundaries of scientific knowledge, mechanical production, and human perception. To touch a miniature was to imagine what lay beyond these boundaries. In Worlds Beyond, Laura Forsberg reads major works of fiction by George Eliot, Jane Austen, Charles Dickens, and Lewis Carroll alongside minor genres like the doll narrative, fairy science tract, and thumb Bible. Forsberg guides readers through microscopic science, art history, children's culture, and book production to show how Victorian miniatures offered scripts for expansive fantasies of worlds beyond perception.

"The First Panoramas" is a cultural history of the first three decades of the panorama, a three-hundred-sixty-degree visual medium patented by the artist Robert Barker in Britain in 1787. A towering two-story architectural construction inside which spectators gazed on a 10,000-square-foot painting, Barker's new technology was designed to create an impression of total verisimilitude for the observer.
In the beautifully illustrated "The First Panoramas," Denise Blake Oleksijczuk demonstrates the complexity of the panoramas' history and cultural impact, exploring specific exhibits: "View of Edinburgh and the Adjacent Country from the Calton Hill" (1788), "View of London from the Roof of the Albion Mill" (1791), "View of the Grand Fleet Moored at Spithead" (1793), and the two different versions of "View of Constantinople" (1801). In addition to the art itself, she examines the panoramas' intriguing descriptive keys--single-sheet diagrams that directed spectators to important sites in the representation, which evolved over time to give the observer greater perceptual control over the view.
Using the surviving evidence, much of it never published before, on the early exhibitions of these massive installations, Oleksijczuk reconstructs the relationships between specific paintings, their accompanying printed guides, and the collective experiences of different audiences. She argues that by transporting its spectators to increasingly distant locations, first in the city and country and then in the world beyond Britain's borders, the panorama created a spatial and temporal disjunction between "here" and "there" that helped to forge new national and social identities.

A revelatory look at how the mature work of Caspar David Friedrich engaged with concurrent developments in natural science and philosophy Best known for his atmospheric landscapes featuring contemplative figures silhouetted against night skies and morning mists, Caspar David Friedrich (1774-1840) came of age alongside a German Romantic philosophical movement that saw nature as an organic and interconnected whole. The naturalists in his circle believed that observations about the animal, vegetable, and mineral kingdoms could lead to conclusions about human life. Many of Friedrich's often-overlooked later paintings reflect his engagement with these philosophical ideas through a focus on isolated shrubs, trees, and rocks. Others revisit earlier compositions or iconographic motifs but subtly metamorphose the previously distinct human figures into the natural landscape. In this revelatory book, Nina Amstutz combines fresh visual analysis with broad interdisciplinary research to investigate the intersection of landscape painting, self-exploration, and the life sciences in Friedrich's mature work. Drawing connections between the artist's anthropomorphic landscape forms and contemporary discussions of biology, anatomy, morphology, death, and decomposition, Amstutz brings Friedrich's work into the larger discourse surrounding art, nature, and life in the 19th century.

Mas de 30 maravillosos relatos de amores desacertados a los que tambien se sumaran otros, tan increibles como cautivadores.

Text in English & German. The beautiful Lau, the heroine of Eduard Moerike's story, is only half a water spirit -- her mother was a human woman, and her father was a water nix of royal blood. She has thin webs between her toes, but apart from this she is not externally different to a human being. Because she cannot laugh and can bear only dead children, her husband, the Donaunix, sends her to the Blautopf lake. Before she can be permitted to return, she must laugh five times. The Blautopf is located in Blaubeuren, and is the source of the river Blau. It is a "pot spring", and connected to a cave system that was first studied in the 1950s. One of the great caverns discovered by explorers -- the so-called "Moerike-Dom" -- is 25 m wide, 30 m high and 125 m long. The spring waters are deep blue in colour, and change from turquoise blue to dark blue as the light shifts -- on overcast days, the water actually appears to be almost black. During Germany's Romantic period, the Blautopf gave rise to all kinds of speculations and stories, and Moerike, one of the most prominent exponents of Swabia's group of Romantic poets, who spent a night in Blaubeuren during a journey in 1840, took his inspiration from this striking place.