In "A Social History of Modern Art," a sweeping multivolume social history of Western art from the French Revolution to World War I, Albert Boime moves beyond the concern with style and form that has traditionally characterized the study of art history and, in the tradition of Arnold Hauser, examines art in a broad historical context. Into his wide-ranging cultural inquiry Boime incorporates not only frequently studied mainstream artists and sculptors but also neglected and lesser known artists and unattributed popular imagery. He examines popular as well as official culture, the family as well as the state, and the conditions of the poor as well as of the affluent that affected cultural practice.
This inaugural volume explores the artistic repercussions of the major political and economic events of the latter half of the eighteenth century: the Seven Years' War, the French Revolution, and the English industrial revolution. Boime examines the prerevolutionary popularity of the rococo style and the emergence of the cult of antiquity that followed the Seven Years' War. He shows how the continual experiments of Jacques-Louis David and others with neoclassical symbols and themes in the latter part of the century actively contributed to the transformation of French and English politics. Boime's analyses reveal the complex relationship of art with a wide range of contemporary attitudes and conditions--technological innovation, social and political tensions, commercial expansion, and the growth of capitalism.
"Provocative and endlessly revealing."--Christopher Knight, "Los Angeles Herald Examiner"

In this bold exploration of the political forces that shaped Impressionism, Albert Boime proposes that at the heart of the modern is a "guilty secret"--the need of the dominant, mainly bourgeois, classes in Paris to expunge from historical memory the haunting nightmare of the Commune and its socialist ideology. The Commune of 1871 emerged after the Prussian war when the Paris militia chased the central government to Versailles, enabling the working class and its allies to seize control of the capital. Eventually violence engulfed the city as traditional liberals and moderates joined forces with reactionaries to restore Paris to "order"--the bourgeois order. Here Boime examines the rise of Impressionism in relation to the efforts of the reinstated conservative government to "rebuild" Paris, to return it to its Haussmannian appearance and erase all reminders of socialist threat.

Boime contends that an organized Impressionist movement owed its initiating impulse to its complicity with the state's program. The exuberant street scenes, spaces of leisure and entertainment, sunlit parks and gardens, the entire concourse of movement as filtered through an atmosphere of scintillating light and color all constitute an effort to reclaim Paris visually and symbolically for the bourgeoisie. Amply documented, richly illustrated, and compellingly argued, Boime's thesis serves as a challenge to all cultural historians interested in the rise of modernism.

National parks are the places that present ideas of nature to Americans: Zion, Yosemite, Grand Canyon, Yellowstone bring to mind quintessential and awe-inspiring wilderness. By examining how rhetoric-particularly visual rhetoric-has worked to shape our views of nature and the "natural" place of humans, Observation Points offers insights into questions of representation, including the formation of national identity. As Thomas Patin reveals, the term "nature" is artificial and unstable, in need of constant maintenance and reconstruction. The process of stabilizing its representation, he notes, is unavoidably political. America's national parks and monuments show how visual rhetoric operates to naturalize and stabilize representations of the environment. As contributors demonstrate, visual rhetoric is often transparent, structuring experience while remaining hidden in plain sight. Scenic overlooks and turnouts frame views for tourists. Visitor centers, with their display cases and photographs and orientation films, provide their own points of view-literally and figuratively. Guidebooks, brochures, and other publications present still other ways of seeing. At the same time, images of America's "natural" world have long been employed for nationalist and capitalist ends, linking expansionism with American greatness and the "natural" triumph of European Americans over Native Americans. The essays collected here cover a wide array of subjects, including park architecture, landscape painting, public ceremonies, and techniques of display. Contributors are from an equally broad range of disciplines-art history, geography, museum studies, political science, American studies, and many other fields. Together they advance a provocative new visual genealogy of representation. Contributors: Robert M. Bednar, Southwestern U, Georgetown, Texas; Teresa Bergman, U of the Pacific; Albert Boime, UCLA; William Chaloupka, Colorado State U; Gregory Clark, Brigham Young U; Stephen Germic, Rocky Mountain College; Gareth John, St. Cloud State U, Minnesota; Mark Neumann, Northern Arizona U; Peter Peters, Maastricht U; Cindy Spurlock, Appalachian State U; David A. Tschida, U of Wisconsin, Eau Claire; Sabine Wilke, U of Washington.

In this second volume, Albert Boime continues his projected five-volume social history of Western art in the Modern epoch. This volume offers a major critique and revisionist interpretation of Western European culture, history, and society from Napoleon's seizure of power to 1815. Boime argues that Napoleon manipulated the production of images, as well as information generally, in order to maintain his political hegemony. He examines the works of French painters such as Jacques-Louis David and Jean Auguste Dominique Ingres, to illustrate how the art of the time helped to further the emperor's propagandistic goals. He also explores the work of contemporaneous English genre painters, Spain's Francisco de Goya, the German Romantics Philipp Otto Runge and Caspar David Friedrich, and the emergence of a national Italian art. Heavily illustrated, this volume is an invaluable social history of modern art during the Napoleonic era. Stimulating and informative, this volume will become a valuable resource for faculty and undergraduates. --R. W. Liscombe, "Choice" Albert Boime is professor of art history at the University of California, Los Angeles.