Pathways to Complexity synthesizes a wealth of new archaeological data to illuminate the origins of Maya civilization and the rise of Classic Maya culture. In this volume, prominent Maya scholars argue that the development of social, religious, and economic complexity began during the Middle Preclassic period (1000-300 BC), hundreds of years earlier than previously thought. Contributors reveal that villages were present in parts of the lowlands by 1000 BC. Combining recent discoveries from the northern lowlands--an area often neglected in other volumes-and the southern lowlands, the collection then traces the emergence of sociopolitical inequality and complexity in all parts of the Yucatan Peninsula over the course of the Middle Preclassic period. They show that communities evolved in different ways due to influences such as geographical location, ceramic exchange, shell ornament production, agricultural strategy, religious ritual, ideology, and social rankings. These varied pathways to complexity developed over half a millennium and culminated in the institution of kingship by the Late Preclassic period. Presenting exciting work on a dynamic and misunderstood time period, Pathways to Complexity demonstrates the importance of a broad, comparative approach to understanding Preclassic Maya civilization and will serve as a foundation for future research and interpretation.

Art auctions are spectacular theatres of the contemporary art world. From glittering black-tie events to the anonymity of the digital realm, auctions stage the creation of value and can make or break artists’ careers. They are a strange phenomenon: relics from the 18th century which remain at the heart of the art world in our digital age. And yet they have undergone huge transformation in the past decades, adapting to online formats, encroaching on territory which was once the preserve of galleries, and expanding ruthlessly into new regions and categories. Why are they still relevant, and what does their future hold? This accessible new book offers a fresh view of auctions, exploring their multifaceted role in today’s international art market.

The first monograph to examine the depiction of reading women in French art of the early Third Republic, Women Readers in French Painting 1870-1890 evaluates the pictorial significance of this imagery, its critical reception, and its impact on notions of femininity and social relations. Covering a broad range of paintings, prints, and sculptures, this book shows how the liseuse was subjected to unprecedented levels of pictorial innovation by artists with widely differing aesthetic aims and styles. Depictions of readers are interpreted as contributions to changing notions of public and private life, female agency, and women's participation in cultural and political debates beyond the domestic household. This highly original book explores images of women readers from a range of social classes in both urban and rural settings. Such images are shown to have articulated concerns about the impact of female literacy on labour environments and family life while, in many cases, challenging conventions of gendered reading. Kathryn Brown also presents an alternative way of conceiving of modernity in relation to nineteenth-century art, a methodological departure from much recent art historical literature. Artists discussed range from Manet, Cassatt and Degas, to less familiar figures such as Lavieille, Carriere, Toulmouche and Tissot.

Audience participation has polarized the critical debate surrounding contemporary art's social, moral and aesthetic potential. This incisive collection of essays sheds new light on the political, ethical and artistic capacity of participatory works and tests the most recent theoretical approaches to the subject. Internationally renowned art historians, curators and artists analyse the impact of collaborative aesthetics on personal and social identity, concepts of the artist, the ontology of art and the role of museums in contemporary society. Essays tease apart notions of 'interactivity', 'collaboration', 'performance', 'relational aesthetics' and 'social art' for the purpose of clarifying a range of conflicting approaches to the making and reception of art and promoting a dialogue between art historians, curators, and artists. They ask: what are the ways in which audiences experience contemporary art? Do participatory art forms generate a new type of aesthetic education that is capable of shaping social and political behaviour? What degree of co-operation is required for such artworks to be successful? What approaches do curators take to such works when organizing exhibitions? Through close analysis of interactive artworks in a range of media, Interactive Contemporary Art examines current critical debates in this field and proposes new ways of conceptualizing participatory practices.

Investigating the complex history of visual art's engagement with literature, this collection demonstrates that the art of the book is a fully interdisciplinary and distinctly modern form. The essays in the collection develop new critical approaches to the analysis of twentieth-century bookworks and explore ways in which European writers and painters challenged the boundary between visual and linguistic expression in the content, production, and physical form of books. The Art Book Tradition in Twentieth-Century Europe offers a detailed examination of word-image relations in forms ranging from the livre d'artiste to personal diaries and almanacs. It analyzes innovative attempts to challenge familiar hierarchies between texts and images, to fuse different expressive media, and to reconceptualize traditional notions of ekphrasis. Giving consideration to the material qualities of books, the works discussed in this collection also test and celebrate the act of reading, while locating it in the context of other sensory experiences. Essays examine works by Dufy, Matisse, Beckett, Kandinsky, Braque, and Ponge, among other European artists and writers active during the twentieth century.

The first monograph to examine the depiction of reading women in French art of the early Third Republic, Women Readers in French Painting 1870-1890 evaluates the pictorial significance of this imagery, its critical reception, and its impact on notions of femininity and social relations. Covering a broad range of paintings, prints, and sculptures, this book shows how the liseuse was subjected to unprecedented levels of pictorial innovation by artists with widely differing aesthetic aims and styles. Depictions of readers are interpreted as contributions to changing notions of public and private life, female agency, and women's participation in cultural and political debates beyond the domestic household. This highly original book explores images of women readers from a range of social classes in both urban and rural settings. Such images are shown to have articulated concerns about the impact of female literacy on labour environments and family life while, in many cases, challenging conventions of gendered reading. Kathryn Brown also presents an alternative way of conceiving of modernity in relation to nineteenth-century art, a methodological departure from much recent art historical literature. Artists discussed range from Manet, Cassatt and Degas, to less familiar figures such as Lavieille, Carriere, Toulmouche and Tissot.

Dialogues with Degas demonstrates the ongoing relevance of Edgar Degas to 20th- and 21st-century ideas and art practices. The first in-depth examination of this major artist’s impact on contemporary art, this book charts how contemporary practitioners have used Degas’s creativity as a springboard to engage imaginatively and critically with themes of colonialism, gender, race and class. Individual chapters are devoted to different dialogues between Degas’s painting, drawing, printmaking, sculpture and art produced from the 1980s to the present. Through close analyses of selected works, Kathryn Brown explores how Degas’s technical experiments have been tested and extended in innovative ways. The artists selected for this study have explicitly taken up, developed or challenged Degas’s technical and compositional experiments; they include Frank Auerbach, Cecily Brown, Ryan Gander, Maggi Hambling, Damien Hirst, Howard Hodgkin, R.B. Kitaj, Paula Rego, Yinka Shonibare and Cy Twombly. By submitting existing compositions to new technical and imaginative experiments, these artists generate visual palimpsests that make new demands of the viewer and reveal the meanings that accrue to artworks as they circulate within different spatial, temporal and institutional networks. The book overturns familiar conceptions of influence by showing how the art historical canon can be challenged from a position within it and by making the case that a close examination of dialogues with Degas generates a way of writing art history that eschews genealogies. Prioritizing, instead, the analysis of non-linear and conceptual encounters between images generates a new conception of the agency of artworks and of the dialogues they are capable of entertaining with other works. While this study will shed new light on Degas’s art and that of his interlocutors, it will also have methodological significance for the writing of art history.

The first comprehensive assessment of Degas's legacy to be published in over two decades, Perspectives on Degas unites a team of international scholars to analyze Degas's work, artistic practice, and unique methods of pictorial problem-solving. Established scholars and curators show how recent trends in art historical thinking can stimulate innovative interpretations of Degas's paintings, prints, sculptures, and drawings and reveal new ideas about his place in the art historical narrative of the nineteenth-century avant-garde. Questions posed by contributors include: what interpretive approaches are open to a new generation of art historians in the wake of a vast body of existing scholarship on nineteenth-century art? In what ways can feminist analyses of Degas's works continue to yield new results? Which of Degas's works have received less attention in critical literature to date and what does study of them reveal? As the centenary of Degas's death approaches, this book offers a timely re-evaluation of the critical literature that has developed in response to Degas's work and identifies ways in which the further study of this artist's multi-facetted output can deepen our understanding of the wider scientific, literary, and artistic ideas that circulated in France during the latter decades of the nineteenth century.

The first comprehensive assessment of Degas's legacy to be published in over two decades, Perspectives on Degas unites a team of international scholars to analyze Degas's work, artistic practice, and unique methods of pictorial problem-solving. Established scholars and curators show how recent trends in art historical thinking can stimulate innovative interpretations of Degas's paintings, prints, sculptures, and drawings and reveal new ideas about his place in the art historical narrative of the nineteenth-century avant-garde. Questions posed by contributors include: what interpretive approaches are open to a new generation of art historians in the wake of a vast body of existing scholarship on nineteenth-century art? In what ways can feminist analyses of Degas's works continue to yield new results? Which of Degas's works have received less attention in critical literature to date and what does study of them reveal? As the centenary of Degas's death approaches, this book offers a timely re-evaluation of the critical literature that has developed in response to Degas's work and identifies ways in which the further study of this artist's multi-facetted output can deepen our understanding of the wider scientific, literary, and artistic ideas that circulated in France during the latter decades of the nineteenth century.

An old woman discovers an abandoned puppy that she is afraid to name--or to even love. This moving story features Gary Larson-esque "(The Far Side)" visuals that will appeal to adults as well as kids. Full-color illustrations.

The Routledge Companion to Digital Humanities and Art History offers a broad survey of cutting-edge intersections between digital technologies and the study of art history, museum practices, and cultural heritage. The volume focuses not only on new computational tools that have been developed for the study of artworks and their histories but also debates the disciplinary opportunities and challenges that have emerged in response to the use of digital resources and methodologies. Chapters cover a wide range of technical and conceptual themes that define the current state of the field and outline strategies for future development. This book offers a timely perspective on trans-disciplinary developments that are reshaping art historical research, conservation, and teaching. This book will be of interest to scholars in art history, historical theory, method and historiography, and research methods in education.

Investigating the complex history of visual art's engagement with literature, this collection demonstrates that the art of the book is a fully interdisciplinary and distinctly modern form. The essays in the collection develop new critical approaches to the analysis of twentieth-century bookworks and explore ways in which European writers and painters challenged the boundary between visual and linguistic expression in the content, production, and physical form of books. The Art Book Tradition in Twentieth-Century Europe offers a detailed examination of word-image relations in forms ranging from the livre d'artiste to personal diaries and almanacs. It analyzes innovative attempts to challenge familiar hierarchies between texts and images, to fuse different expressive media, and to reconceptualize traditional notions of ekphrasis. Giving consideration to the material qualities of books, the works discussed in this collection also test and celebrate the act of reading, while locating it in the context of other sensory experiences. Essays examine works by Dufy, Matisse, Beckett, Kandinsky, Braque, and Ponge, among other European artists and writers active during the twentieth century.

Boris von der Borch is a mean, greedy old pirate--tough as nails, through and through, like all pirates. Or is he? When a young boy sneaks into Boris' ship, he discovers that Boris and his mates aren't quite what he expected! Full color.

“Goodbye Anna,” said Nikolai, and he kissed her forehead. “Keep your sisters safe inside you and may you find a happy home.”

So begins the journey of matryoshka sisters Nina, Nadia, Vanda, Varka, Olga, and Anna, from a village in Russia to a toy store in America. But once there, the littlest sister, Nina, is swept off the edge of the shelf. While her older sisters find their way into the hands of a caring new owner, Nina begins a perilous journey that takes her from the street in front of the toy store, down waterfalls, rivers and streams. How will Nina ever be reunited with her sisters? This tender, old-fashioned story is a testament to the power of sisterly love and a celebration of matryoshkas, the cherished Russian nesting dolls.

Corinne Demas Bliss is the author of several books for children, including Matthew’s Meadow. Ms. Bliss is a professor of English at Mount Holyoke College, and lives with her family in western Massachusetts.

Kathryn Brown has illustrated several children’s books, including Tough Boris by Mem Fox (an ALA Notable Book). Ms. Brown lives in Massachusetts.

The Routledge Companion to Digital Humanities and Art History offers a broad survey of cutting-edge intersections between digital technologies and the study of art history, museum practices, and cultural heritage. The volume focuses not only on new computational tools that have been developed for the study of artworks and their histories but also debates the disciplinary opportunities and challenges that have emerged in response to the use of digital resources and methodologies. Chapters cover a wide range of technical and conceptual themes that define the current state of the field and outline strategies for future development. This book offers a timely perspective on trans-disciplinary developments that are reshaping art historical research, conservation, and teaching. This book will be of interest to scholars in art history, historical theory, method and historiography, and research methods in education.

From Newbery Medalist Patricia MacLachlan comes a reassuring story about new beginnings and making friends.
Nora and her family have just arrived from Russia and are making a new home on the American frontier. The prairie is very different from the forested hills Nora is used to. Most of all, it's lonely. Papa has the cows he sings to as he milks them. Baby brother Milo has a dog to follow him wherever he goes. But Nora has no one and nothing to call her own until Papa brings home a dozen chicks and two geese. Nora names each one, and they follow her everywhere -- even to church But what will happen when one of her beloved chicks goes missing?

Henri Matisse's experiments with form and color revolutionized the twentieth-century art world. In this concise critical biography, Kathryn Brown explores Matisse's long career, beginning with his struggles as a student in Paris and culminating in his celebrated use of paper cutouts and stained glass in the last decade of his life. The book challenges various myths about Matisse and offers a fresh perspective on his creativity and legacy. Chapters explore the artist's enthusiasm for fashion and cinema, his travels, personal ties, interest in African art, love of literature, and willingness to challenge audience expectations. Through close readings of Matisse's works, Brown offers new insight into the artist's friendships and battles with dealers, critics, collectors, and fellow artists.

Women, Art and Money in England establishes the importance of women artists' commercial dealings to their professional identities and reputations in the late nineteenth and early twentieth centuries. Grounded in economic, social and art history, the book draws on and synthesises data from a broad range of documentary and archival sources to present a comprehensive history of women artists' professional status and business relationships within the complex and changing art market of late-Victorian England. By providing new insights into the routines and incomes of women artists, and the spaces where they created, exhibited and sold their art, this book challenges established ideas about what women had to do to be considered 'professional' artists. More important than a Royal Academy education or membership to exhibiting societies was a woman's ability to sell her work. This meant that women had strong incentive to paint in saleable, popular and 'middlebrow' genres, which reinforced prejudices towards women's 'naturally' inferior artistic ability - prejudices that continued far into the twentieth century. From shining a light on the difficult to trace pecuniary arrangements of little researched artists like Ethel Mortlock to offering new and direct comparisons between the incomes earned by male and female artists, and the genres, commissions and exhibitions that earned women the most money, Women, Art and Money is a timely contribution to the history of women's working lives that is relevant to a number of scholarly disciplines.

Throughout his career, Henri Matisse used imagery as a means of engaging critically with poetry and prose by a diverse range of authors. Kathryn Brown offers a groundbreaking account of Matisse's position in the literary cross-currents of 20th-century France and explores ways in which reading influenced the artist's work in a range of media. This study argues that the livre d'artiste became the privileged means by which Matisse enfolded literature into his own idiom and demonstrated the centrality of his aesthetic to modernist debates about authorship and creativity. By tracing the compositional and interpretive choices that Matisse made as a painter, print maker, and reader in the field of book production, this study offers a new theoretical account of visual art's capacity to function as a form of literary criticism and extends debates about the gendering of 20th-century bibliophilia. Brown also demonstrates the importance of Matisse's self-placement in relation to the French literary canon in the charged political climate of the Second World War and its aftermath. Through a combination of archival resources, art history, and literary criticism, this study offers a new interpretation of Matisse's artist's books and will be of interest to art historians, literary scholars, and researchers in book history and modernism.

Commentators have noted the extraordinary impact of popular culture on legal practice, courtroom proceedings, police departments, and government as a whole, and it is no exaggeration to say that most people derive their basic understanding of law from cultural products. Movies, television programs, fiction, children's literature, online games, and the mass media typically influence attitudes and impressions regarding law and legal institutions more than law and legal institutions themselves.Law and Popular Culture: International Perspectives enhances the appreciation of the interaction between popular culture and law by underscoring this interaction's multinational and international features. Two dozen authors from nine countries invite readers to consider the role of law-related popular culture in a broad range of nations, socio-political contexts, and educational environments. Even more importantly, selected contributors explore the global transmission and reception of law-related cultural products and, in particular, the influence of assorted works and media across national borders and cultural boundaries.The circulation and consumption of law-related popular culture are increasing as channels of mass media become more complex and as globalization runs its uncertain course. Law and Popular Culture: International Perspectives adds to the critical understanding of the worldwide interaction of popular culture and law and encourages reflection on the wider implications of this mutual influence across both time and geography.

Pathways to Complexity synthesizes a wealth of new archaeological data to illuminate the origins of Maya civilization and the rise of Classic Maya culture. In this volume, prominent Maya scholars argue that the development of social, religious, and economic complexity began during the Middle Preclassic period (1000-300 B.C.), hundreds of years earlier than previously thought.Contributors reveal that villages were present in parts of the lowlands by 1000 B.C., challenging the prevailing models estimating when civilization took root in the area. Combining recent discoveries from the northern lowlands-an area often neglected in other volumes-and the southern lowlands, the collection then traces the emergence of sociopolitical inequality and complexity in all parts of the Yucatan peninsula over the course of the Middle Preclassic period. They show that communities evolved in different ways due to influences such as geographical location, ceramic exchange, shell ornament production, agricultural strategy, religious ritual, ideology, and social rankings. These varied pathways to complexity developed over half a millennium and culminated in the institution of kingship by the Late Preclassic period.Presenting exciting work on a dynamic and poorly understood time period, Pathways to Complexity demonstrates the importance of a broad, comparative approach to understanding Preclassic Maya civilization and will serve as a foundation for future research and interpretation. Contributors: M. Kathryn Brown | George Bey III | Tara Bond-Freeman | Fernando Robles Castellanos | Tomas Gallareta Negron | E. Wyllys Andrews V | Anthony Andrews | David S. Anderson | Lauren Sullivan | Jaime J. Awe | James F. Garber | Mary Jane Acuna | William Saturno | Bobbi Hohmann | Terry Powis | Paul Healy | Richard Hansen | Donald W. Forsyth | David Freidel | Barbara Arroyo | Richard E. W. Adams