History of art Books

Book SynopsisPropaganda Prints reviews the history, cultural diversity and legacy of Art in the service of social and political change.Table of Contents1. The Ancient World i. The very beginning ii. Alexander iii. Pax Romana 2. The Middle Ages i The Dark Ages ii. The Norman Conquest iii. Onward Christian soldiers 3. The Early Modern Period i. The art of printing ii. The troublesome priest iii. A red and white rose iv. Renaissance v. The propaganda of the senses vi. Here comes the sun vii. The English Civil War viii. Into the light ix. The American Revolution x. The tree of liberty xi. The man on the white horse 4. The Machine Age i. The 19th century ii. The Fourth Estate iii. Rule Britannia iv. From sea to shining sea v. A new printing method vi. The golden age of posters vii. The modern movement viii. The First World War 5. The Early 20th Century i. The Mexican Revolution ii. The Russian Revolution iii. Between the wars iv. WPA v. The Spanish Civil War vi. The Nazis vii. The Second World War 6. The Modern World i. The Cold War ii. Post-war Britain iii. The Chinese Cultural Revolution iv. The Cuban Revolution v. Vietnam and the art of protest vi. Propaganda in the digital age

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Book SynopsisThe Art and Thought of John La Farge: Picturing Authenticity in Gilded Age America offers an unprecedented portrait of one of the most celebrated artists of the Gilded Age and opens a window onto nineteenth-century American culture. The book reveals how the work of John La Farge contributed to a rich philosophical dialogue concerning the trustworthiness of human perception. In his struggle against a ''common truth'' of iconic symbols presented by a new mass visual culture, La Farge developed a subversive approach to visual representation that focused attention not on the artwork itself, but on the complex, real encounter of artist, subject and medium from which the artwork came. Katie Kresser charts La Farge''s efforts to assert his own reality - his own intrinsic uniqueness - in a postwar society that increasingly based personal identity on standardized vocational labels and economic productivity. La Farge''s work is contrasted with that of Kenyon Cox, James Whistler and Henry AdamsTrade Review'The language and thought of art historian Katie Kresser are by turns painterly and poetic, then sharply penetrating in their logic and analytic edge. ... As a reader, I not only felt the presence of the nominal subject of the book but also "heard" the author in genuine conversation with the dead artist and with the living reader. This is a refreshingly honest and vulnerable stance ...' Books & CultureTable of ContentsContents: Preface; Introduction: the real John La Farge; The scent of the real: a life in art; Counterfeit classicism: John La Farge vs. Kenyon Cox; Modernist mysticism: John La Farge vs. James Whistler; Drive and doubt: John La Farge vs. Henry Adams; A meditation: La Farge on the brink; Epilogue: recovering the figure; Appendix; Bibliography; Index.

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Book SynopsisThis collection of fifteen papers ranges from the author''s initial interest in the Tapestry as a source of information on early medieval dress, through to her startling recognition of the embroidery''s sophisticated narrative structure. Developing the work of previous authors who had identified graphic models for some of the images, she argues that not just the images themselves but the contexts from which they were drawn should be taken in to account in ''reading'' the messages of the Tapestry. In further investigating the minds and hands behind this, the largest non-architectural artefact surviving from the Middle Ages, she ranges over the seams, the embroidery stitches, the language and artistry of the inscription, the potential significance of borders and the gestures of the figures in the main register, always scrutinising detail informatively. She identifies an over-riding conception and house style in the Tapestry, but also sees different hands at work in both needlecraft and gTrade Review'Scholarly interest in the Bayeux Tapestry has heightened to a remarkable degree in recent years with an increased outpouring of books and articles on the subject. Gale Owen-Crocker has contributed to this perhaps more than anyone else and her publications have made her an outstanding authority on the subject... Scholars interested in further research on the Bayeux Tapestry are fortunate to have these articles now brought together into a single volume.' Francia-RecensioTable of ContentsContents: Preface, Shirley Ann Brown; Introduction; Part I Textile: Behind the Bayeux Tapestry; The Bayeux 'tapestry': invisible seams and visible boundaries; Fur, feathers, skin, fibre, wood: representational techniques in the Bayeux Tapestry. Part II Sources: Reading the Bayeux Tapestry through Canterbury eyes; Stylistic variation and Roman influence in the Bayeux Tapestry. Part III Narrative Devices: The embroidered word: text in the Bayeux Tapestry. Telling a tale: narrative techniques in the Bayeux Tapestry and the Old English epic Beowulf; Brothers, rivals and the geometry of the Bayeux Tapestry. Part IV Borders: Squawk talk: commentary by birds in the Bayeux Tapestry?; The Bayeux tapestry: the voice from the border. Part V Dress: The Bayeux 'tapestry': culottes, tunics and garters and the making of the hanging; Dress and authority in the Bayeux Tapestry. Part VI Detail: Embroidered wood: animal-headed posts in the Bayeux 'Tapestry'; The interpretation of gesture in the Bayeux Tapestry; Hawks and horse-trappings: the insignia of rank; Index.

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Book SynopsisThough Bartolomeo Scappi''s Opera (1570), the first illustrated cookbook, is well known to historians of food, up to now there has been no study of its illustrations, unique in printed books through the early seventeenth century. In Food and Knowledge in Renaissance Italy, Krohn both treats the illustrations in Scappi''s cookbook as visual evidence for a lost material reality; and through the illustrations, including several newly-discovered hand-colored examples, connects Scappi''s Opera with other types of late Renaissance illustrated books. What emerges from both of these approaches is a new way of thinking about the place of cookbooks in the history of knowledge. Krohn argues that with the increasing professionalization of many skills and trades, Scappi was at the vanguard of a new way of looking not just at the kitchen-as workshop or laboratory-but at the ways in which artisanal knowledge was visualized and disseminated by a range of craftsmen, from engineers to architects. The Trade Review'In Food and Knowledge in Renaissance Italy, Deborah Krohn brings much needed attention to the genre of culinary illustration. For far too long, even scholars who are fully focused on food's roles in culture have failed to address the work that images perform in cookbooks. By bringing close attention to the first illustrated European cookbook, Krohn helps to lay the groundwork for future work on this topic.'- Journal of Design History'Deborah Krohn tackles what has to be considered by far the most important cookbook of the Renaissance: Bartolomeo Scappi's Opera. Known not only for its massive text but also for its much reproduced illustrations, it has remained in many ways a somewhat mysterious unicum in the realm of high end cookery. Now, thanks to an innovative approach mixing book history, food history and the history of illustration in the sixteenth century, Scappi's cookbook finally finds its place in the context of sixteenth century publishing, a dynamic market in which both authors and publishers experimented with innovative formulas. A welcome contribution in more than one field.' - Allen Grieco, Villa I Tatti, Harvard University Center for Italian Renaissance Studies, ItalyTable of ContentsTable of Contents to come.

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Book SynopsisLandscape Imagery, Politics and Identity in a Divided Germany, 1968-1989 explores the communicative relationship between German landscape painting and the viewing public that developed in the wake of the student revolutions of the late 1960s. The book demonstrates that, contrary to some historical thinking, more similarities than differences characterized the sociopolitical concerns of East and West Germans during the late Cold War Era, and that it was these shared issues that were reflected in the revival of the Romantic painting genre. Catherine Wilkins focuses on recovering the agency of the individual artist and in revising historiography with sensitivity to narration ''from below.'' Interdisciplinary in nature, art historians can benefit from the study''s analysis of images and artists not widely known outside of Germany. Additionally, the consolidation of statistics and data regarding German postwar cultural policy are relevant for political and cultural historians. The Trade Review'... well-written and beautifully produced. It has a generous set of colour illustrations of the artists under discussion.' Journal of Contemporary European Studies '... [an] imaginative and engaging work - a book that will be valuable to a wide audience including art historians and historians, other German studies scholars, and anyone with an interest in postwar German art - the reader is provided with more than twenty of the key images created by the six Cold War artists and their post-Wende students.' German HistoryTable of ContentsContents: Introduction; Defining the culture and politics of a new generation; Revolutionary romantic landscapes; War memory and division; Gendering Germany in the 1970s and 1980s; Reconsidering religiosity in divided Germany; Conclusion; Post-script, post-wende; Appendix; Bibliography; Index.

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Book SynopsisSpeed, acceleration and rapid change characterize our world, and as we design and construct buildings that are to last at least a few decades and sometimes even centuries, how can architecture continue to act as an important cultural signifier? Focusing on how an important nineteenth-century architect addressed the already shifting relation between architecture, time and history, this book offers insights on issues still relevant today-the struggle between imitation and innovation, the definition (or rejection) of aesthetic experience, the grounds of architectural judgment (who decides and how), or fundamentally, how to act (i.e. build) when there is no longer a single grand narrative but a plurality of possible histories. Six drawings provide the foundation of an itinerary through Charles Robert Cockerell's conception of architecture, and into the depths of drawings and buildings. Born in England in 1788, Cockerell sketched as a Grand Tourist, he charted architectural history as RoyaTrade Review'Bordeleau’s complex and theoretically rich book on Cockerell brings readers into contact with the heart of his belief that "The architect adds the substantial and enduring merit of utility, to the glory of beauty of fine arts and transcend (sic) them all ... He then is the true historian of his times". The Victorian 'By closely assessing Cockerell’s drawings and architecture, and by drawing parallels between his contemporaries’and architects’ practice across periods, the study provides insight not only into Cockerell’s work, but also into wider questions on the relation of architecture to time and history.' The Burlington MagazineTable of ContentsCharles Robert Cockerell, Architect in Time

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Book SynopsisThe work of mid-twentieth century art theorist Anton Ehrenzweig is explored in this original and timely study. An analysis of the dynamic and invigorating intellectual influences, institutional framework and legacy of his work, Between Art Practice and Psychoanalysis reveals the context within which Ehrenzweig worked, how that influenced him and those artists with whom he worked closely. Beth Williamson looks to the writing of Melanie Klein, Marion Milner, Adrian Stokes and others to elaborate Ehrenzweigâs theory of art, a theory that extends beyond the visual arts to music. In this first full-length study on his work, including an inventory of his library, previously unexamined archival material and unseen artworks sit at the heart of a book that examines Ehrenzweigâs working relationships with important British artists such as Bridget Riley, Eduardo Paolozzi and other members of the Independent Group in London in the 1950s and 1960s. In Ehrenzweigâs second book The Hidden Order of ArTrade Review'Between Art Practice and Psychoanalysis offers a much-needed introduction to the work of Anton Ehrenzweig. Williamson, who has researched her subject deeply, situates his writing in relation to Melanie Klein, Marion Milner and Adrian Stokes and draws out the importance of his collaborative relationship with the artist, Eduardo Paolozzi. Ehrenzweig’s influential book, The Hidden Order of Art, can now be read with far greater understanding, thanks to this excellent study.' Margaret Iversen, University of Essex'Between Art Practice and Psychoanalysis offers a much-needed introduction to the work of Anton Ehrenzweig. Williamson, who has researched her subject deeply, situates his writing in relation to Melanie Klein, Marion Milner and Adrian Stokes and draws out the importance of his collaborative relationship with the artist, Eduardo Paolozzi. Ehrenzweig’s influential book, The Hidden Order of Art, can now be read with far greater understanding, thanks to this excellent study.' Margaret Iversen, University of EssexTable of ContentsContents: Introduction: Art, death and creativity; Kleinian aesthetics: (devouring) this brutal world; Adrian Stokes and Kleinian art criticism; Marion Milner: dialogues between art and psychoanalysis; Eduardo Paolozzi: a different way of looking; On not being able to teach; Bridget Riley and the dynamics of perception; The Hidden Order of Art; Robert Smithson and Robert Morris: the hidden order of process art; Conclusion: art and creativity; Appendix; Bibliography; Index.

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Book SynopsisA celebration of the life of the acclaimed comic book storyteller through his work as well as interviews with fellow creators.Will Eisner (19172005) is universally considered the master of comics storytelling, best known for The Spirit, his iconic newspaper comic strip, and A Contract With God, the first significant graphic novel. This seminal work from 1978 ushered in a new era of personal stories in comics form that touched every adult topic from mortality to religion and sexuality, forever changing the way writers and artists approached comics storytelling. Noted historian Paul Levitz celebrates Eisner by showcasing his most famous work alongside unpublished and rare materials from the family archives. Also included are original interviews with creators such as Jules Feiffer, Art Spiegelman, Scott McCloud, Jeff Smith, Denis Kitchen, and Neil Gaimanall of whom knew Eisner and were inspired by his wTrade Review“Eisner was not only ahead of his times; the present times are still catching up to him.” * John Updike *“What Will did was and is timeless.” * Neil Gaiman *“Will Eisner is, and remains, one of my precious idols.” * Frank Miller *"He was the greatest.” * Harvey Kurtzman *“Will Eisner is a national treasure.” * Jules Feiffer *“Will Eisner is the heart and mind of American comics.” * Scott McCloud *“Eisner is the single person most responsible for giving comics its brains.” * Alan Moore *“Eisner was unique in feeling from the start that comic books were not necessarily this despised, bastard, crappy, lowbrow kind of art form, and that there wasa potential for real art.” * Michael Chabon *“This is the book that Will Eisner’s life and career deserve . . . informative and entertaining, and belongs in every library collection.” * ICv2 *

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Book SynopsisThis is a book about authentic fakes, admirable forgeries, and imagined representations of tainted reality: things that are less than meet the eye. Through nine questionable cultural treasures, readers meet those who make, sell, and buy fakes, and through these, explore their own views about what’s real, what’s fake, and why they should care.

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Book SynopsisModern Western European culture would have been impossible without the civilizations of ancient Greece and Rome. The disciplines of philosophy, drama, history, and science all owe an immense debt to these two Mediterranean cultures. At the same time, there are aspects of this legacy that are less worthy of celebration. Slavery went hand in hand with democracy. The pursuit of beauty coexisted with breathtaking acts of brutality. This book explores the world of the ancient Greeks and Romans and the distinctive cultures they produced. It charts the rise and fall of empires as well as examining the intricacies of domestic life. The opening sections of the book give a chronological overview of the ancient world. They orientate the reader to the key places, actors, and historical trends. The remaining chapters focus on some of the most important and influential aspects of Greco-Roman culture including ancient festivals, art, architecture, religion, and medicine.Table of Contents 1: Introduction 2: Homer 3: Classical Athens 4: Rome 5: Greek Drama 6: Love Poetry 7: Roman Entertainments 8: Art and Architecture 9: Philosophy 10: Science and Technology

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Book SynopsisMax Liebermann: Modern Art and Modern Germany is the first English-language examination of this German impressionist painter whose long life and career spanned nine decades. Through a close reading of key paintings and by a discussion of his many cultural networks across Germany and throughout Europe, this study by Marion Deshmukh illuminates Liebermann's importance as a pioneer of German modernism. Critics and admirers alike saw his art as representing aesthetic European modernism at its best. His subjects included dispassionate depictions of the rural Dutch countryside, his colorful garden at the Wannsee, and his many portraits of Germany's cultural, political, and military elites. Liebermann was the largest collector of French Impressionism in Germany - and his cosmopolitan outlook and his art created strong antipathies towards both by political and cultural conservatives throughout his life.Trade Review"Marion Deshmukh has deftly interwoven a comprehensive study of Liebermann’s life, art, and critical reception within a context of the cultural and political history of Wilhelmine and Weimar Germany. Deshmukh has used Liebermann’s "bourgeois modernism" to reassess the unique and conflicted nature of modernism in Germany. Her book is now the definitive English-language source of information on the painter and will no doubt remain so for years to come." - Marsha Morton, Pratt Institute, USA "At long last, a monograph in English on Max Liebermann, one of Germany’s most important cultural figures of the modern era. Meticulously researched, this study is especially welcome for the way in which it weaves together and illuminates Liebermann’s life, art and times in ways that enormously enrich our understanding of how culture intersected with politics in a period of fraught and conflicting ideologies." - Maria Makela, California College of the Arts, USA"The first biography of Liebermann (1847-1935) in English, this densely written, exhaustuvely researched book is far more than a life of critically important modern German Artist. In writing about Liebermann, Deshmukh (emer., history, George Mason Univ.) looks at critical issue of German history during the first half of the 20th century... Summing Up: High recommended." - J.T. Paoletti, Wesleyan University, CHOICE Reviews "This study succeeds in providing a useful survey of many of the existing approaches to Liebermann's work from within the German literature, including the relevance of his interest in Holland, and his position as an advocate for international Modernism in Germany. At the same time, Deshmukh provides fresh perspectives on some of these interpretations, for example in her exploration of Liebermann's art-world networks and the politicisation of his art. The result is a book of considerable value, for both English-speaking scholars of Liebermann and those less familiar with the artist's work." - Lucy Watling, The Burlington MagazineTable of ContentsTable of Contents to come.

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Book SynopsisBritish Models of Art Collecting and the American Response - Reflections Across the Pond presents 14 essays by distinguished art - and cultural - historians. Collectively, they examine points of similarity and difference in the approaches to art collecting practiced in Britain and the United States. Unlike most of their Continental European counterparts, the English and Americans have historically been exceptionally open to collecting the art made by and for other cultures. At the same time, they developed a tradition of opening private collections to a public eager for educational and cultural advancement. Approximately half the essays examine the trends and market forces that dominated the British art collecting scene of the nineteenth century, such as the Orléans sale and the shift away from aristocratic collections to those of the new urban merchant class. The essays that focus on American collectors use biographical sketches of collectors and dealers, as well as case studies of spTable of ContentsContents: Introduction, Inge Reist. Part I Reflections Across the Pond: Pictures across the pond: perspectives and retrospectives, Sir David Cannadine; The revolving door: four centuries of British collecting, James Stourton. Part II The British Model: Conversing with history: the Orléans Collection arrives in Britain, Jordana Pomeroy; James Irvine: picture buying in Italy for William Buchanan and Arthur Champernowne, Hugh Brigstocke; Aristocrats and others: collectors of influence in 18th-century England, Arthur MacGregor; A decade of change and compromise: John Smith (1781-1855) and the selling of old master paintings in the 1830s, Julia Armstrong-Totten; ‘Le goût Rothschild’: the origins and influences of a collecting style, Michael Hall; The 4th Marquess of Hertford and Sir Richard Wallace as collectors: chalk and cheese? Or father and son?, Jeremy Warren; Collecting and connoisseurship in England, 1840-1900: the case of J.C. Robinson, Jonathan Conlin. Part III Americans Embrace and Embellish the British Model: British aspirations on the Chesapeake Bay: Robert Gilmor, Jr (1774-1848) of Baltimore and collecting in the Anglo-American community of the new republic, Lance Humphries; The London picture trade and Knoedler & Co: supplying Dutch old masters to America, 1900-1914, M.J. Ripps; The one that got away: Holbein’s Christina of Denmark and British portraits in the Frick Collection, Ross Finocchio; The long good-bye: heritage and threat in Anglo-America, Neil Harris; Henry E. Huntington: an American model for collecting art and instituting cultural philanthropy, Shelley M. Bennett. Bibliography; Index.

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Book SynopsisThough portraits of old women mediate cultural preoccupations just as effectively as those of younger women, the scant published research on images of older women belies their significance within early modern Italy. This study examines the remarkable flowering, largely overlooked in portraiture scholarship to date, of portraits of old women in Northern Italy and especially Bologna during the second half of the sixteenth century, when, as a result of religious reform, the lives of women and the family came under increasing scrutiny. Old Women and Art in the Early Modern Italian Domestic Interior draws on a wide range of primary visual sources, including portraits, religious images, architectural views, prints and drawings, as well as extant palazzi and case, furnishings, and domestic objects created by the leading artists in Bologna, including Lavinia Fontana, Bartolomeo Passerotti, Denys Calvaert, and the Carracci. The study also draws on an array of historical sources - including sTrade Review'This is a work of careful reconstruction, deep archival documentation, and sensitivity to the lived experience and material context of portraiture. Campbell proves that old women of the later Renaissance were far from invisible: especially in Bologna, they were pictured, commemorated, and their likenesses revered as symbols of family identity and tools of memory. Her work shows that portrayals of elderly women were not limited to witches, crones, or hags. Rather, old women's roles of piety, authority, and virtue found expression in their portraits. These same vivid, striking portraits adorned family homes, shaping and re-shaping behavioral codes and family memory. This provocative, well-illustrated work will alter our understanding of the history of Renaissance portraiture, the Italian domestic interior, and patriarchy itself among the patrician class.' - Renée Baernstein, Miami University, Ohio, USA'Although portraits of old women were commissioned by families to be viewed in domestic interiors, Campbell convincingly argues that their influence extended well beyond the confines of the palace to the larger civic community. ... Noting the “hollow, sunken cheeks and thin lips” and bodies in many Bolognese portraits of old women, Campbell convincingly ties the suffering of old age to the reforms of Paleotti and the virtue of their families and their city.' - CAA ReviewsTable of ContentsIntroduction: Old women, portraiture, and the early modern domestic interior1 Portraits of old women and the domestic meshwork2 Prophets and saints3 Matriarchs4 Old women in frames5 Old age, women, and the signs of suffering

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Book SynopsisFor too long, the 'centre' of the Renaissance has been considered to be Rome and the art produced in, or inspired by it. This collection of essays dedicated to Deborah Howard brings together an impressive group of internationally recognised scholars of art and architecture to showcase both the diversity within and the porosity between the 'centre' and 'periphery' in Renaissance art. Without abandoning Rome, but together with other centres of art production, the essays both shift their focus away from conventional categories and bring together recent trends in Renaissance studies, notably a focus on cultural contact, material culture and historiography. They explore the material mechanisms for the transmission and evolution of ideas, artistic training and networks, as well as the dynamics of collaboration and exchange between artists, theorists and patrons. The chapters, each with a wealth of groundbreaking research and previously unpublished documentary evidence, as well as innovative Trade Review'This absorbing collection of essays on early modern Italy combines shrewd cultural analysis with often surprising case studies, ranging from the planning of St Andrews as a "new Rome", to sharply focused accounts of works by Michelangelo, Titian and Veronese. Following the groundbreaking example of Deborah Howards scholarship, a number of incisive essays by architectural historians offer a timely reminder of how art historical understanding is enriched by engagement with architectural history in its broadest sense.' Paul Hills, Emeritus, Courtauld Institute of Art, UKTable of ContentsContents: Foreword: ‘More hours in the day than anyone else’: the multifaceted life of Deborah Howard, Patricia Fortini-Brown; Introduction: Reframing the Renaissance, Nebahat Avcioglu and Allison Sherman. Part I Another Rome: Planning for pilgrims: parallels between the burgh of St Andrews, the Vatican Borgo and Compostela, Ian Campbell; Bad colours for the pope: Tintoretto, Giovanni Grimani, and the decoration of the Cappella Gregoriana in New St Peter’s, Benjamin Paul; The one-room apartment of Cornelis Meijer, Joseph Connors; ‘Un’architettura di diversi’: Carlo Rainaldi and the controversial attribution of the Palazzo Mancini in Rome, Manolo Guerci. Part II Peripatetics of Knowledge and Architectural Practice: Live words and experience in early modern architecture, Christy Anderson; Material matters: training the Renaissance architect, Ann C. Huppert; Architectural treatises and the East Adriatic coast: cultural transfer and the circulation of knowledge and in the Renaissance, Jasenka Gudelj. Part III Networks, Innovation And Praxis: Painting together: ‘a terrestrial trinity’ of painters in the Quadro delle tre mani, Philip Sohm; Milling the bread of salvation: art, patronage and technology in the de Lazara altarpiece in Padua, Catherine Puglisi and William Barcham; Paolo Veronese invenit et delineavit, David Rosand. Part IV The Evolution and Variation of an Idea: Michelangelo’s St Peter’s and a neglected early drawing, David Hemsoll; The chronology of Titian’s versions of the Venus with a mirror and the lost Venus for the Emperor Charles V, Peter Humfrey; The portraits of a lady, Paul Joannides. Select bibliography; Index.

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Book SynopsisThe first book-length study of the fifteen surviving Little Gidding bible concordances, this book examines the visual culture of print in seventeenth-century England through the lens of one extraordinary family and their hand-made biblical manuscripts. The volumes were created by the women of the Ferrar-Collet family of Little Gidding, who selected works from the family''s collection of Catholic religious prints, and then cut and pasted prints and print fragments, along with verses excised from the bible, and composed them in artful arrangements on the page in the manner of collage. Gaudio shows that by cutting, recombining, and pasting multi-scaled print fragments, the Ferrar-Collet family put into practice a remarkably flexible pictorial language. The Little Gidding concordances provide an occasion to explore how the manipulation of print could be a means of thinking through some of the most pressing religious and political questions of the pre-civil war period: the coherence of prinTrade Review"The visual image and its manipulation through bodily activities and tools seem to provide the crucial in-between, a different form of reading in which the senses are actively employed. The Bible and the Printed Image in Early Modern England thus offers yet another concept of what reading can be, and makes a contribution to the heterogeneous histories of early-modern reading that are so crucial to the study of print culture. ...What is distinctive about this book and what prevents it from fitting into traditional categories of knowledge, is precisely what makes it such a productive example of the potential of print culture."--CAA ReviewsTable of ContentsList of IllustrationsAcknowledgementsIntroduction: thinking like a rattle headChapter 1: Rend and Repair: print culture, female handiwork, and the making of the concordancesChapter 2: The word made flesh: thinking incarnationally with scriptureChapter 3: Between the law and the gospel: thinking figurally with scriptureAppendix: inventory of the known Little Gidding concordancesBibliographyIndex

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Book SynopsisIn early modern Europe, discernment emerged as a key notion at the intersection of various domains in both learned and artisanal cultures. Often used synonymously with judgment, ingenuity, and taste, discernment defined the ability to perceive and understand the secrets of nature and art, and became explicitly connected with a kind of knowledge available only to experts in the respective fields. With contributions by historians of art and historians of science, and with geographic coverage focusing on the Low Countries and their multiple connections to different parts of the world, this volume reframes recent scholarship on what the editors term 'cultures of knowledge and discernment' in the early modern period. The collection is innovative in its focus on investigating types of knowledge linked to what was then called the 'science' (scientia) of art, to artistic expertise and connoisseurship, and to 'secrets of art and nature.'Table of ContentsTable of ContentsIllustrationsNotes on ContributorsAcknowledgmentsIntroduction: Hidden ArtificesSven Dupré and Christine Göttler Part I: Sites of Discernment1 Transforming Nature into Art: Fall of the Rebel Angels (1562) by Pieter Bruegel the ElderTine Luk Meganck2 Vulcan’s Forge: The Sphere of Art in Early Modern AntwerpChristine Göttler Part II: Artifices and Imitation3 Superb Craftsmanship in Antwerp: Baroque Goldsmiths’ Work in Competition with the Visual ArtsLorenz Seelig 4 The Veronica according to Zurbarán: Painting as Figura, and Image as VestigioFelipe Pereda 5 ‘The Various Natures of Middling Colours We May Learne of Painters’. Sir Kenelm Digby Looks at Rubens and Van DyckKarin Leonhard Part III: Secrets and Knowledge6 Oil Painting as a Workshop Secret: On Calumnies, Legends, and Critical InvestigationsOskar Bätschmann 7 Peiresc in the Parisian ‘Jewel House’ Peter N. Miller 8 Germanic Antiquity in Rembrandt’s CircleThijs Weststeijn Part IV: Mechanical Science and Technique9 Rembrandt and Painting as a Mechanical Science in Dutch Seventeenth-Century ArtJan Blanc10 From Mechanism to Technique: Diderot, Chardin, and the Practice of Painting Paul Taylor

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Book SynopsisThe presence of the orthopedically impaired body in art is so pervasive that, paradoxically, it has failed to attract the attention of most art historians. In Picturing the Lame in Italian Art from Antiquity to the Modern Era, Livio Pestilli investigates the changing meaning that images of individuals with limited mobility acquired through the centuries. This study evinces that in distinct opposition to the practice of classical artists, who manifested a lack of interest in the subject of lameness since it was considered ''a defect or a deformity'' and deformity a ''want of measure, which is always unsightly,'' their Early Christian counterparts depicted them profusely, because images of the miraculous healing of the lame became the reassuring sign of universal acceptance and the promise of a more equitable existence in this life or the next. In the Middle Ages, instead, when voluntary poverty came to be associated with the necessary condition of faithfulness to Christ, the indigent laTrade Review"One of the achievements of this book is how it links changing portrayals of impairments and settings to the social attitudes of the times, thus emphasizing the social nature of disability. Early in the book, the author emphasizes this social nature by discussing the language of disability. He acknowledges the difficulties around adopting a neutral stance, settling on “lame” as a historical term, even if it is one that is not popular today."- H-DisabilityTable of ContentsContents:List of plates List of figures Acknowledgments Introduction 1 Classical and Early Christian precedents 2 Imago Christi 3 Parasites 4 Papal Rome 5 Exit the lame Coda Bibliography Index

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Book SynopsisVenetian artistic giants of the sixteenth century, such as Giorgione, Vittore Carpaccio, Titian, Jacopo Sansovino, Jacopo Tintoretto, Paolo Veronese, and their contemporaries, continued to shape artistic development, tastes in collecting, and modes of display long after their own practices ended. The robust reverberation of the Venetian Renaissance spread far beyond the borders of the lagoon to inform and influence artists, authors, and collectors who spent very little or even no time in Venice proper. The Enduring Legacy of Venetian Renaissance Art investigates the historical resonance of Venetian sixteenth-century art and explores its afterlife and its reinvention by artists working in its shadow. Despite being a frequently acknowledged truism, the pervasive legacy of Venetian sixteenth-century art has not received comprehensive treatment in recent publication history. The broad scope of the topics covered in these essays, from Titian's profound influence on the development of landscTable of ContentsTable of ContentsList of IllustrationsNotes on the ContributorsAcknowledgementsIntroduction: In the Shadow of La SerenissimaAndaleeb Badiee Banta and Lindsey P. SchneiderChapter 1: The Neurosis of Visual Legacy: Seicento Venetian Painters Confront Their PastTaryn Marie ZarrilloChapter 2: "Il Prete Genovese:" Bernardo Strozzi and the Venetian CinquecentoAndaleeb Badiee BantaChapter 3: Titian and Tintoretto in the Sacristy of Santa Maria della Salute: a Seicento "Accademia" for Displaced Treasures of the Venetian CinquecentoAllison ShermanChapter 4: "A beautiful woman should break her mirror early:" The Rokeby Venus, the Venetians, and GraciánAneta Georgievska-ShineChapter 5: "A Good Friend of our Venetian Maniera:" Pietro da Cortona and Neo-Venetianism in Roman Painting after 1650Lindsey P. SchneiderChapter 6: Paolo Veronese Revisited: Art Collecting and Connoisseurship in Eighteenth-Century Venice Linda BoreanChapter 7: Antonio Corradini, the Collegio dei scultori, and the Neo-Cinquecentismo in Venice around 1720Matej KlemenčičChapter 8: Displaying Objects and Performing Publics: Antonio Maria Zanetti’s Delle Antiche StatueJanna IsraelChapter 9: The Long Shadows of Titian’s Trees Leopoldine ProsperettiChapter 10: Conjuring Venetian Costume: The Influence of Cinquecento Paintings in Mariano Fortuny’s Dress DesignsWendy Ligon SmithAfterword: Quick to Say Good-Bye, Hard to Forget: The Long Lives of Cinquecento Venetian PicturesJodi CranstonWorks CitedIndex

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Book SynopsisA Choice Outstanding Academic Title 2016The Bloomsbury Encyclopedia of Design provides a comprehensive guide to design, with entries on key topics in the history and theory of design, addressing a range of design forms including graphic, textile, furniture, metal, ceramic, fashion, stage and film, vehicle and product design, as well as national histories of design and key design movements.The Encyclopedia provides up-to-date peer reviewed coverage of the last 250 years of design history, with global coverage by leading international design scholars and design historians. Complete with a comprehensive index and full cross referencing, The Bloomsbury Encyclopedia of Design is the definitive guide to Design.

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Book SynopsisDeborah Schneiderman is Associate Professor of interior design in the School of Art & Design at the Pratt Institute, New York, USA, and a registered architect and LEED Accredited Professional. Alexa Griffith Winton is an independent design historian based in New York, where she is also a part time assistant professor at Parsons School of Constructed Environments, New York, USA.Trade ReviewThis adventurous and revelatory book ranges far beyond color, pattern, weave, and fashion to examine the changing definition of textiles. * Interior Design *These authoritative and accessible essays exemplify myriad ways in which textiles are increasingly inter-disciplinary in range and breadth. Together they contribute to the re-shaping and expanding of textiles, not only as a field which functions as an interface between the body and architecture but also as an exciting practice through which the ever-growing territory between human and post-human experiences are articulated. * Victoria Mitchell, Norwich University of the Arts, UK *The intersections and overlaps between the wrapping, lining and layering of our bodies and the environments that we occupy are explored in this innovative publication. An excellent and diverse range of writers and subject matter has ensured that issues around the ‘soft’ interior are now placed firmly at the forefront of thinking in this field of design. * Graeme Brooker, Middlesex University, UK *From cover up to a celebration of wealth, and from a display of conventional culture to cutting-edge experimentation, textiles have been hiding and displaying something for millennia. Whether it be the human body with clothes or the family in a carpeted, upholstered, and draped interior, cloth has been a malleable expression of our attitudes towards ourselves, others, and our environment. This sweeping array of essays traces the history of textiles on bodies and in interiors, and show how new technologies are liberating us to have a whole new relationship to that most flexible and sensual of human artifacts. * Aaron Betsky, Frank Lloyd Wright School of Architecture, USA *By concentrating both on innovations in new textile weaving and material techniques, and on extreme situations in which such advances can come to the fore, the editors promote a way of making space and form that elides the distinctions between those two as well as, at times, between inside and outside. -- Aaron Betsky, Taliesin West, USA * Architect Magazine *This book is for those of us who make things, and write and think through the interior, and is equal parts affirming and madding… Schneiderman and Winton have orchestrated a perfect storm of academic inclusiveness and possibly delightful contention. The editors question conventional definitions of textile, fabric, fabrication, surface, and soft construction by having a number of disparate voices in the text. This is a conversation – and possibly a debate – rather than a point of view. This conversation is the beginning of a vital endeavor to make space via a new definition of materiality at a crucial juncture in the history of interiors. * Interiors *Textile Technology and Design cuts across material and disciplinary distinctions making it required reading for anyone teaching or researching in the field of design. * Journal of Design History *Table of ContentsForeword by Susan Yelavich (Parsons The New School for Design, USA) Introduction, Alexa Griffith Winton (Parsons School of Constructed Environments, USA) and Deborah Schneiderman (Pratt Institute, USA) Part 1 Textile: Pliable Planes, Interior Applications and Fabrications 1 Interstitial Threads: The Body, Textiles and Interiority in Contemporary Interior Design, Alexa Griffith Winton (Parsons School of Constructed Environments, USA) 2 Soft Spaces: From the Textile-Clad Interior to Modern Interior Design, Anca I. Lasc (Pratt Institute, USA) 3 Felt and the Emerging Interior, Helene Renard (Virginia Tech School of Architecture and Design, USA) 4 Tailoring Second and Third Skins, Lois Weinthal (Toronto Metropolitan University, Canada) 5 Interview with Carol Bove (Artist, USA) Part 2 Mechanical and Digital Innovation in the Interior Realm 6 Ulterior Motives, Sarah Strauss (Pratt Institute, USA) 7 Topically Embedded: Surface as Graphic Material, Igor Siddiqui (The University of Texas at Austin, USA) 8 Materializing the Digital Realm: Textile of the Modern Age, Jonathon Anderson (University of Nevada Las Vegas, USA) and Laura Schoenthaler (North Carolina State University, USA) 9 Bespoke: Tailoring the Mass-Produced Prefabricated Interior, Deborah Schneiderman (Pratt Institute, USA) 10 Sensorial Space: Responsive Interiors Thru Smart Textiles, Margarita Benitez (Kent State University, USA) 11 Self-actuated Textiles, Interconnectivity and the Design of the Home as a More Sustainable Timescape, Aurélie Mossé (École Nationale Supérieure des Arts Décoratifs, France) 12 Interview with Charlie Morrow (Composer, Sound Artist, Performer and Innovator, USA) Part 3 Extreme Environments and Outer Space 13 Design for Extreme Environments Project [DEEP]: A Case Study of Innovations in Mediating Adverse Conditions on the Human Body, Brian Davies (University of Cincinnati’s College of Design, Architecture, Art, and Planning, USA) 14 Design for Confinement: The Art and Science of Sensory Deprivation in Space, Evan Twyford (Industrial Designer, USA) 15 Fabrics for Space Travel, Evelyne Orndoff (NASA, USA) 16 The Role of Soft Materials in the Design of Extreme Interior Environment for Space Exploration, Larry Toups, Matthew Simon, A. Scott Howe and Robert Howard (NASA, USA) 17 Interview with Charles Camarda (NASA, USA) Bibliography Index

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Book SynopsisStephen Kite is Emeritus Professor of Architecture at the Welsh School of Architecture, Cardiff University, UK. His previous publications include Building Ruskin's Italy: Watching Architecture (2012), Adrian Stokes: An Architectonic Eye (2009), and An Architecture of Invitation: Colin St John Wilson (2005, co-authored with Sarah Menin).Trade ReviewA meticulously researched, sensitive and intellectually stimulating enquiry into architecture’s darker side. * The Burlington Magazine *Shadow-Makers is a thoroughly enjoyable read, a dense, evocative, and insightful reminder of qualities essential to the physical and intellectual enjoyment of architecture. -- Elizabeth Musgrave * Architectural Theory Review *Providing an important exploration on how shadows have been used for a variety of purposes (religious, psychological, spatial), Kite looks at architecture from the Baroque, through 19th-century Gothic revival, to early and late modernity … This book abounds with black-and-white illustrations supporting and highlighting the nuances of Kite's ideas. Summing Up: Recommended. Upper-division undergraduates through faculty and professionals; general readers. * CHOICE *Kite gathers an interesting ensemble of architects and architectonic works ... [he] creates a rich picture of the subject, almost like a mosaic. * Arkkitehti *Kite’s is a searching mind – genuinely curious, fascinated and enthusiastic; attuned to the allegorical values of tectonics ... [Shadow-Makers is] a network of ideas drawn from politics, aesthetics, philosophy and cultural history, but always pivoting on the central narrative of architectonics wrought from darkness, shadow and shade. * Fabrications *Table of Contents1. Shadow Beginnings 2. Primordial Shadows 3. ‘The art of Shaddowes’: the Baroque of Hawksmoor and Vanbrugh 4. Shadows of the Sublime 5. Gothick ‘Gloomth’ 6. John Ruskin and Shadows of Power 7. Shadow Carpets 8. Shadows of the Unconscious: the Venice of Adrian Stokes and Aldo Rossi 9. Louis Kahn and the ‘Treasury of Shadows’ 10. Shadow Futures Bibliography Index

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Book SynopsisKirsten McKenzie is Professor of History at the University of Sydney, Australia. She is the author of Imperial Underworld: An Escaped Convict and the Transformation of the British Colonial Order (2016); A Swindler's Progress: Nobles and Convicts in the Age of Liberty (2009) and Scandal in the Colonies: Sydney and Cape Town 1820 1850 (2004).Table of ContentsGeneral Editor's Preface, Antoinette Burton (University of Illinois Urbana-Champaign, USA) Introduction, Kirsten McKenzie (University of Sydney, Australia) 1. War, Susan K. Kent (University of Colorado Boulder, USA) 2. Trade, Robert Aldrich (University of Sydney, Australia) 3. Natural Worlds, Ruth A. Morgan (Monash University, Australia) 4. Labor, Utathya Chattopadhyaya (University of Illinois Urbana-Champaign, USA) 5. Mobility, Miranda Spieler (The American University of Paris, France) 6. Sexuality, Esme Cleall (University of Sheffield, UK) 7. Resistance, Jennifer Sessions (University of Iowa, USA) 8. Race, Matthew Fitzpatrick (Flinders University Adelaide, Australia) Notes Further Reading Notes on Contributors Index

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Book SynopsisNicholas R. Bell is the Fleur and Charles Bresler Senior Curator of American Craft and Decorative Art, at the Renwick Gallery of the Smithsonian American Art Museum, Washington, DC, USA.Table of ContentsTable of Contents List of Contributors 1. (Dis) Organizing Principles Nicholas R. Bell: Introduction Glenn Adamson: Goodbye Craft 2. Aesthetic Transgressions Elissa Auther: He is Survived by His Longtime Companion: Feeling in the Work of Josh Faught Maria Buszek, Elaine Reichek, Sonya Clark, Michael Strand: Media, Process, History: Craft beyond Crafting Jenni Sorkin: Craft-Like: The Illusion of Authenticity 3. The Politics of Display Elizabeth McGoey: America at Home: Crafts and Craftsmanship in the 1939-1940 New York World’s Fair Shelter Exhibits Ulysses Dietz: Taste, Money, Museums and the Subversion of Craft Julie Muniz and Jennifer Scanlan: Institutionalized: Craft in the Museum 4. Enduring Conflicts Maria Shevzov: Making an Impression: The Material Culture Scholarship and Craft of Historical Reenactors Bibiana Obler: Craft as a Response to War 5. Education and Technology Garth Johnson: A Hackerspace of One’s Own: Curriculum and the Maker Movement Neil Gershenfeld, Stuart Kestenbaum, Phyllis Klein: Digital Fabrication: Implications for Craft and Community 6. Negotiating Industry Ezra Shales: The Politics of ‘Ordinary Manufacture’ in the Post-Industrial State Sandra Alfoldy: Craft Goes to Disney! Gabriel Craig: DIY Detroit List of illustrations/photography credits Index

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Book SynopsisCraft Communities addresses the social groups, old and new, which have developed around craft production and consumption, exploring the social and cultural impact of contemporary practices of making. Addressing a wide range of crafting practice, from yarnbombs to Shetlands shawls, brassware to paper crafting, in a variety of regional and national contexts, the contributors consider how craft practices operate collectively in the home, communities, businesses, workshops, schools, social enterprises, and online. It further identifies how social media has emerged as a key driver of the ''Third Wave'' of craft. From Etsy to Instagram, Twitter to Pinterest, online communities of the handmade are changing the way people buy and sell, make and meet.Trade ReviewCraft Communities brings together an exciting and international array of writers whose ideas and examples are of central importance for thinking about craft as a collective, generative experience. The themes and chapters provide much-needed explorations and insights to help readers think through and unravel some of the complexities of decolonising craft. * Professor Juliette MacDonald, Director of Faculty at Edinburgh College of Art, Scotland *Craft Communities gathers in one publication is a breadth of particular case studies that reveal the dynamism, but also the sheer complexity, of craft’s place in contemporary community building. * Jessica Hemmings. University of Gothenburg, Professor of Craft, Sweden *Table of ContentsIntroduction - Craft Communites: Continuity and discontinuity across time and place, Susan Luckman. The commercial entanglements of craft communities 1. Do it yourself, with me: Workshops as a site of interaction between professional and amateur makers, Amy Twigger Holroyd. 2. ‘Out of time and out of money’: How handicraft tourism micro-entrepreneurs in Greece negotiate gender and economic roles in an economic crisis, Fiona Bakas 3. The Pleasures of Feminine Paper Crafting, Kathleen McCollough 4. Commodification, collection and community: Negotiating craft consumption and craft capitalism, Richard Yarwood Craft communities in place 5. Innovation or preservation?: Craft’s post-capitalist identity crisis, Joanna Mann 6. A place-based approach to regional fiber economies, Oona Morrow 7. Walking as sisters: The social dimension of group-based craft production in the Peruvian Andes, Kathrin Forstner 8. Sri Lankan artistic brassware industry: A manifestation of local community values, Sri Rohana Rathnayake and Carl Grodach 9. Recognising craft and creativity as political governance innovation: Activating people and place through civic activism and creative enterprise, Clare Mouat and Bronwyn Adams 10. Make, do and mend: A patchwork economy of UK crafting for health, Sarah Desmarais Activist craft communities 11. Better together: Co-creating living heritage, community assets and enterprise, Fiona Hackney, Deirdre Figueiredo and Mary Loveday 12. Material girls: The intangible and tangible of women’s weaving groups in Australia, Kirsten McGavin and Hannah Swee 13. Crafting employment for marginalized women: The remaking of social enterprise, Mia Hunt 14. The craft of reuse: Making communities at charity secondhand shops, Melisa Duque and Aneta Podkalicka 15. Crafting asylum: Text, textiles and asylum seekers in detention, Margaret Mayhew Craft communities online 16. Disposition and taste: DIY craft's star system, cultural intermediaries and the influence of Etsy, Jacqueline Wallace 17. New geographies of domesticity: Work, space and community in the virtual arts and crafts, Shannon Black, Chloe Fox Miller and Deborah Leslie 18. Media practices and social arrangements on DaWanda: Reflections on the appropriation of a social commerce platform, Dagmar Hoffmann and Wolfgang Reißmann List of Figures List of Contributors

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Book SynopsisNineteenth-century photography is usually thought of in terms of black and white' images, but intense experimentation with generating and fixing colors pre-dated the public announcement of the daguerreotype in 1839. Introducing readers to the long, frequently overlooked story of the relationship of color to photography, this short anthology of primary sources includes: accounts of the scientific search for color by Elizabeth Fulhame and Sir John Herschel;photographers'' views on color; extracts from the photographic press and from manuals on handcoloring; and accounts by critics such as John Ruskin. The volume provides a fresh perspective on the culture, history and theory of early photography, demonstrating why scientists, philosophers, photographers, literary writers and artists were so fascinated by the potential for polychrome in photographs. With an introductory essay arguing that from the earliest days of photography the prospect of color loomed large in the imagination of its crTrade Review"A fascinating insight into the ways in which early practitioners of photography and art historians and philosophers more generally thought about the importance of color in the 19th century. - Caroline Blinder, Goldsmiths University, UK An extremely useful book for students – both undergraduate and graduate students taking History of Photography courses, and those taking broader based courses (especially as a graduate level) on Victorian Visual Culture - Kate Flint, University of Southern California, USA"Table of ContentsList of figures Introduction A Note on the Texts Texts Section 1: ‘In traces represented by tints’: Monochrome/polychrome. 1. From: J. C. Le Blon, Coloritto or the Harmony of Colouring in Painting (1720). 2. From: Johann Wolfgang von Goethe, Theory of Colours (1840). 3. From: John Ruskin “Of Turnerian Light,” Modern Painters IV, (1856). 4. From: French Discovery – Pencil of Nature, from “The New Art,” The Literary Gazette, Feb. 2, 1839. 5. From: M. Claudet, “The Progress and Present State of the Daguerreotype Art,”(1843-1844). 6. “Calotypes,” The Literary Gazette (March 12, 1842). 7. From: Charles Martel, “Colour in its Relation to Photography,” The Photographic News, August 1860. Section 2: ‘Exposed to the Sunbeams’: Chemical Reactions/’Vegetable colours’.8. Elizabeth Fulhame, Preface to, and extracts from, An Essay on Combustion (1794). 9. Thomas Wedgwood and Humphrey Davy, “An Account of a Method of copying Paintings upon Glass,” June (1802). 10. From: John F. W. Herschel, ‘On the Action of the rays of the Solar spectrum on Vegetable Colours, and Some New Photographic Processes’, (1842).Section 3: ‘Graphy’ and ‘Photos’: the Color Purple. 11. From: W. Cole, PURPURA ANGLICANA, being a discovery of a shell-fish found on the shores of the Severn . . .(1686). 12. From: “The Action of Light on the Colouring Matter from the ‘Murex”’ Sept.1, 1860. 13. From: John Ruskin, “The Queen of the Air: Athena Keramitis II,” 1869. Section 4: ‘Apollo and Apelles’: Coloring by hand.14. From: Pliny the Elder, Book 25, Ch. 36, The Natural History. Trans. John Bostock and H. T. Riley (1855). 15. From: L. Mansion, Letters Upon the Art of Miniature Painting (London: 1822). 16. “Photography and Painting,” The Literary Gazette (Jan. 10, 1846). 17. From: Henry Morley (1822-1894) and William Wills (1810-1880), “Photography” March 19, (1853). 18. From: Alfred H. Wall, A Manual of Artistic Colouring, as applied to Photographs. (1861). 19. “Colouring Photographs. –No. I.” (1863). Section 5: “Direct” and “Indirect” Color. 20. From: Robert Hunt, “On the Application of Science to the Fine and Useful Arts. Heliochrome,” Oct. 1851. 21. From: “Those who Live in Glass Houses,” Nov. 26, 1864. 22. From: Gabriel Lippmann, “Colour Photography,” April 30, 1896. 23. From: Sarah Angelina Acland, “The Spectrum Plate. Theory: Practice: Result,” (23 August 1900). 24. From: Yevonde, In Camera (1940). Bibliography Index

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Book SynopsisSven Dupré is Professor of History of Art, Science and Technology at Utrecht University and the University of Amsterdam, The Netherlands.Amy Buono is Assistant Professor at the Wilkinson College of Arts, Humanities, and Social Sciences at Chapman University, USA.Table of ContentsVOLUME 3: A CULTURAL HISTORY OF COLOR IN THE RENAISSANCE Edited by Sven Dupré, Utrecht University, The Netherlands, & Amy Buono, Rio De Janeiro State University, Brazil 1. Philosophy and Science, Tawrin Baker 2. Technology and Trade, Jo Kirby 3. Power and Identity, Peter C. Mancall 4. Religion and Ritual, Lisa Pon 5. Body and Clothing, Carole Frick 6. Language and Psychology, Doris Oltrogge 7. Literature and the Performing Arts, Bruce R. Smith 8. Art, Marcia Hall 9. Architecture and Interiors, Cammy Brothers 10. Artefacts, Leah R. Clark

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Book SynopsisAlexandra Loske is an art historian and curator. She is an Associate Tutor at the University of Sussex, UK, and holds a curatorial post at the Royal Pavilion, Brighton, UK.Table of ContentsVOLUME 5: A CULTURAL HISTORY OF COLOR IN THE AGE OF INDUSTRY Edited by Alexandra Loske, University Of Sussex, UK 1. Philosophy and Science, Georges Roque 2. Technology and Trade, Laura Anne Kalba 3. Power and Identity, Dominique Grisard 4. Religion and Ritual, Charlotte Ribeyrol 5. Body and Clothing, Charlotte C. Nicklas 6. Language and Psychology, Nicholas Gaskill 7. Literature and the Performing Arts, Margrit Vogt 8. Art, Joyce H. Townsend 9. Architecture and Interiors, Megan Aldrich 10. Artefacts, Kelly F. Wright

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Book SynopsisJohn Heskett (1937-2014) was a prolific and pioneering design academic. He worked as chair and professor of design at Hong Kong Polytechnic University, spent fifteen years as professor of design at the Illinois Institute of Technology in Chicago, and was also a visiting professor at universities in Denmark, Turkey, Chile, Germany, Japan, and Finland.He authored many classic design texts, including 'Industrial Design' (1980), 'German Design 1870-1918' (1987), and 'Philips: A Study in Corporate Design' (1989). A large part of his research focused on business applications for design. He was especially interested in exploring how design creates economic value, and the role of this in the design policy of governments and corporations.Clive Dilnot is Professor of Design Studies at the School of Art and Design History and Theory at Parsons, New York. He has taught in Hong Kong and at Harvard University, and served as director of design initiatives at the ATrade ReviewHeskett provides us the most comprehensive set of ideas about how organizations can use design to create economic value. These essays are the best source for linking design theory with policies that organizations can adopt and act upon. * Patrick Whitney, Distinguished Professor at the Institute of Design, Illinois Institute of Technology, USA *Clive Dilnot and Suzan Boztepe are two of the finest scholars in the design field. This judicious selection brings Heskett’s always lively work to a new generation of readers – while gathering Heskett's work on economics and public policy for readers who already know the historian. * Ken Friedman, Chair Professor of Design Innovation Studies at Tongji University, China *We should care passionately about the relationship between design and economic value. If good design has no or little obvious economic value then we are doomed to live in a world where everything from the built environment in which we live to the smart phone in our hand will be created without thought to its beauty, functionality and impact on us as users. Fortunately that is not the case and we all know intuitively that good design has value. This book helps us to move beyond intuition and gives us the language to explore design in economic terms. In doing so it can help us to convince key decision-makers, whether in business or in public life, about this key and eternal relationship. Too often they seem programmed to forget! * Matthew Carmona, Professor of Planning and Urban Design at the Bartlett School of Planning, University College London, UK *We know the actual value of designs much better than we understand how designing creates value. John Heskett’s ground-breaking work and this book’s commentaries on it let us look more deeply at Design Thinking through various lenses from Economics, which in turn are refocused in the light of Design. * Gilbert Cockton, Professor of Design Theory at Northumbria University, UK *Design is often described as ‘mystical’, by proponents who see this as a positive creative quality, or ‘nebulous’, by those frustrated with its struggle to establish a firm disciplinary foundation. This book provides an important challenge to this by addressing the affirming relationship between design and economic value, articulating its reciprocal nature in terms of both theory and practice. * Lucy Montague, Senior Lecturer in Urban Design at the University of Huddersfield, UK *As to the value of Design and the Creation of Value, it is profoundly pronounced and plentiful. For practitioners, the book lends substance to long-standing contentions. There is potential for designers to become conversant in the language of economics and to understand the derivation of its ideas. Greater still is the potential for design to transform the practice of its major patron. * Dialectic Journal *Design and the Creation of Value presents Heskett’s heavy lifting. He opens a door between the mutual isolation of economics and design ... In these volatile times, the changing context in which design operates leaves us much to do. John Heskett’s book is a beginning—we must continue his work. * She Ji: The Journal of Design, Economics, and Innovation *Table of ContentsClive Dilnot: Introduction to Design & the Creation of Value Cameron Weber: A note on John Heskett's economics Sabine Junginger: Design as an economic necessity for governments and organisations Clive Dilnot: Notes on editing the manuscript Design and the Creation of Value Preface §1: Design in Economic Life? Part One: Economic Theory & Design §2: Neo-Classical Theory §3: Austrian Theory §4: Institutional Theory §5: New Growth Theory §6: The National System Part Two: Design & the Creation of Value §7: Design from Standpoint of Economics §8: Economics from the Standpoint of Design §9: Design and Value from the Standpoint of Practice Appendix 1: Socialist Theory Appendix 2: Value and Values in Design Sharon Helmer Poggenpohl: Afterword

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Book SynopsisThis sumptuous book presents a selection of over one hundred stunning artworks, depicting animals real and mythical, from the prints and photography collections of the Bibliothèque nationale de France. The work opens with a preface from celebrated cultural historian Michel Pastoureau, who considers the symbolic importance of animals to our dreams and imagination. Each image is accompanied by a commentary from one of the BnF's expert editorial team of curators and archivists, which provides information on the natural and symbolic history of the creature depicted. Featured artworks include such masterpieces as Dürer's rhinoceros, Manet's cats, a carp by Hiroshige and Matisse's swan. This is a truly beautiful and authoritative collection of some of the most recognisable and accomplished works of animal-themed art, from the medieval period to the present day.Trade ReviewThe edition of Animal: A Beastly Compendium published by Bloomsbury in their beautiful range of “Art History” invites to touch, look, turn every page and to dream yourself into the pictures and immerse yourself in the stories they tell. * The Protagonist Magazine *Opulent, provocative and mind-opening, Animal is a magnificent compendium, which is witness to the intertwining of human and animal lives, showing not only how richly and insistently humans have thought about animals, but also how good animals are to think with. * Steven Connor, Professor of English at Peterhouse, University of Cambridge, UK *Informative, thought-provoking and visually stunning, this volume will prove richly rewarding for anyone interested in probing the connections between animals, culture, art and history. The book's authoritative, engaging texts and sumptuous illustrations make Animal an intellectual and visual pleasure. * Pia F. Cuneo, Professor of Art History at the University of Arizona, USA *Table of ContentsAss - Bear - "Beast of Gévaudan” - Beaver - Bee - Bird - “Bird-Woman” - Bull - Butterfly - Camel - Carp - Cat - Chimera - Cow - Crocodile - Deer - Dinosaur - Dog - Dolphin - Dromedary - Duck - Elephant - Fish - Fox - Frog - Giant Squid - Giraffe - Goat - Goose - Grasshopper - Hippopotamus - Horse - Jaguar - Lion - Mole - Monkey - Mouse - Ostrich - Owl - Ox - Panther - Parrot - Peacock - Pelican - Pig - Porcupine - Rabbit - Ram - Rhinoceros - Salamander - Shrimp - Snake - Snowy Owl - Sperm Whale - Spider - Spiny Lobster - Stag - Swan - Tiger - Turtle Dove - Unicorn - Water Spaniel - Wild Boar - Wolf - Zebra

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Book SynopsisNicolas P. Maffei is Senior Lecturer in Contextual Studies in the School of Design, Norwich University of the Arts, UK. He has published widely on American design, streamlining, art deco and modernism.Trade ReviewMaffei’s impressive, revealing biography grounds Bel Geddes’s contributions to graphic arts, theater, product design, urbanism, and social engineering in undercurrents of mystical theosophy, positive thinking, socialism, evolutionism, and utopian science fiction—yielding a popular therapeutic modernism for the consumer age. * Jeffrey L. Meikle, Stiles Professor in American Studies at the University of Texas at Austin, USA *Maffei’s impressive portrait of industrial designer, Norman Bel Geddes, shows us how this ‘practical visionary’ envisaged a thoroughgoing re-design of the modern material environment, transforming as he did the appearance of stage sets, automobiles, airplanes, exhibitions, architectural structures and brand identities. * Penny Sparke, Pro Vice Chancellor at Kingston University, UK *Maffei is one of a new generation of design historians bringing new research and fresh insights to the table. His original and insightful archival research underpins his valuable contribution to our deeper understanding of Bel Geddes' work and thought. * Jonathan M. Woodham, Emeritus Professor of Design History at the University of Brighton, UK *Nic Maffei’s in-depth cultural biography of Norman Bel Geddes casts the designer as a ‘pragmatic visionary’. Grounded in painstaking archival research and a wide historical context, this important study traces the designer’s path from early avant-garde theatre design in Europe to leading industrial designer who shaped the face of modern America. It promises to become a standard reference for this key figure in design history. * Jeremy Aynsley, Professor of Design History at the University of Brighton, UK *Table of ContentsIntroduction 1. Becoming a Practical Visionary: Geddes’s Youth and Early Career - Portraiture and Advertising Illustration - Christian Science and Fordism - InWhich Magazine 2. Transforming Audiences: Stage Design to Industrial Design - Geddes’s Knowledge of Theosophy, Psychology, and Advertising - Theater Number 6: Merging the Audience and Actors - Geddes’s Stage Design Course, 1922-1928 - Franklin Simon Window Displays, 1927-1930 - J. Walter Thompson Assembly Hall, 1929 - From Stage Design to Architecture: Plans for the Chicago World’s Fair, 1933 - The Therapeutics of Color in Interior Design, c. 1930 - Design Proposal for the Kharkov Theater, Ukraine, 1931 - Architecture as a Lively Art 3. Horizons: Publicizing the Visionary Designer - Promoting the Artist in Industry - The Aerial Restaurant, Air Liner Number 4, and the Standard Gas Equipment Stove - Horizons and Towards a New Architecture - Influences of Technocracy and Scientific Management - Horizons’ Press Reception - Technological Forecasting in Horizons 4. A Machine-Age Architecturalist: Planning the Factory, Service Station, and the Mass- Produced Home - Toledo Scale Factory - The House of Tomorrow, 1931 - A Modern, Mass-Produced Service Station: Socony-Vacuum, 1934 - Hopes for the Factory-built House: 1939-1945 - Geddes Seeks an Architectural License 5. Streamlining: From Imagined Ideal to Commercial Reality - Graham-Paige Motor Cars, c. 1928-1933 - Horizons and Ideal Streamlining: Car Number 8 and Pan American Airways - Critics of Streamlining - Chrysler Job: Publicizing and Designing the Ideal Car, 1934 - Geddes Designs for Chrysler - Ideal Streamlining and the Rear-Engine Debate - Publicizing Streamlined Design - Cleanlining and Novel Uses of Streamlining, c. 1932-1950 6. Consumer Research: Imagining the Ideal Consumer, Developing a Popular, Modern Aesthetic - Early Consumer Surveys: Philco and Abeyton Realty - ‘Tomorrow’s Consumer,’ 1943 - Designing for the Postwar Consumer: Shell Oil, Radio Corporation of America, and Rittenhouse Chimes 7. The Production and Consumption of Model Worlds: Futurama and ‘War Maneuver Models’ Exhibition, 1937-1944 - Miniature Games: The Origins of Geddes’s Modelling and Futurology. - Shell Oil ‘City of Tomorrow’ Advertisement, 1937 - The General Motors Futurama Exhibit, New York World’s Fair 1939-1940 - Futurama - Planning and Research: Creating a Theatrical Simulation - Constructing the Future: The Publicity and the Press - Futurama as an Advertisement - War Models in Life Magazine, 1942, and at The Museum of Modern Art, New York, 1944 - Conclusion References Index

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Book SynopsisModern Asian Design provides a comprehensive introduction to the development of Asian design in the modern period, both tracing historical threads and offering a theoretical framework within which to chart the history of design in Asia.Rather than a singular Asian history, this book presents a series of studies centred on trade routes, colonial relationships, regional networks and cross-cultural exchanges. Modern Asian Design builds on existing resources beyond design history in an effort to map the field, focusing particularly on relations between Asia and the West and also across Asian design cultures.Opening with a brief overview of trade and exchange networks in the 17th and 18th centuries, the bulk of this study comprises analysis of the development of modern design in Asia during the later 19th and early 20th centuries, a period of rapid modernisation. The book's final two chapters bring these central ideas into a contemporary and highly relevant context.Trade ReviewHuppatz’s book is a welcome addition to a growing field … [It] is hoped that viewpoints and writings on Asian Design will multiply in the coming years to create a more robust and inclusive global design history landscape. * Journal of Design History *Modern Asian Design is a rich and timely contribution to the emergent body of research on design histories beyond the West. The book expands our knowledge of modern design in Asia and provides methodological approaches to studying what are often viewed as marginal contexts in design history. * Megha Rajguru, Senior Lecturer in Art and Design History at the University of Brighton, UK *Table of ContentsIntroduction Chapter 1: Foundations, 1700-1850 - Part I: China from China - Part II: Textiles from India - Part III: Modernization, Globalization and Design SECTION I: PATHS TO MODERNITY, 1850s-1930s Chapter 2: Elite Paths - Part I: Meiji Japan: Designing a Modern State - Part II: Siam and Civilization - Part III: Modernizing Everyday Life in Tashio Japan Chapter 3: Colonial Paths - Part I: Designing the British Raj - Part II: Designing an Asian Empire Chapter 4: Professional Paths - Part I: East Meets West - Part III: Shanghai Modernism - Part II: West Meets East Chapter 5: Consumer Paths - Part I: The Herald of Civilization - Part II: New Patent Medicines - Part III: The Department Store SECTION II: ASIAN MODERNITY, 1940s-2000s Chapter 6: Postcolonial Design and the State - Part I: Chandigarh - Part II: Designing the People’s Republic of China - Part III: Singapore Chapter 7: Design and Development - Part I: From Domestic Appliances to Digital Lifestyles - Part II: Design for Development Chapter 8: The Design Professional - Part I: Kenji Ekuan - Part II: Minnette de Silva - Part III: Kan Tai-Keung Chapter 9: Globalization and Consuming Asian Design - Part I: Rebranding banks in Hong Kong - Part II: Asian lifestyle brands Conclusion

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Book SynopsisPeter Fine''s innovative study traces the development of a mass visual culture in the United States, focusing on how new visual technologies played a part in embedding racialized ideas about African Americans, and how whiteness was privileged within modernist ideals of visual form. Fine considers the visual and material manifestations of this process through the history of three important technologies of the art of mechanical reproduction typography, lithography, and photography, and then moves on to consider how racialized representation has been configured and contested within contemporary film and television, fine art and digital design.Trade ReviewThis profound, arresting, and beautiful study makes us see things differently. Made for graphic designers and accessible to fascinated readers far beyond that field, it demonstrates how deeply influenced by embedded relationships of race and power that creative and commercial work in design has long been. The resulting familiarities with images of racial hierarchies become less so as we read, look, and come to view matters through the brilliant critiques provided by contemporary Black artists. -- David Roediger, Foundation Distinguished Professor of American Studies at the University of Kansas, USATo really understand how race shapes US culture past and present, we must get to grips with the ways it patterns everyday life. Peter Claver Fine demonstrates the centrality of race to US graphic design, and the ways in which the visual language of commercial culture remains a key site for the reproduction - and the contestation - of racism. The Design of Race will be of great value to students of design, fine art, and popular culture. -- Ben Pitcher, Reader in the Sociology of Race at the University of Westminster, UKFine’s book is a ground-breaking analysis of the power of graphic design and its culpability in the constructions of race in America. The Design of Race is a timely and well-researched work that eloquently unpacks the complexities of visual culture, racial identity and the affordances of race as a designed object for consumption. -- John Jennings, Critical race design scholar and Professor of Media and Cultural Studies, UC Riverside, USATable of ContentsAcknowledgements Preface Introduction 1. Vestiges in Word and Image 2. Typography and Type 3. First Impressions: Lithography and the Packaging of Race 4. Photography by Design 5. Racialized Play, Caught in Real Time Conclusion

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Book SynopsisStuart Walker is Head of Design, Co-Director of the ImaginationLancaster creative research lab and Professor of Sustainable Design at Lancaster University. He is also Visiting Professor of Sustainable Design at Kingston University, UK and Adjunct Professor at the Faculty of Environmental Design, University of Calgary, Canada. His propositional designs have been exhibited at the Design Museum, London, across Canada and in Italy. His books include The Spirit of Design: objects, environment and meaning and Sustainable by Design: explorations in theory and practice.Jacques Giard is Professor of Industrial Design in The Design School at Arizona State University, prior to which he was Director of the School of Industrial Design at Carleton University in Ottawa, Canada. He is the author of Design FAQs, a university textbook on basic design and Designing: A Journey Through Time. He has also served as national president of the Association of Canadian Industrial Designers. Helen L. Walker is an independent language consultant with an MA in Education for Sustainability.Table of ContentsCONTENTS LIST OF ILLUSTRATIONS AND TABLES LIST OF CONTRIBUTORS ACKNOWLEDGEMENTS FOREWORD General Introduction: Design for Sustainability Stuart Walker and Jacques Giard PART I: HISTORICAL AND THEORETICAL PERSPECTIVES Editorial Introduction Jacques Giard and Stuart Walker 1 The Roots of Unsustainability John R. Ehrenfeld 2 Post-Materialism Freya Mathews 3 Making Sustainability Up: Design Beyond Possibility Aidan Davison 4 Developing Theories for Sustainable Design Dennis Doordan 5 The Emergence of Design for Sustainability: And Onward and Upward... Janis Birkeland 6 I Miss the Hungry Years: Coping with Abundance Albert Borgmann PART II: METHODS AND APPROACHES Editorial Introduction Stuart Walker and Jacques Giard 7 Sustainability - Methods and Practices Tracy Bhamra, Ricardo Hernandez and Richard Mawle 8 Integrating Sustainability in Design Education Jacques Giard and Deborah Schneiderman 9 Sustainability, Consumption and the Throwaway Culture Tim Cooper 10 Why Sustainable Consumers Don't Care Much about Green Products Anne Marchand 11 Design, Sustainability and Marketing Dorothy Mackenzie 12 The Role of Design-Led Knowledge Exchange in Supporting Micro, Small and Medium-Sized Enterprises to be Eco-Innovators in the United Kingdom Anne Chick PART III: SUSTAINABILITY IN PRACTICE Editorial Introduction Jacques Giard and Stuart Walker 13 Architecture: Building for Sustainability or Spirit Nurture? Christopher Day 14 Principles of Sustainable Dwellings and Community Design Avi Friedman 15 Design for Territorial Ecology and a New Relationship between City and Countryside: The Experience of the Feeding Milano Project Ezio Manzini and Anna Meroni 16 Sustainable Urban Futures Rachel Cooper and Chris Boyko 17 Educational Experience in Design for Sustainability: Enhancing a Critical Perspective among Undergraduate Students Maria Cecilia Loschiavo dos Santos 18 Sustainable Fashion Kate Fletcher 19 A New Design Ethic for a New Reality JohnPaul Kusz PART IV: EMERGING DIRECTIONS AND SUSTAINABLE FUTURES Editorial Introduction Stuart Walker and Jacques Giard 20 Sustainability and the Condition of Being Human Alexander Manu 21 Sustainability: Context and Design Shashank Mehta 22 Shè Jì - Change for Sustainable Futures Lou Yongqi 23 Emotionally Sustaining Design Jonathan Chapman 24 I am a User, Not a Consumer Gijs Bakker and Louise Schouwenberg 25 Design Sleepwalking: Critical Inquiry in Design Craig Badke and Stuart Walker 26 Critical Agendas: Designing for Sustainability from Products to Systems Chris Ryan 27 Metadesigning Paradigm Change: An Ecomimetic, Language-Centred Approach John Wood 28 Imagination's Promise: Practice-Based Design Research for Sustainability Stuart Walker 29 Design Activism: Challenging the Paradigm by Dissensus, Consensus and Transitional Practices Alastair Fuad-Luke 30 Design for Cyber-Sustainability: Toward a Sustainable Digital Future Bran Knowles, Stuart Walker and Lynne Blair 31 Emerging Directions Tony Fry 32 Literature and the Environment John Ralston Saul INDEX

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Book SynopsisThis authoritative reference work examines literary and artistic responses to the war's upheavals across a wide range of media and genres, from poetry to pamphlets, sculpture to television documentary, and requiems to war reporting.Table of ContentsIntroduction, Ann-Marie Einhaus and Katherine isobel Baxter; Section I: Literature; 1. The Uncertain War a Century on: The First World War in British and Irish Fiction, Marie Stern-Peltz; 2. Poetry of the First World War in Britain, Clara Dawson; 3. First World War Short Fiction, Ann-Marie Einhaus; 4. Theatre: 1914 and After, Andrew Maunder; 5. Words from Home: Wartime Correspondences, Alice Kelly; 6. Transnational Lives: Colonial Life Writing and the First World War, Anna Maguire Section II: Visual Arts; 7. The'Abysmal inexcusable middle class', Painting, Commemoration, and the First World War, Matthew Potter; 8. Varied to Infinity: The First World War and Sculpture, Laura Brandon; 9. Memorials: Embodiment and Unconventional Mourning, Laura Wittman; 10. Posters, Advertising and the First World War in Britain, James Thompson Section III: Music; 11. We think you ought to go: Music Hall and Recruitment in the First World War, Robert Dean; 12. British Soldiers'Songs, George Simmers; 13. The First World War in Popular Music since 1958, Peter Grant; 14. Requiems and Memorial Music, Kate Kennedy Section IV: Periodicals and Journalism; 15. Popular Periodicals: Wartime Newspapers, Magazines and Journals, Kate Macdonald; 16. Evolving Wartime Print Cultures of the Anglo-American Modern Literary Renaissance, Christopher J. La Casse; 17. Pamphlets and Political Writing, Matthew Shaw; 18. 'The whole of war is an atrocity': Morgan Philips Price and First World War Reporting in the Ottoman/Russian Borderlands, Jo Laycock; Section V: Film and Broadcasting; 19. Official War Films in Britain: The Battle of the Somme 1916, Its Impact Then and Its Meaning Today, Toby Haggith; 20. Too Colossal to be Dramatic: The Cinema of the Great War, Michael Paris; 21. Representations of the First World War in Contemporary British Television Drama, Emma Hanna; 22. The Sound of War: Audio, Radio and the First World War, Richard J. Hand Section VI: Publishing and Material Culture; 23. The British Publishing Industry and the First World War, Jane Potter; 24. Photography and the First World War, J. J. Long; 25. The Imperial War Museum and the material culture of the First World War, 1917-2014, Alys Cundy; 26. The Evolution of First World War Computer Games, Chris Kempshall.

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Book SynopsisPart biography, part detective novel, part love story, and part meditation on archival research, Love Among the Archives is the story of two literary critics' attempts to track down Sir George Scharf, the founding director of the National Portrait Gallery in London, famous in his day and strangely obscure in our own.

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Book Synopsis9781474406642.

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Book SynopsisInvestigates the latent and manifest traces of the East in Pre-Raphaelite literature and culture.

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Book SynopsisThis anthology of written sources (dating from the seventh to the twentieth centuries) explores numerous aspects of the crafts of the Middle East from the processing of raw materials to the manufacture of finished artefacts.Table of ContentsList of Figures; Acknowledgements; Notes for the Reader; Image and Text Acknowledgements; Introduction; Part 1: Foundations; 1. Theoretical Formulations; Part 2: Human Dimensions; 2. The Organisation of Labour; 3. Rituals, Songs and Poems; 4. Biographical Information; 5. The Lives of Artisans and Artists; Part 3: Resources; 6. Raw Materials I: minerals; 7. Raw Materials II: plants; 8. Raw Materials III: animals; 9. Mining and Metal Preparation; 10. City Descriptions; Part 4: Inorganic Media; 11. Copper; 12. Iron and Steel; 13. Other Metals: Gold, Silver and Tin; 14. Pottery; 15. Glass; Part 5: Organic Media; 16. Wood; 17. Basketry and Matting; 18. Leather; 19. Spinning, Bleaching and Dyeing; 20. Weaving; 21. Rugs, Carpets and Felt; Part 6: Writing and Painting; 22. Papyrus and Paper; 23. Calligraphy; 24. Painting; Part 7: Architecture and Engineering; 25. Building Techniques; 26. Vaulting and Architectural Decoration; 27. Engineering; Part 8: Economic Considerations; 28. Recycling and Repair; 29. Crafts in an Age of Competition and Change; Glossary; Names of Craft Activities in Arabic and Persian; Bibliography; Index.

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Book SynopsisAn insightful picture of the expansion of Persian visual culture across wide swathes of Asia, from the Indian Ocean to the Mediterranean.

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Book SynopsisThis collection brings together a series of creative responses to the recent speculative turn in Continental philosophy. The contributors include philosophers, art historians, architects and art practitioners. It takes a generous definition of art to include architecture, cinema, dance and new media.

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Book SynopsisThis is the first book dedicated to examining the marital relationships of Mary and George Watts and Evelyn and William De Morgan as creative partnerships. The study demonstrates how they worked, individually and together, to support greater gender equality and female liberation in the nineteenth century.

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Book SynopsisAn inquiry into the convergences of avant-garde film, trans-cultural media arts, experimental ethnography and curatorial practice in contemporary Mexico

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Book SynopsisBeckett was deeply engaged with the visual arts and individual painters, including Jack B. Yeats, Bram van Velde, and Avigdor Arikha. In this monograph, David Lloyd explores what Beckett saw in their paintings.

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Book SynopsisExplores how the textual output of settler emigration shapes the nineteenth-century literary and artistic imagination

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Book SynopsisNineteenth-Century Settler Emigration in British Literature and Art is the first book to undertake a comprehensive survey of the literature produced by nineteenth-century settler emigration.

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Book SynopsisCentred on late Timurid manuscript painting (ca. 1470-1500), this book reveals that pictures could function as the painter's delegate, charged with the task of centring and defining artistic work, even as they did not represent the artist's likeness.

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Book SynopsisExplores the little art communities and their aesthetic products in the early twentieth centuryHistoricizes and theorizes the role and function of the little art community as a geo-social formationComparative, place-based study of three semiperipheral (non-metropolitan) sites New readings of major authors Jeffers, O?Neill, and LawrenceInterdisciplinary methodology based in primary source analysisChallenges a center-periphery model of modernist activity and literary-aesthetic production and instead emphasizes a network-based, collaborative modelThis book is first to historicise and theorise the significance of the early twentieth-century little art colony as a uniquely modern social formation within a global network of modernist activity and production. Alongside a historical overview of the emergence of three critical sites of modernist activity ? the little art colonies of Carmel, Provincetown and Taos ? the book offers new critical readings of major authors associated with those places: Robinson Jeffers, Eugene O?Neill and D. H. Lawrence. Geneva M. Gano tracks the radical thought and aesthetic innovation that emerged from these villages, revealing a surprisingly dynamic circulation of persons, objects and ideas between the country and the city and producing modernisms that were cosmopolitan in character yet also site-specific.

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