History of art Books

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Book SynopsisArtist Mary Whyte's Down Bohicket Road includes two decades worth of watercolors�depicting a select group of Gullah women of Johns Island, South Carolina, and their stories. In 1991, following Whyte's recovery from a year of treatment for cancer, she and her husband moved to a small sea island near Charleston, seeking a new home where they could reinvent themselves far removed from the hectic pace of Philadelphia. In this remote corner of the South, Whyte first met Alfreda LaBoard and her devoted group of seniors who gathered weekly to make quilts, study the Bible, and socialize in a small rural church on Bohicket Road. Descendants of lowcountry slaves, these longtime residents of the island influenced Whyte's life and art in astonishing and unexpected ways. Whyte soon began a series of watercolors depicting these women, honoring their lives and their dedication to family and faith. As her friendships with these women grew, their matriarch Alfreda LaBoard claimed Whyte as her 'vanilla sister' Alfreda's World, a collection of Whyte's detailed watercolors and poignant recollections of the women at the senior center, was published a decade later, drawing attention and support from the community to the small church on Bohicket Road. Down Bohicket Road continues the story of Whyte's relationship with these extraordinary women, following the passing of Alfreda, against the backdrop of the ongoing commercial development of Johns Island. For Whyte, the heart of this community remains in the simple homes clustered along Bohicket Road, in the island�s winding tidal creeks, and in a small church where eighteen hardscrabble women gather in fellowship each week. In her book Whyte illustrates that both watercolors and friendships can be the unpredictable results of an abundance of blessings. As shared through touching words and vibrant paintings, Down Bohicket Road celebrates a unique way of coastal life and a remarkable friendship that transcends all barriers - even death itself - in praise of the unifying power of art. All royalties from the sale of this book benefit the Hebron Saint Francis Senior Center on Johns Island.

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Book SynopsisThe radical changes wrought by the rise of the salon system in nineteenth-century Europe provoked an interesting response from painters in the American South. Painterly trends emanating from Barbizon and Giverny emphasized the subtle textures of nature through warm colour and broken brush stroke. Artists' subject matter tended to represent a prosperous middle class at play, with the subtle suggestion that painting was indeed art for art's sake and not an evocation of the heroic manner. Many painters in the South took up the stylistics of Tonalism, Impressionism, and naturalism to create works of a very evocative nature, works which celebrated the Southern scene as an exotic other, a locale offering refuge from an increasingly mechanized urban environment.Scenic Impressions offers an insight into a particular period of American art history as borne out in seminal paintings from the holdings of the Johnson Collection of Spartanburg, South Carolina. By consolidating academic information on a disparate group of objects under a common theme and important global artistic umbrella, Scenic Impressions will underscore the Johnsons' commitment to illuminating the rich cultural history of the American South and advancing scholarship in the field, specifically examining some forty paintings created between 1880 and 1940, including landscapes and genre scenes. A foreword, written by Kevin Sharp, director of the Dixon Gallery and Gardens in Memphis, Tennessee, introduces the topic. Two lead essays, written by noted art historians Pennington, Estill Curtisand Martha R. Severens, discuss the history and import of the Impressionist movement--abroad and domestically--and specifically address the school's influence on art created in and about the American South. The featured works of art are presented in full colour plates and delineated in complementary entries written by Pennington and Severens. Also included are detailed artist biographies illustrated by photographs of the artists, extensive documentation, and indices. Featured artists include Wayman Adams, Colin Campbell Cooper, Elliott Daingerfield, G. Ruger Donoho, Harvey Joiner, John Ross Key, Blondelle Malone, Lawrence Mazzanovich, Paul Plaschke, Hattie Saussy, Alice Ravenel, Huger Smith, Anthony Thieme, and Helen Turner.

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Book SynopsisCoca-Cola is a true American original and one of the world’s most recognized and popular American products. In The Coca-Cola Art of Jim Harrison, the artist traces his lifelong love affair with the Coca-Cola trademark that began during his childhood in rural South Carolina.Harrison enjoyed drinking the sweet and effervescent beverage, but he also was attracted to the Coca-Cola trademark that was blazoned on buildings and signs in his home town. After years of marveling at the work of local sign painter J. J. Cornforth, Harrison approached the seventy-year-old for a summer job. During several summers Cornforth taught Harrison the craft. When the young artist climbed atop the scaffold in the summer of 1952 to paint his first Coca-Cola sign, little did he know that he was launching a career as one of America’s foremost landscape artists. In 1975 Harrison created a painting of a country store that featured a fading Coca-Cola sign he and Cornforth had painted twenty years earlier. The painting, titled ""Disappearing America,"" was offered as one of the first limited-edition Coca-Cola collector prints for $40 by Frame House Gallery. All 1,500 copies sold out quickly, propelling him into the national spotlight through the publisher’s network of 600 dealers. Harrison soon became the undisputed leader in rural Americana art, with this and many of his other prints appreciating up to 3,000 percent of their original value.Since entering into a licensee relationship with the Coca-Cola Company in 1995, Harrison has continued developing limited-edition prints, including his popular annual Coca-Cola calendar. Not surprisingly, Harrison has become an avid collector of old Coca-Cola signs. His studio is lined with a vast array of this collection, which serves as inspiration for new works of art.

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Book SynopsisAn illustrated biography celebrating the life and legacy of a renowned Italian artistIn this illustrated biography of the late Italian artist, Livio Orazio Valentini, Robert E. Alexander and John A. Elliott celebrate the life and legacy of the renowned painter and sculptor while acknowledging his special relationship with the people of Aiken, South Carolina.Born to a poor family in 1920, Valentini lived most of his life in Orvieto, Italy. With no money for a formal education, he became a self-taught artist. At the age of twenty, Valentini was called into military service during World War II. After being captured by the Germans, he was confined in Buchenwald and other concentration camps, where he endured two years of physical labor. For Valentini the confinement was life-changing; he experienced a spiritual awakening that became a lifelong odyssey reflected in his art and teaching.Valentini’s art and even his existence centered on his efforts to find freedom. His paintings, charcoal sketches, and sculptures formed from terracotta, forged iron, tile, or stone are often a statement on the human condition, germination and rebirth, and the negativity and violence of humanity. Valentini often spoke about injustice and oppression through the metaphor of a caged bird, explaining how compassion could overcome cruelty and art could bring healing and hope to conquer fear.While Valentini’s art was well known in Italy and other European countries, it was relatively unknown in the United States until the 1990s, when Aiken, South Carolina, and Orvieto, Italy, became linked after a chance meeting between Valentini and a fellow Rotary Club member from Aiken vacationing in Orvieto. The connection blossomed into a multifaceted exchange program for students and citizens that has celebrated culture and art, including Valentini’s.

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Book SynopsisThe incredible story of a lost treasure rediscovered and preserved for a new generation

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Book SynopsisThe role of body movement in the formation of American modernism

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Book SynopsisThis illuminating study offers new interpretations of Duchamp's momentous works, from readymades to the early performance art of shaving a comet in his hair. It demonstrates how the immersive spaces and narrative environments of popular science, from museums to the modern planetarium, prepared paths for Duchamp's nonretinal art.

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Book SynopsisGuido Guerzoni presents the results of fifteen years of research into one of the more hotly debated topics among historians of art and of economics: the history of art markets. Dedicating equal attention to current thought in the fields of economics, economic history, and art history, Guerzoni offers a broad and far-reaching analysis of the Italian scene, highlighting the existence of different forms of commercial interchange and diverse kinds of art markets. In doing so he ranges beyond painting and sculpture, to examine as well the economic drivers behind architecture, decorative and sumptuary arts, and performing or ephemeral events.Organized by thematic areas (the ethics and psychology of consumption, an analysis of the demand, labour markets, services, prices, laws) that cover a large chronological period (from the 15th through the 17th century), various geographical areas, and several institution typologies, this book offers an exhaustive and up-to-date study of an increasingly fascinating topic.

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Book SynopsisA candid and generous color-illustrated account of women artists creating politically and personally effective art works, exhibitions, and actions over two tumultuous decades This abundantly illustrated personal narrative takes readers through twenty-two years of activism in the women's art movements in New York City during a period of great cultural change. Author Sabra Moore vividly recounts life in this era of social upheaval in which women artists responded to war, racial tension and reconciliation, cultural and aesthetic inequality, and struggles for reproductive freedom. We learn intimately how she and fellow women artists found ways to create politically and personally effective art works, exhibitions, actions, and institutions. The book features Moore's involvement in pivotal art organizations of this time and her own development as an artist, counterbalanced with her connections to family in rural East Texas and friends in New Mexico. Moore was a member of the Heresies Collective, an influential feminist activist group, became editor of their art and politics journal Heresies, and was president of the NYC/Women's Caucus for Art. She helped coordinate and curate many of the earliest large-scale exhibitions of women artists in NYC, including Views by Women Artists (1982), and the collaborative shows Reconstruction Project and Connections Project/Conexus. Moore was a principle organizer of the 1984 demonstration against MoMA over their lack of inclusion of women artists and was a member of various groundbreaking collaborative arts groups in the 1970s, including Atlantic Gallery and WAR (Women Artists in Revolution). While Openings is an historical narrative of women artists' actions, organizations, and ideas, it also candidly describes their periods of challenge, including the death of sculptor Ana Mendieta and the indictment of her husband and the author's own attempted murder by her former art teacher. The book is illustrated throughout by a treasure of 950 color and black & white images of the art from this momentous period: a valuable collection that is concurrently being archived by Barnard College along with papers, letters, show cards, posters, original artworks, and other documents. This eye-opening book includes forewords by renowned art critic Lucy Lippard and poet/activist Margaret Randall.Trade Review“Openings puts you right there—at the heart of the passion, brilliance, and creative chaos of the feminist art uprising . . . an intimate and soulful glimpse into a critical epoch." -- Chellis Glendinning * author of My Name is Chellis and I’m in Recovery from Western Civilization *"The writing is so fluid and honest . . . it really hasn't been done before." -- Lucy R. Lippard * Art critic and activist *“This is important reading for aspiring women artists today, and evidence that the received history of the feminist movement . . . is not always the full picture.” -- Artist, Professor of Art, University of Southern California, Roski School * Suzanne Lacy *"[Openings is] crucial to the understanding of women artists in New York . . . it really captures what it must have been like to be an artist in New York in the 70s and 80s." -- Patricia Hills * Art historian and Professor Emerita, Boston University *"Moore's memoir is radical not only because it frames feminist art history as central, but also in its very telling, where monumental events in the art world stand equal to Moore's personal life, her dreams, and her poetic tenderness.” -- Rachel Kauder Nalebuff * playwright, creator of My Little Red Book, and co-editor of The Feminist Utopia Project *“Deeply complex and vivid.” -- Moira Roth * Trefethen Professor of Art History, Mills College *

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Book SynopsisA year of weekly interviews (1949-1950) with artist Diego Rivera by poet Alfredo Cardona-Peña disclose Rivera’s iconoclastic views of life and the art world of that time. These intimate Sunday dialogues with what is surely the most influential Mexican artist of the twentieth century show us the free-flowing mind of a man who was a legend in his own time; an artist who escaped being lynched on more than one occasion, a painter so controversial that his public murals inspired movements, or, like the work commissioned by John D. Rockefeller, were ordered torn down. Here in his San Angelín studio, we hear Rivera’s feelings about the elitist aspect of paintings in museums, his motivations to create public art for the people, and his memorable, unedited expositions on the art, culture, and politics of Mexico. The book has seven chapters that loosely follow the range of the author’s questions and Rivera’s answers. They begin with childlike, yet vast questions on the nature of art, run through Rivera’s early memories and aesthetics, his views on popular art, his profound understanding of Mexican art and artists, the economics of art, random expositions on history or dreaming, and elegant analysis of art criticisms and critics. The work is all the more remarkable to have been captured between Rivera’s inhumanly long working stints of six hours or even days without stop. In his rich introduction, author Cardona-Peña describes the difficulty of gaining entrance to Rivera’s inner sanctum, how government funtionaries and academics often waited hours to be seen, and his delicious victory. At eight p. m. the night of August 12, a slow, heavy-set, parsimonious Diego came in to where I was, speaking his Guanajuato version of English and kissing women’s hands. I was able to explain my idea to him and he was immediately interested. He invited me into his studio, and while taking off his jacket, said, “Ask me...” And I asked one, two, twenty... I don't know how many questions ‘til the small hours of the night, with him answering from memory, with an incredible accuracy, without pausing, without worrying much about what he might be saying, all of it spilling out in an unconscious and magical manner. A series of Alfredo Cardona-Peña’s weekly interviews with Rivera were published in 1949 and 1950 in the Mexican newspaper, El Nacional, for which Alfredo was a journalist. His book of compiled interviews with introduction and preface, El Monstruo en su Laberinto, was published in Spanish in 1965. Finally, this extraordinary and rare exchange has been translated for the first time into English by Alfredo’s half-brother Alvaro Cardona Hine, also a poet. According to the translator’s wife, Barbara Cardona-Hine, bringing the work into English was a labor of love for Alvaro, the fulfillment of a promise made to his brother in 1971 that he did not get to until the year before his own death in 2016.Trade Review"Conversations with Diego Rivera provides rare documentation of his confluence of politically egalitarian views and the arts. . . . shed[s] light onto the views of this gargantuan art historical titan, and also hint[s] at what it would be like to sit in his living room and absorb an earful of the older painter’s verbiage — a task that Peña patiently took on for a full year." -- Hyperallergic"The history of this publication is as fascinating as Diego Rivera’s incisive views about art in general, Mexican art in particular, the politics of the art world, and especially the complex issues of art market manipulations and creative legal evasion in collecting pre-Hispanic art." * Literature and Arts of the Americas *

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Book SynopsisA year of weekly interviews (1949-1950) with artist Diego Rivera by poet Alfredo Cardona-Peña disclose Rivera’s iconoclastic views of life and the art world of that time. These intimate Sunday dialogues with what is surely the most influential Mexican artist of the twentieth century show us the free-flowing mind of a man who was a legend in his own time; an artist who escaped being lynched on more than one occasion, a painter so controversial that his public murals inspired movements, or, like the work commissioned by John D. Rockefeller, were ordered torn down. Here in his San Angelín studio, we hear Rivera’s feelings about the elitist aspect of paintings in museums, his motivations to create public art for the people, and his memorable, unedited expositions on the art, culture, and politics of Mexico. The book has seven chapters that loosely follow the range of the author’s questions and Rivera’s answers. They begin with childlike, yet vast questions on the nature of art, run through Rivera’s early memories and aesthetics, his views on popular art, his profound understanding of Mexican art and artists, the economics of art, random expositions on history or dreaming, and elegant analysis of art criticisms and critics. The work is all the more remarkable to have been captured between Rivera’s inhumanly long working stints of six hours or even days without stop. In his rich introduction, author Cardona-Peña describes the difficulty of gaining entrance to Rivera’s inner sanctum, how government funtionaries and academics often waited hours to be seen, and his delicious victory. At eight p. m. the night of August 12, a slow, heavy-set, parsimonious Diego came in to where I was, speaking his Guanajuato version of English and kissing women’s hands. I was able to explain my idea to him and he was immediately interested. He invited me into his studio, and while taking off his jacket, said, “Ask me...” And I asked one, two, twenty... I don't know how many questions ‘til the small hours of the night, with him answering from memory, with an incredible accuracy, without pausing, without worrying much about what he might be saying, all of it spilling out in an unconscious and magical manner. A series of Alfredo Cardona-Peña’s weekly interviews with Rivera were published in 1949 and 1950 in the Mexican newspaper, El Nacional, for which Alfredo was a journalist. His book of compiled interviews with introduction and preface, El Monstruo en su Laberinto, was published in Spanish in 1965. Finally, this extraordinary and rare exchange has been translated for the first time into English by Alfredo’s half-brother Alvaro Cardona Hine, also a poet. According to the translator’s wife, Barbara Cardona-Hine, bringing the work into English was a labor of love for Alvaro, the fulfillment of a promise made to his brother in 1971 that he did not get to until the year before his own death in 2016.Trade Review"Conversations with Diego Rivera provides rare documentation of his confluence of politically egalitarian views and the arts. . . . shed[s] light onto the views of this gargantuan art historical titan, and also hint[s] at what it would be like to sit in his living room and absorb an earful of the older painter’s verbiage — a task that Peña patiently took on for a full year." -- Hyperallergic"The history of this publication is as fascinating as Diego Rivera’s incisive views about art in general, Mexican art in particular, the politics of the art world, and especially the complex issues of art market manipulations and creative legal evasion in collecting pre-Hispanic art." * Literature and Arts of the Americas *

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Book SynopsisPopular art is a masculine and working-class genre, associated with Panama's black population. Its practitioners are self-taught, commercial painters, whose high-toned designs, vibrant portraits, and landscapes appear in cantinas, barbershops, and restaurants. The red devil buses are popular art's most visible manifestation. The old school buses are imported from the United States and provide public transportation in Colón and Panama City. Their owners hire the artists to attract customers with eye-catching depictions of singers and actors, brassy phrases, and vivid representations of both local and exotic panoramas. The red devils boast powerful stereo systems and dominate the urban environment with their blasting reggae, screeching brakes, horns, sirens, whistles, and roaring mufflers.Wolf Tracks analyzes the origins of these practices, tying them to rebellious, Afro-American festival traditions, and to the rumba craze of the mid-twentieth century. During World War II, thousands of U.S. soldiers were stationed in Panama, and elaborately decorated cabarets opened to cater to their presence. These venues often featured touring Afro-Cuban musicians. Painters such as Luis ""The Wolf"" Evans exploited such moments of modernization to challenge the elite and its older conception of Panama as a country with little connection to Africa. While the intellectual class fled from modernization and asserted a romantic and mestizo (European-indigenous) vision of the republic, popular artists enthusiastically embraced the new influences to project a powerful sense of blackness. Wolf Tracks includes biographies of dozens of painters, as well as detailed discussions of mestizo nationalism, soccer, reggae, and other markers of Afro-Panamanian identity.

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Book SynopsisIn France, Belgium, and other Francophone countries, comic strips--called bande dessinée or ""BD"" in French--have long been considered a major art form capable of addressing a host of contemporary issues. Among French-speaking intelligentsia, graphic narratives were deemed worthy of canonization and critical study decades before the academy and the press in the United States embraced comics.The place that BD holds today, however, belies the contentious political route the art form has traveled. In Drawing France: French Comics and the Republic, author Joel E. Vessels examines the trek of BD from its being considered a fomenter of rebellion, to a medium suitable only for semi-literates, to an impediment to education, and most recently to an art capable of addressing social concerns in mainstream culture.In the mid-1800's, alarmists feared political caricatures might incite the ire of an illiterate working class. To counter this notion, proponents yoked the art to a particular articulation of ""Frenchness"" based on literacy and reason. With the post-World War II economic upswing, French consumers saw BD as a way to navigate the changes brought by modernization. After bande dessinée came to be understood as a compass for the masses, the government, especially François Mitterand's administration, brought comics increasingly into ""official"" culture. Vessels argues that BD are central to the formation of France's self-image and a self-awareness of what it means to be French.

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Book SynopsisHow did the average American learn about art in the mid-nineteenth century? With public art museums still in their infancy, and few cities and towns large enough to support art galleries or print shops, Americans relied on mass-circulated illustrated magazines. One group of magazines in particular, known collectively as the Philadelphia pictorials, circulated fine art engravings of paintings, some produced exclusively for circulation in these monthlies, to an eager middle-class reading audience. These magazines achieved print circulations far exceeding those of other print media (such as illustrated gift books, or catalogs from art-union membership organizations).Godey's, Graham's, Peterson's, Miss Leslie's, and Sartain's Union Magazine included two to three fine art engravings monthly, ""tipped in"" to the fronts of the magazines, and designed for pull-out and display. Featuring the work of a fledgling group of American artists who chose American rather than European themes for their paintings, these magazines were crucial to the distribution of American art beyond the purview of the East Coast elite to a widespread middle-class audience. Contributions to these magazines enabled many an American artist and engraver to earn, for the first time in the young nation's history, a modest living through art.Author Cynthia Lee Patterson examines the economics of artistic production, innovative engraving techniques, regional imitators, the textual ""illustrations"" accompanying engravings, and the principal artists and engravers contributing to these magazines.

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Book SynopsisDiscusses what differentiates architecture from building, focusing not only on the 'great' buildings of the world but also on the whole range of architectural works from indigenous structures to contemporary buildings. This book explores the role of the Roman concepts of durability, utility, and beauty, the heart of what architecture strives for.

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Book SynopsisThis study of samplersembroideries that are first attempts at a new technique, color combination, or unusual materialprovides vivid descriptions of this nineteenth-century Tennessee art form in its many varieties. An authoritative record of the material culture produced in the daily routine of school rooms.

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Book SynopsisThis multidisciplinary volume follows on the success of Choctaw-Apache Foodways and includes several selections, including history, anthropology, folklore, poems, creative essays, and visual art from both academics and members of the tribe.

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Book SynopsisImages of working cowhands and their horses loom large in the mind’s eye of many who love the American West. Those same images form the heart and soul of this lavishly illustrated book, which captures the viewpoints, values, and observations of twenty-four respected contemporary artists. The artists’ own words illuminate the painting, sculpture, photography, and drawings of these award-winning, supremely creative individuals, allowing readers a glimpse into their creative processes.As Heidi Brady and Scott White demonstrate, these Western artists came to their work in a wide variety of ways. Some are studio-trained and learned to portray horses through formal classes; others simply began creating art on their own, learning through visual and tactile study of the horses they worked with each day. The two dozen artists profiled here include ranch owners, working hands, professional photographers, rodeo cowboys, art instructors, graphic designers, a saddle maker, and a former predator hunter.Readers will delight in these remarkable paintings, drawings, photographs, and sculptures depicting the freedom and spirit of the American West.

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Book SynopsisEverett Spruce came to Texas from his Arkansas home in 1925 to study at the Dallas Art Institute. Over the next seven decades, he became one of the most important painters and teachers in the region. One of the 'Dallas Nine,' a group of influential Texas Regionalists that included Jerry Bywaters, Otis Dozier, William Lester, and others, Spruce was among the artists who lobbied the Texas Centennial Commission for a greater role in the Centennial Exposition of 1936. These efforts, though unsuccessful, nevertheless led to greater recognition and influence for Texas art and artists.Spruce was assistant director and taught art at the Dallas Museum of Fine Arts until 1940 when he joined the faculty of the University of Texas at Austin. He painted and taught at the university for the next 38 years, guiding and shaping the next generation of Texas artists, including Roger Winter, William Hoey, and others. Spruce died in 2002 at the age of 94.Texas Made Modern: The Art of Everett Spruce traces Spruce's artistic evolution from his early experimental work of the 1920s through the mysterious, surrealist-imbued landscapes of the 1930s. The work addresses his boldly expressionistic imagery of the 1940s and his abstract expressionist - inspired paintings of the mid-twentieth century. Departing from previous accounts of Spruce, which label him a prototypical regionalist, this study reveals the nuanced meanings behind the artist's shifting approaches to Texas subject matter and resituates his artwork within the broader narrative of American art.Trade ReviewThe first comprehensive view of a Texas master . . .

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Book SynopsisCovering 825,000 acres in the Coastal Plain and Brush Country of South Texas, King Ranch, established in 1853, looms large in Texas and American history. Its place in the popular imagination shows through Edna Ferber's epic 1952 novel Giant, said to be based on the story of the Kings, the Klebergs, and other founding families of the famous ranching dynasty, and the subsequent Hollywood blockbuster starring Elizabeth Taylor, James Dean, and Rock Hudson.In King Ranch: A Legacy in Art, editors William E. Reaves and Linda J. Reaves have assembled a team of collaborators to present a beautiful, informative account of the ranch, its human and animal inhabitants, and its place in the artistic heritage of the region. Pairing original paintings by artist Noe Perez with insightful essays from curators and historians Bruce Shackelford and Ron Tyler, this book is a visual and narrative celebration of the many ways in which 'King Ranch culture' has enriched and, in some cases, fostered appreciation for the decorative, practical, and fine arts in Texas and the greater American West.Opening with a foreword by Jamey Clement, current chair of the board for King Ranch, Inc., and continuing with a survey by ranch historian Robert Kinnan, King Ranch: A Legacy in Art affords readers a unique appreciation of the natural beauty and artistic influence of this legendary place.

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Book SynopsisBeasley’s Vaqueros presents the life and work of South Texas artist Ricardo M. Beasley. Between roughly 1940 and 1980, Beasley produced dozens of pen-and-ink drawings of working vaqueros, the Tejano cowboys of South Texas. His vibrant, action-packed scenes capture the dangers as well as the joys of working with cattle, horses, and an often unforgiving landscape of cactus and mesquite. In addition to a selection of Beasley’s work, historian AndrÉs Tijerina has collected and translated an extensive interview with the artist and several of his poems. Despite having lived much of his life after World War II, Beasley’s art and words capture a world in which people and events from decades before his time are just as immediate—perhaps even more so—than events of the present day. More than just a testament to the talents of a singular, self-taught artist, Beasley’s Vaqueros is a record of vaquero life in South Texas that spans the centuries.

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Book SynopsisThat the Romantic movement was an international phenomenon is a commonplace, yet to date, historical study of the movement has tended to focus primarily on its national manifestations. This volume offers a new perspective. In thirteen chapters devoted to artists and writers of the late eighteenth and early nineteenth centuries, leading scholars of the period examine the international exchanges that were crucial for the rise of Romanticism in England and the United States.In the book’s introduction, Andrew Hemingway—building on the theoretical work of Michael Lowy and Robert Sayre—proposes that we need to remobilize the concept of Weltanschauung, or comprehensive world view, in order to develop the kind of synthetic history of arts and ideas the phenomenon of Romanticism demands. The essays that follow focus on the London and New York art worlds and such key figures as Benjamin West, Thomas Bewick, John Vanderlyn, Washington Allston, John Martin, J. M. W. Turner, Thomas Cole, James Fenimore Cooper, George Catlin, Edgar Allan Poe, Harriet Beecher Stowe, and Herman Melville. Taken together, these essays plot the rise of a romantic anti-capitalist Weltanschauung as well as the dialectic between Romanticism’s national and international manifestations.In addition to the volume editors, contributors include Matthew Beaumont, David Bindman, Leo Costello, Nicholas Grindle, Wayne Franklin, Janet Koenig, William Pressly, Robert Sayre, William Truettner, Dell Upton, and William Vaughan.

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Book SynopsisFrom around the world, whether for New York City's 9/11 Memorial, at exhibits devoted to the arts of Holocaust memory, or throughout Norway's memorial process for the murders at Utøya, James E. Young has been called on to help guide the grief stricken and survivors in how to mark their losses. This poignant, beautifully written collection of essays offers personal and professional considerations of what Young calls the ""stages of memory,"" acts of commemoration that include spontaneous memorials of flowers and candles as well as permanent structures integrated into sites of tragedy. As he traces an arc of memorial forms that spans continents and decades, Young returns to the questions that preoccupy survivors, architects, artists, and writers: How to articulate a void without filling it in? How to formalize irreparable loss without seeming to repair it?Richly illustrated, the volume is essential reading for those engaged in the processes of public memory and commemoration and for readers concerned about how we remember terrible losses.

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Book SynopsisIn the immediate aftermath of the Revolutionary War, only the wealthiest Americans could afford to enjoy illustrated books and prints. But, by the end of the next century, it was commonplace for publishers to load their books with reproductions of fine art and beautiful new commissions from amateur and professional artists.Georgia Brady Barnhill, an expert on the visual culture of this period, explains the costs and risks that publishers faced as they brought about the transition from a sparse visual culture to a rich one. Establishing new practices and investing in new technologies to enhance works of fiction and poetry, bookmakers worked closely with skilled draftsmen, engravers, and printers to reach an increasingly literate and discriminating American middle class. Barnhill argues that while scholars have largely overlooked the efforts of early American illustrators, the works of art that they produced impacted readers' understandings of the texts they encountered, and greatly enriched the nation's cultural life.

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Book SynopsisIn the immediate aftermath of the Revolutionary War, only the wealthiest Americans could afford to enjoy illustrated books and prints. But, by the end of the next century, it was commonplace for publishers to load their books with reproductions of fine art and beautiful new commissions from amateur and professional artists.Georgia Brady Barnhill, an expert on the visual culture of this period, explains the costs and risks that publishers faced as they brought about the transition from a sparse visual culture to a rich one. Establishing new practices and investing in new technologies to enhance works of fiction and poetry, bookmakers worked closely with skilled draftsmen, engravers, and printers to reach an increasingly literate and discriminating American middle class. Barnhill argues that while scholars have largely overlooked the efforts of early American illustrators, the works of art that they produced impacted readers' understandings of the texts they encountered, and greatly enriched the nation's cultural life.

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Book SynopsisOne of the first books to extend the currently burgeoning scholarship on East Germany to the visual arts, revealing that painting, like literature and film, was a space of contestation. East German studies today is thriving. Scholars have shown East Germany to be a complex society where culture played an important, if contested, role in the making of the socialist person. In English-language scholarship, however,the visual arts-and especially painting-have been largely ignored, the result of the misperception that East German art was little more than kitsch or propaganda. This book focuses on one of East Germany's most successful artistsas a point of entry into the vibrant art world of the "other" Germany. In the 1980s, Bernhard Heisig (1925-2011) was praised on both sides of the Berlin Wall for his neo-expressionist style and his commitment to German history and art. Chancellor Helmut Schmidt chose him to paint his official portrait, major museums collected his work, and in 1989 he had a major solo exhibition in West Germany. After unification, Heisig was a focal point in the Bilderstreit, a virulent debate over what role East German art should play in the new Germany. Challenging current understandings of Heisig and East German art, this book focuses on Heisig's little-known fight for modern art in EastGermany. Examining major debates of the 1960s, it shows the key role he played in expanding the country's art from the limits of Soviet-style socialist realism to a socialist modernism that later gained recognition in the West. April A. Eisman is Associate Professor of Art History at Iowa State University.Trade ReviewIt has taken until the publication of April Eisman's ?ne book to grant East German art generally, and Bernhard Heisig speci?cally, the attention he deserves in English-language scholarship as one of the major German artists of the twentieth century. For this Eisman deserves considerable praise. -- Stephen Brockmann * MONATSHEFTE *[F]ascinating . . . . [C]aptures the complexity of th[e] era and stands to profoundly affect art historical understandings of this controversial period of artmaking. . . . Through the rigor of her social historical methods, Eisman reveals 'the complexity and artistry that was possible in East Germany' (136) and disproves the idea that communist ideology and modern art cannot coexist. -- ALLISON LEIGH * SLAVIC REVIEW *The book does the great service of making very detailed information on visual art in 'East Germany' . . . . accessible to an English-speaking public. . . . The chapters on Heisig's development . . . are detailed and reliably reconstructed, and show an artist who not only had to endure the conflicts in the political and cultural system of the GDR but also exerted influence on them. -- Karl-Siegbert Rehberg * KUNSTCHRONIK *[F]ascinating . . . . Eisman does an excellent job of showing us how Heisig's work illustrated the possibilities for this synthesis [of creating modern art and contributing to the project of building socialism] in what has been a much understudied field -- East German art history. -- Eli Rubin * GERMAN STUDIES REVIEW *[C]an [be] read as an argument for the importance of biographical approaches in the study of socialist art, even in the context of collectivist practices. . . . [W]ill be welcomed by anyone interested in twentieth-century German art . . . and, more specifically, committed to moving beyond conventional accounts of modernism and its ideological others. -- Sabine Hake * MODERNISM/MODERNITY *The first monograph in English devoted to Heisig, this book presents an overview of [his] life and work and makes a strong case for reconsidering his oeuvre -- and East German visual art more broadly -- for its important contributions to art history. . . . Accessible and well argued, the book is enhanced by 60 illustrations, many of them color plates, that reproduce the work of Heisig and his contemporaries, providing a visual lexicon of East German art. . . . Recommended. Lower-division undergraduates through faculty and professionals; general readers. -- Hester Baer * CHOICE *Offers an interesting glimpse into the East German art world and into debates about art and society . . . . Beautifully illustrated with the works of Heisig and other GDR artists, Eisman's book is based on rich archival material, close visual analysis, and interviews with the late artist [Heisig] himself. . . . [This] book deserves to be read not only by people who are interested in East German art but also by anybody interested in German history in the twentieth and twenty-first centuries. -- Andreas Agocs * CENTRAL EUROPEAN HISTORY *Table of ContentsIntroduction: Why Heisig Matters From the Nazi Past to the Cold War Present Art for an Educated Nation Against the Wall: Murals, Modern Art, and Controversy The Contentious Emergence of the "Leipzig School" Portraying Workers and Revolutionaries Conclusion: The Quintessential German Artist Notes Bibliography Index

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Book SynopsisWe the people-these words embody the ethos of what it means to be an American citizen. As individuals we are a tapestry of colors and creeds; united we are a nation committed to preserving our hard-earned freedom. In this heart-stirring collection of watercolor portraits of military veterans--one from each of the fifty states--artist Mary Whyte captures this ethos as well as the dedication, responsibility, and courage it takes to fulfill that promise.Those who raise their hands to serve may join for different reasons, but all-along with their families-make the extraordinary commitment to place the needs of the country before their own. Whyte gives us the opportunity to meet and to see some of them-to really see them. Whyte's portrait of America includes individuals from many walks of life, some still active duty, and from every branch: women and men, old and young, and from a wide swath of ethnicities, befitting our glorious melting pot. From a mayor to an astronaut, from a teacher to a garbage collector, from a business entrepreneur to someone who is homeless, Whyte renders their unique and exceptional lives with great care and gentle brush strokes.We the People is not only a tour across and through these vast United States, it is a tour through the heart and soul, the duty and the commitment of the people who protect not only our Constitution and our country but our very lives. We can only be deeply grateful, inspired, and humbled by all of them.Trade ReviewMary Whyte's We the People is a moving and important tribute to our nation's greatest patriots--the men and women who served our country with courage, selflessness, and honor." - Major General James E. Livingston, Medal of Honor recipient

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Book SynopsisIncorporating copious archival research and original close readings of American artist Grant Wood’s iconic as well as lesser-known works, Grant Wood’s Secrets reveals how his sometimes anguished psychology was shaped by his close relationship with his mother and how he channeled his lifelong oedipal guilt into his art. Presenting Wood’s abortive autobiography “Return from Bohemia” for the first time ever, Sue Taylor integrates the artist’s own recollections into interpretations of his art. As Wood dressed in overalls and boasted about his beloved Midwest, he consciously engaged in regionalist strategies, performing a farmer masquerade of sorts. In doing so, he also posed as conventionally masculine, hiding his homosexuality from his rural community. Thus, he came to experience himself as a double man. This book conveys the very real threats under which Wood lived and pays tribute to his resourceful responses, which were often duplicitous and have baffled art historians who typically take them at face value. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.Trade Review"Grant Wood’s Secrets has the makings of a landmark study. Beyond its far-reaching contributions to Wood scholarship, it also represents a signal achievement in queer studies and studies of masculinity. Wood experts will find a great deal that is new here, and those less familiar with his work will discover an artist whose life and career illuminate the story of American painting in exciting new ways." -- R. Tripp Evans, Wheaton College, author of Grant Wood: A LifeTable of ContentsList of illustrations Acknowledgments Introduction Chapter 1: A family affair Chapter 2: Fear and desire Chapter 3: Queer habits of dissembling Chapter 4: The ground itself Appendix: "Return from Bohemia" Chronology Endnotes Bibliography Index

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Book SynopsisPortraiture and Friendship in Enlightenment France examines how new and often contradictory ideas about friendship were enacted in the lives of artists in the eighteenth century. It demonstrates that portraits resulted from and generated new ideas about friendship by analyzing the creation, exchange, and display of portraits alongside discussions of friendship in philosophical and academic discourse, exhibition criticism, personal diaries, and correspondence. This study provides a deeper understanding of how artists took advantage of changing conceptions of social relationships and used portraiture to make visible new ideas about friendship that were driven by Enlightenment thought.Trade Review"Portraiture and Friendship in Enlightenment France is well researched and is particularly commendable in terms of its use of unexamined or understudied primary-source material. Fripp introduces texts—visual and written—that will be useful for scholars in a number of fields. It is a welcome addition to scholarship on sociability and portraiture and will be of interest to scholars in art history, cultural studies, and gender studies." -- Heather Belnap * Brigham Young University, author of Women, Femininity, and Public Space in European Visual Culture, *"Portraiture and Friendship in Enlightenment France forges important new ground in several respects. Fripp makes a compelling case that the idea of friendship was a structuring principle that guided many aspects of the theory and practice of the Royal Academy of Painting and Sculpture, a gendered notion that operated differently for female and male artists, a tool that artists could employ to further their careers, and an important key to understanding the caricatures that circulated among members of the Academy, particularly when traveling abroad. Although many of the primary-source texts and images discussed will be familiar to specialists in eighteenth-century French painting, looking at these written and visual documents through the lens of friendship reveals new layers of meaning that have never before been discussed." -- Laura Auricchio * Dean, Fordham College at Lincoln Center, author of Adélaïde Labille-Guiard: Artist in the Age of Rev *"A nuanced and intimate take." * Apollo *"Portraiture and Friendship is a beautifully illustrated volume, with many captivating ideas and insights. By calling our attention to artistic friendship, Fripp makes an eloquent case for the complex polysemy of its concept and practices in the eighteenth century and for the role of portraiture to help us understand the social and economic value of friendship for artists." * Eighteenth-Century Studies *"What emerges from all this erudite analysis is a nuanced and intimate take on what might be seen too simplistically as the rigid ancien régime world of art." -- Christopher Baker, National Galleries of Scotland * Apollo *"Framed by the French Enlightenment, this engaging, scholarly book offers numerous possibilities for further research in art history and criticism, cultural studies, and gender studies." -- Felicia B. Sturzer, University of Tennessee * New Perspectives on the Eighteenth Century *"[Portraiture and Friendship in Enlightenment France] makes a compelling case for the significance of friendship to the practice of portraiture in eighteenth-century France and, in so doing, enriches our understanding of the importance of social networks in artists' lives. It constitutes a valuable addition to the still rather limited literature on French portraiture of this period. One can only hope that it will encourage other scholars to pursue research in this area." -- Emma Barker, The Open University (UK) * H-France Review *Table of ContentsList of Illustrations Acknowledgments Introduction Chapter 1. Friendship in the Academy Chapter 2. Celebrating Celebrity Chapter 3. Re-Evaluation Rivalry Chapter 4. Friendship Abroad Epilogue Endnotes Bibliography Index

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Book SynopsisThe essays that comprise Elusive Archives raise a common question: how do we study material culture when the objects of study are transient, evanescent, dispersed or subjective? Such things resist the taxonomic protocols that institutions, such as museums and archives, rely on to channel their acquisitions into meaningful collections. What holds these disparate things together here are the questions authors ask of them. Each essay creates by means of its method a provisional collection of things, an elusive archive. Scattered matter then becomes fixed within each author’s analytical framework rather than within the walls of an archive’s reading room or in cases along a museum corridor. This book follows the ways in which objects may be identified, gathered, arranged, conceptualized and even displayed rather than by “discovering” artifacts in an archive and then asking how they came to be there. The authors approach material culture outside the traditional bounds of learning about the past. Their essays are varied not only in subject matter but also in narrative format and conceptual reach, making the volume accessible and easy to navigate for a quick reference or, if read straight through, build toward a new way to think about material culture.Table of ContentsList of IllustrationsAcknowledgementsIntroduction: “The Elusive Archive in Material Culture Studies” by Martin Brückner and Sandy IsenstadtI. Archives in Practice1. “On the Material Culture of Multispecies Relating”Julian Yates2. “Archive Vision”Wendy Bellion3. “Fugitive Archives: Privilege and Practice”Julie L. McGee4. “Touch and the Making of Religious Material Culture. Visiting the Lourdes Shrine”Torsten Cress5. “A historian walks into a bar… Or, a story about alternative ways of finding andusing archives when the normal avenues don’t cut it”Cindy Ott6. “Historical Form(s)”Laura HeltonII. Archives in Objects7. “Both Lost and Found: A Portrait of the Enslaved Homer Ryan”Jennifer Van Horn8. “The Chaise Sandows: Object as (Obscured) Archive”Kiersten Thamm9. “Decoupage: Cutting Ephemera and Assembling Sentiment”Alexandra Ward10. “’Inscribe, Lord, Your Will in My Stone Heart’: Finding Religious History inGerman-American Illuminated Manuscripts”Alexander Lawrence Ames11. “The Mobile Architectural Archive”Halina Adams12. “The Case of the Mysterious Chest-on-Frame”Rosalie HooperIII. Archives in Places13. “Refuse, Refuge, Relic”Sarah Wasserman14. “Searching for the Lost Mines of Albert Bierstadt”Spencer Wigmore15. “Landscapes of Refuge: Recovering the Materiality of Underground RailroadLandscapes in Delaware”Catherine Morrissey16. “Desolation in Crowded Spaces: Reconstructing the Material Culture of Internment”Michelle Everidge Anderson17. “Seeking Hózhó: The Post-Apocalyptic Landscapes of Will Wilson’s AIR Weave”Kaila T. Schedeen18. “Buried Archives”Lu Ann De CunzoIV. Archives in Circulation19. “Ikuo Yokoyama’s Motorcycle: Entropic Decay and the Anatomy of a Disaster”Natalie Elizabeth Wright20. “Fraktur: Material Religion and Print Culture in the Early German-Language AtlanticWorld”Oliver Scheiding21. “John Hancock’s Fugitive Tar”J. Ritchie Garrison22. “Stability Lost: Monetary Conditions of Refugees from World War II and the SyrianCivil War”Jesse Kraft23. “Inscribing Sanctuary: Early American Buildings and Apotropaic Markings, 1700-1850”Michael Emmons24. “Bottling Death and Brewing Resistance in Temperance Literature and Reform”Jessica ConradAfterword: “Elusive Archives and the Poetical Promise of Objects”Bernard L. HermanNotes on ContributorsIndex

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Book SynopsisThis volume considers how ideas were made visible through the making of art and visual experience occasioned by reception during the long eighteenth century. The event that gave rise to the collection was the 15th David Nichol Smith Seminar in Eighteenth-Century Studies, which launched a new Australian and New Zealand Society of Eighteenth-Century Studies. Two strands of interest are explored by the individual authors. The first four essays work with ideas about material objects and identity formation, suggesting how the artist's physical environment contributes to the sense of self, as a practicing artist or artisan, as an individual patron or collector, or as a woman or religious outsider. The last four essays address the intellectual work that can be expressed through or performed by objects. Through a consideration of the material formation of concepts, this book explores questions that are implicated by the need to see ideas in painted, sculpted, illustrated, and designed forms. In doing so, it introduces new visual materials and novel conceptual models into traditional accounts of the intellectual history of the Enlightenment.Trade Review"Making Ideas Visible is an important collection that will appeal to scholars from a variety of disciplines. Those teaching early-modern literature and history will find useful representations of ideas that are often less accessible in printed texts. Many of the book’s images will find a home in my instructional materials, and the authors’ insightful interpretations will inform our class discussions. Milam and Parsons should be congratulated for selecting such keen essays, each of which is handsomely produced and carefully documented." -- Christopher D. Johnson, Francis Marion University * The Eighteenth-Century Intelligencer *Table of ContentsList of Illustrations Acknowledgements Introduction: The Potential Visibility of Ideas in Enlightenment Art and Aesthetics Jennifer Milam (University of Newcastle) and Nicola Parsons (University of Sydney) Chapter 1: A Good Address: Living at the Louvre in the Eighteenth Century David Maskill (Victoria University of Wellington) Chapter 2: Inventing Artifice: François Boucher’s Collection at the Louvre Jessica Priebe (University of Sydney) Chapter 3: Continental Porcelain Made in England: The Case of the Chelsea Porcelain Factory Matthew Martin (University of Melbourne) Chapter 4: Planting Cosmopolitan Ideals: Thomas Jefferson’s Poplar Forest Jennifer Milam (University of Newcastle) Chapter 5: Growing Old in Public in Eighteenth-Century France: Marie-Thérese Geoffrin and Marie Leszczynska Jessica L. Fripp (Texas Christian University) Chapter 6: French Funeral Monuments of the Ancien Régime as Products of Individual Artistic Solutions Wiebke Windorf (University of Düsseldorf) Chapter 7: Meeting the Locals: Mythical Images of the Indigenous Other in the Eighteenth and Nineteenth Centuries Melanie Cooper (University of Adelaide) Chapter 8: Infernal Machines: Designing the Bomb Vessel as Transnational Technology Jennifer Ferng (University of Sydney) Notes on the Contributors Index

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Book SynopsisThis volume considers how ideas were made visible through the making of art and visual experience occasioned by reception during the long eighteenth century. The event that gave rise to the collection was the 15th David Nichol Smith Seminar in Eighteenth-Century Studies, which launched a new Australian and New Zealand Society of Eighteenth-Century Studies. Two strands of interest are explored by the individual authors. The first four essays work with ideas about material objects and identity formation, suggesting how the artist's physical environment contributes to the sense of self, as a practicing artist or artisan, as an individual patron or collector, or as a woman or religious outsider. The last four essays address the intellectual work that can be expressed through or performed by objects. Through a consideration of the material formation of concepts, this book explores questions that are implicated by the need to see ideas in painted, sculpted, illustrated, and designed forms. In doing so, it introduces new visual materials and novel conceptual models into traditional accounts of the intellectual history of the Enlightenment.Trade Review"Making Ideas Visible is an important collection that will appeal to scholars from a variety of disciplines. Those teaching early-modern literature and history will find useful representations of ideas that are often less accessible in printed texts. Many of the book’s images will find a home in my instructional materials, and the authors’ insightful interpretations will inform our class discussions. Milam and Parsons should be congratulated for selecting such keen essays, each of which is handsomely produced and carefully documented." -- Christopher D. Johnson, Francis Marion University * The Eighteenth-Century Intelligencer *Table of ContentsList of Illustrations Acknowledgements Introduction: The Potential Visibility of Ideas in Enlightenment Art and Aesthetics Jennifer Milam (University of Newcastle) and Nicola Parsons (University of Sydney) Chapter 1: A Good Address: Living at the Louvre in the Eighteenth Century David Maskill (Victoria University of Wellington) Chapter 2: Inventing Artifice: François Boucher’s Collection at the Louvre Jessica Priebe (University of Sydney) Chapter 3: Continental Porcelain Made in England: The Case of the Chelsea Porcelain Factory Matthew Martin (University of Melbourne) Chapter 4: Planting Cosmopolitan Ideals: Thomas Jefferson’s Poplar Forest Jennifer Milam (University of Newcastle) Chapter 5: Growing Old in Public in Eighteenth-Century France: Marie-Thérese Geoffrin and Marie Leszczynska Jessica L. Fripp (Texas Christian University) Chapter 6: French Funeral Monuments of the Ancien Régime as Products of Individual Artistic Solutions Wiebke Windorf (University of Düsseldorf) Chapter 7: Meeting the Locals: Mythical Images of the Indigenous Other in the Eighteenth and Nineteenth Centuries Melanie Cooper (University of Adelaide) Chapter 8: Infernal Machines: Designing the Bomb Vessel as Transnational Technology Jennifer Ferng (University of Sydney) Notes on the Contributors Index

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Book SynopsisStorytelling in Sixteenth-Century France is an innovative, interdisciplinary examination of parallels between the early modern era and the world in which we live today. Readers are invited to look to the past to see how then, as now, people turned to storytelling to integrate and adapt to rapid social change, to reinforce or restructure community, to sell new ideas, and to refashion the past. This collection explores different modalities of storytelling in sixteenth-century France and emphasizes shared techniques and themes rather than attempting to define narrow kinds of narrative categories. Through studies of storytelling in tapestries, stone, and music as well as distinct genres of historical, professional, and literary writing (addressing both erudite and more common readers), the contributors to this collection evoke a society in transition, wherein traditional techniques and materials were manipulated to express new realities. Published by the University of Delaware Press. Distributed worldwide by Rutgers University Press. Table of ContentsEmily E. Thompson, Introduction Part I: Putting the Real into Words Chapter 1. Amy Graves Monroe, “The Memorialist and the Historian: A Tale of Two Storytellers” Chapter 2. Kathleen Loysen, “‘Ceste histoire veritable’: Women’s Narrative and Truth-Telling in the Comptes amoureux and the Angoisses douleureuses” Chapter 3. Marian Rothstein, “The Queen’s Quandary: Storytelling in Jeanne d’Albret’s Ample Déclaration” Chapter 4. David LaGuardia, “Telling the True and the Real in the Canards Sanglants” Part II: Playing with Expectations Chapter 5. Colette H. Winn, “Urania in Physician’s Robes or Poetry in the Service of Medicine: Girolamo Fracastoro, Syphilis sive morbus gallicus (1530)” Chapter 6. JoAnn DellaNeva, “Storytelling at the Crossroads of Diplomacy, History, and Poetry: ‘The Story of the Death of Anne Boleyn, Queen of England,’ by Lancelot de Carle” Chapter 7. Emily E. Thompson, “In Defense of Stories: Henri Estienne Reclaims the Story Collection for a New Readership” Chapter 8. Dora E. Polachek, “Recasting the Heptaméron Novellas in Brantôme’s Vie des dames galantes” Part III: Repurposing Stories through Shifting Forms Chapter 9. Cathy Yandell, “Sex, Salvation, Extermination: Contrafacta and the French Wars of Religion” Chapter 10. Sheila ffolliott, “Storytelling in Tapestry: Examples for a French Queen” Chapter 11. Phillip John Usher, “The Night before Geology: Fossil Stories from Early Modern France” Works Cited About the Contributors

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Book SynopsisCharles E. Robinson, Professor Emeritus of English at The University of Delaware, definitively transformed study of the novel Frankenstein with his foundational volume The Frankenstein Notebooks and, in nineteenth century studies more broadly, brought heightened attention to the nuances of writing and editing. Frankenstein and STEAM consolidates the generative legacy of his later work on the novel's broad relation to topics in science, technology, engineering, arts, and mathematics (STEAM). Seven chapters written by leading and emerging scholars pay homage to Robinson's later perspectives of the novel and a concluding postscript contains remembrances by his colleagues and students. This volume not only makes explicit the question of what it means to be human, a question Robinson invited students and colleagues to examine throughout his career, but it also illustrates the depth of the field and diversity of those who have been inspired by Robinson's work. Frankenstein and STEAM offers direction for continuing scholarship on the intersections of literature, science, and technology.Published by the University of Delaware Press. Distributed worldwide by Rutgers University Press.Table of ContentsIntroduction 1 Robin Hammerman 1 Frankenstein, Frankenstein, and the Dream of Science Susan J. Wolfson 2 Frankenstein Meets the FAANG Five: Figures of Monstrous Technology in Digital Media Discourse Mark A. McCutcheon 3 “the history of gods”: Singularity and Gender in Ex Machina Lisa Crafton 4 “My food is not that of man”: Food as Posthuman Phenomenon Siobhan Watters 5 Reading Frankenstein’s Ecological Legacy Lisbeth Chapin 6 Playing Devil’s Advocate: Defending the Criminal Justice System in Frankenstein L. Adam Mekler 7 Teaching Frankenstein as Pastiche, Parody, and Adaptation in the General Education Classroom Brian Bates Postscript: Remembrances of Charles E. Robinson Robin Hammerman Notes on Contributors Index

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Book SynopsisThis book examines the entwined and simultaneous rise of graphic satire and cultures of paper money in late eighteenth- and early nineteenth-century Britain. Asking how Britons learned to value both graphic art and money, the book makes surprising connections between two types of engraved images that grew in popularity and influence during this time. Graphic satire grew in visual risk-taking, while paper money became a more standard carrier of financial value, courting controversy as a medium, moral problem, and factor in inflation. Through analysis of satirical prints, as well as case studies of monetary satires beyond London, this book demonstrates several key ways that cultures attach value to printed paper, accepting it as social reality and institutional fact. Thus, satirical banknotes were objects that broke down the distinction between paper money and graphic satire altogether. Table of ContentsAcknowledgments List of Tables and Figures Introduction The Inflation of Georgian Graphic Satire Chapter One Money, Fact, and Value Chapter Two Crisis Chapter Three Subjectivity and Trust Chapter Four Imitation and Immateriality Chapter Five Materiality Chapter Six The Deflation of Georgian Graphic Satire Epilogue Beyond Britain Notes Bibliography Index

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Book SynopsisThe ten essays in Literature and the Arts explore the intermedial plenitude of eighteenth-century English culture, honoring the memory of James Anderson Winn, whose work demonstrated how seeing that interplay of the arts and literature was essential to a full understanding of Restoration and eighteenth-century English culture. Scenery, machinery, music, dance, and texts transformed one another, both enriching and complicating generic distinctions. Artists were alive to the power of the arts to reflect and shape reality, and their audience was quick to turn to the arts as performative pleasures and critical lenses through which to understand a changing world. This collection's eminent authors discuss estate design, musicalized theater, the visual spectacle of musical performance, stage machinery and set designs, the social uses of painting and singing, drama’s reflection of a transformed military infrastructure, and the arts of memory and of laughter.Table of Contents Acknowledgments vii Introduction ANNA BATTIGELLI 1 Laughter from on High: The Arts of Contempt in Restoration England STEVEN N. ZWICKER 2 Staging Davenant; or, Macbeth, the Musical AMANDA EUBANKS WINKLER 3 The Arts of Memory in Absalom and Achitophel: Dryden’s Response to Milton and Marvell PAUL HAMMOND 4 Peacocks and Rainbows: Visual Spectacle and Allegorical Performance in Albion and Albanius ANDREW R. WALKLING 5 “The Dyrham Decades”: The Cultural Connections of an English Country House, 1690–1720 DAVID HOPKINS 6 Domenico Scarlatti: “Jesting with Art” CEDRIC D. REVERAND II 7 Queen Anne’s Other Women PAULA R. BACKSCHEIDER 8 Anne Donnellan: Friend of the Arts ELLEN T. HARRIS 9 Responding to Emma in 1816: Reviewers, Readers,and “Opinions” PETER SABOR 10 Elizabeth Rivers and Christopher Smart: Eighteenth-Century Poetry across Time and Form MELISSA SCHOENBERGER Selected Bibliography Notes on Contributors Index

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