History of art Books

Book SynopsisArt and the Nation State is a wide-ranging study of the reception and critical debate on modernist art from the foundation of the Irish Free State in 1922 to the end of the modernist era in the 1970s. Drawing on art works, media coverage, reviews, writings and the private papers of key Irish and international artists, critics and commentators including Samuel Beckett, Thomas MacGreevy, Clement Greenberg, James Johnson Sweeney, Herbert Read and Brian O’Doherty, the study explores the significant contribution of Irish modernist art to post-independence cultural debate and diverging notions of national Irish identity. Through an analysis of major controversies, the book examines how the reputations of major Irish artists was moulded by the prevailing demands of national identity, modernization and the dynamics of the international art world. Debate about the relevance of the work of leading international modernists such as the Irish-American sculptor, Andrew O’Connor, the French expressionist painter, Georges Rouault, the British sculptor Henry Moore and the Irish born, but ostensibly British, artist Francis Bacon to Irish cultural life is also analysed, as is the equally problematic positioning of Northern Irish artists.Trade Review'Fluently written, this is an important book that will make a significant contribution to the expanding literature around twentieth century Irish art.' Dr Fionna Barber, Manchester Metropolitan University'Art & The Nation State offers a way into the world of Irish visual art accessible to anyone. In [Kennedy's] holistic approach to art history and reference to a wide range of sources, [she] has produced a comprehensive story of modern Irish art which is richer and more thought-provoking than most tomes on the subject.'Alice Quinn Banville, Dublin Review of Books'Maybe the single greatest tribute to the history of Modernism in the visual arts in Ireland or wherever Irish artists took it beyond the island, is Róisín Kennedy's courageous and nuanced discussion of the impacts it had on audiences, whether they were artists themselves, critical writers, collectors, or the receiving general public.'Catherine Marshall, Museum Ireland‘The great merit of [Art and the Nation State is] Kennedy's analysis encourage[s] people to rethink marginalized art in Europe and its politicized reception and to locate it within the debates about global modernity.’ Elizabeth Ansel, Sehepunkte '...Róisín Kennedy has packed a dense amount of art history into her single volume, and the depth of her research is formidable. A work of reference for art-conscious people to keep within easy reach.'Brian Fallon, Irish Arts Review

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Book SynopsisExporting Japanese Aesthetics brings together historical and contemporary case studies addressing the evolution of international impacts and influences of Japanese culture and aesthetics. The volume draws on a wide range of examples from a multidisciplinary team of scholars exploring transnational, regional and global contexts. Studies include the impact of traditional Japanese theatre and art through to the global popularity of contemporary anime and manga. Under the banner of soft power or Cool Japan, cultural commodities that originate in Japan have manifested new meanings outside Japan. By (re)mapping meanings of selected Japanese cultural forms, this volume offers an in-depth examination of how various aspects of Japanese aesthetics have evolved as exportable commodities, the motivations behind this diffusion, and the extent to which the process of diffusion has been the result of strategic planning. Each chapter presents a case study that explores perspectives that situate Japanese aesthetics within a wide-ranging field of inquiry including performance, tourism, and visual arts, as well as providing historical contexts. The importance of interrogating the export of Japanese aesthetics is validated at the highest levels of government, which formed the Office of Cool Japan in 2010, and which perhaps originated in the 19th Century at governmentally endorsed cultural courts at worlds fairs. Increased international consumption of contemporary Japanese culture provides a much needed boost to Japans weakening economy. The case studies are timely and topical. As host of the 2020 Tokyo Olympic Games and the 2025 Osaka Expo, Cool Japan will be under special scrutiny.

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Book SynopsisAs early as the ancient Greeks, goddesses served as Muses for artistic creation. In essence, a creatively charged energy inspired the artist, leaving a unique and recognizable mark on the artwork. Picassos relationships with the women in his life was deeply formative, and he often represented them as Muses. He was particularly unabashed in the declaration of his feelings to one of them, Marie-Therese Walter, his youthful mistress of 1927. But at that point Picasso was still married to Olga Khokhlova, thus forced to practice the utmost discretion. His marriage to Olga made him increasingly frustrated with her imposed bourgeois expectations. As a release from this marital burden, Marie-Therese was ever present in his work, often portrayed as Aphrodite with a wreath in her hair, a basket of flowers and fruits by her side. Marie-Therese was the Dream the Muse. This fertile period coincided with the strong influence of surrealism which helped liberate Picassos psyche from the straitjacket that Olgas lifestyle imposed on him. By 1935, however, the model and mistress became a mother to Maya, radically changing the role she previously had. The following year Picasso was introduced to a new woman, Dora Maar, an encounter that signalled the beginning of the end of Marie-Thereses exclusive claim on Picassos affections and the closing of an artistic period clearly marked by fertility. The Aphrodite Period (19241936) provides new insights and analysis of Picassos life as recently uncovered through the research of the Online Picasso Project. This time-span is one of the most illustrative periods of Picassos career in that it clearly demonstrates the close interdependence between sexuality and artistic creativity that characterize Picasso's entire output.

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Book SynopsisAlthough Pablo Picasso spotted Dora Maar at a cafe in January 1936 it is highly likely that she had come to his attention prior. As Brassaï, a Hungarian-French photographer, recalled, 'It was at Les Deux-Magots that, one day in autumn 1935, [he] met Dora. On an earlier day, he had already noticed the grave, drawn face of the young woman at a nearby table, the attentive look in her light-colored eyes, sometimes disturbing in its fixity. When Picasso saw her in the same cafe in the company of the surrealist poet Paul Éluard, who knew her, the poet introduced her to Picasso' (Brassaï, a.k.a. Gyula Halász, Conversations with Picasso [University of Chicago Press, 1999]). Tinged with a seductive mix of violence and dark eroticism, this first meeting has attained mythical status in the story of the artist's life. It reads like an unreal fantasy. A mysterious and feline beauty, which Man Ray had captured in the pictures he took of her, a companion of Georges Bataille, Dora was an accomplished photographer, close to the Surrealists revolutionary aesthetics. Picasso addressed her in French, which he assumed to be her language; she replied in Spanish, which she knew to be his. For the next decade, the painter would translate not just his fascination with the woman who had seduced him on the spot, but also his desire to escape the grip of someone who, for the first time, could intellectually aspire to be his equal. Dora would appear in his works as a female Minotaur, a Sphinx, a lunar goddess and a muse. Because of her intense artistic sensibility, her poetic gifts and her ability to participate in suffering, she was especially qualified to resonate Picasso's own inner torments during these troubled years.

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Book SynopsisAn Earthy Entanglement with Spirituality offers compelling perspectives on literature and art whose common ground lies in their diverse evocations of the human spirit. Contributors consider the over-arching inquiry broadly, applying distinct critical and theoretical approaches to diverse primary sources, including poetry of various genres and periods, Shakespearean drama and contemporary theater, nineteenth-century painting, Italian Renaissance sculpture, and the novel, short story, and dialogue. The volumes images and graphics add to the value and accessibility of its criticism, and its contents address particular needs of its intended audiences: novice explorers of the Arts and Humanities, knowledgeable generalists, aficionados of a particular author or period, advanced students and researchers seeking fresh insights or critical footholds, and readers with spiritual, ethical, or theological interests. Teachers and critics of literature will find useful and productive ideas, contexts, models, and resources. Well-wrought furniture for the mind and substantial fare for the spirit lie within.

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Book SynopsisExporting Japanese Aesthetics brings together historical and contemporary case studies addressing the evolution of international impacts and influences of Japanese culture and aesthetics. The volume draws on a wide range of examples from a multidisciplinary team of scholars exploring transnational, regional and global contexts. Studies include the impact of traditional Japanese theatre and art through to the global popularity of contemporary anime and manga. Under the banner of soft power or Cool Japan, cultural commodities that originate in Japan have manifested new meanings outside Japan. By (re)mapping meanings of selected Japanese cultural forms, this volume offers an in-depth examination of how various aspects of Japanese aesthetics have evolved as exportable commodities, the motivations behind this diffusion, and the extent to which the process of diffusion has been the result of strategic planning. Each chapter presents a case study that explores perspectives that situate Japanese aesthetics within a wide-ranging field of inquiry including performance, tourism, and visual arts, as well as providing historical contexts. The importance of interrogating the export of Japanese aesthetics is validated at the highest levels of government, which formed the Office of Cool Japan in 2010, and which perhaps originated in the 19th Century at governmentally endorsed cultural courts at worlds fairs. Increased international consumption of contemporary Japanese culture provides a much needed boost to Japans weakening economy. The case studies are timely and topical. As host of the 2020 Tokyo Olympic Games and the 2025 Osaka Expo, Cool Japan will be under special scrutiny.

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Book SynopsisDada formed in 1916, embedded in a world of rational appearances that belied a raging confusion – in the middle of the First World War, in the neutral centre of a warring continent, fundamentally at the heart of Western art. This book sets out new coordinates in revision of a formation that Western art history routinely exhausts through its characterisation as a ‘revolutionary movement’ of anarchic cultural dissent, and does so in order to contest the perpetuated assumptions about Dada that underlie the popular myth. Dada is difficult and the response to it is not easy, and what emerge from the theoretical readings developed here are profoundly rational bases to the Dada non-sense that pitted itself against its civilised age, critically and implicitly to propose that Dada courses as vitally today as it did in 1916. The Zurich Dada formation initiated deliberate and strategic cultural engagements that struggled then, as they do now, to cohere in any sense as a ‘movement’, extreme in their ranges as diametrically hostile oppositionalities. Dada may be given art historically as identifiable along a trajectory of sustained ruptures and seizures, but it confounds all attempts at defined or definitive readings. This book duly offers not a history of Dada in Zurich but theoretical engagements of the emergencies and now the residue of the years 1916–19 – from ‘lautgedichte’ to laughter, masks to manifestos, chance to chiasmata – rounding to the ‘permanent’ Dada by which the formation ultimately breaks the containment and deep peace of art historical chronology.Table of Contents Preface Illustrations Introduction: Against the ‘Infamous Thing’ 1. Dada’s Radical Negation: The Declamators and Poets of Noise 2. Becoming the Dada Body: Masks, Dance and Mime 3. A Disintegrating Culture: Dada Violence and Degradation 4. Dadaist Disgust: Ideology Theory and the Manifesto Writings 5. Hans Arp: Resistance and the Philosophy of Virtual Creation 6. L’amiral cherche une maison à louer: The Counterpoint and Counterpolitics of Language 7. The Rude Product of Luxury: Dada Laughter Conclusion: Permanent Dada Appendix: Zurich Dada Chronology Bibliography Index

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Book SynopsisIn contemporary society, ‘the visual’ becomes a traversing denominator passing through the most diverse articulations: from new media, branding, drone vision and robot culture to cityscapes, design and art. The transvisuality project in three volumes promotes the turn away from the predominance of a focus on representations in studies of visual culture. Volume 2 introduces visual organisation in-the-making as an effect of manifold traversing articulations and interconnected practices: how is the ‘stuff’ of visuality—an image like a photograph, an incident on TV, a cinematic oeuvre—intertwined in a range of cultural practices, transformed and transgressed by them in transvisuality. The aim of the book is to map how visual organizations are traversing culture as articulatory practices in situ. The resulting case studies take their departure in different materialities and agencies of empirical, embedded visuality—from canvas to drone camera—and illustrate how transvisuality evolves in and around publics and communities on the one hand and through bodies and media on the other. The visual articulations analysed in this volume span from cellphone videos to forensic images, from biomedia to robots, from bunker ruins to Kalighat pat paintings, from a Palestinian wedding dress to video footage of unknown strangers in a metro, from the Gorgon Stare to movies becoming art installations. While the first volume addresses the boundaries of the notion of visuality and creative openings that visual culture studies offer, the third volume maps visuality in contexts of design, creativity and brand management.Table of ContentsCONTRIBUTORS INTRODUCTION Part I. Publics and communities 1. Rafael Cardoso - Flesh and the Beholder: Towards a Phenomenology of Digital Viewing 2. Sambudha Sen - Re-Visioning the Colonial City: Autonomous Spaces, Stereotypes and the Aesthetics of Intermixtures in Kaliprasanna Sinha’s Hutom Pyanchar Noksha 3. Fiona Cameron & Sarah Mengler - Transvisuality, Geopolitics and Cultural Heritage in Global Flows: the Israeli-Palestinian Conflict and the Death of the Virtual Terrorist. 4. Leora Farber - Beyond Self vs. Other. The Other-as-Stranger-Within as Imaged in the Who is Pinky Pinky Series 5. Karl Erik Schøllhammer - Forensic Strategies Against the Traumatic Condition of Culture. Exposure of Wounded Bodies in Brazilian Media and Art 6. Eric Louw – Visualized Politics 7. Khaled Ramadan - Our History and Their Archive. The Substantive Visual Aesthetics of Al Jazeera and its Impact on the Arab World Part II. Bodies and media 8. Marie-Luise Angerer - From Vision To Motion. Image, Affect, Bio-Media 9. Frauke Wiegand - Concrete Memories: The In/Visibility of Bunker Ruins 10. Bodil Marie Stavning Thomsen - Interface Screenings. Integrations of the Body According to New Diagrams for Visual Mapping 11. Gunhild Borggreen - Robot Bodies. Visual Transfer of the Technological Uncanny 12. Asbjørn Grønstad - Enfolded by Cinema: The Transvisual Gaze in Tsai Ming-liang's Visage. 13. Lila Lee-Morrison - Drone Warfare. Visual Primacy as a Weapon 14. Kassandra Wellendorf - Elastic Looking and Negotiations of Invisibility in Public Spaces Bibliography Index

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Book SynopsisAn Open Access edition of this book is available on the Liverpool University Press website and through Knowledge Unlatched.Argentine Cinema and National Identity covers the development of Argentine cinema since the late 1950s to the mid-1970s, a period that has been understudied. This essential cultural history delves on the dialect tradition versus modernity that was in place during those years and also comprises an examination of the political economy of film production as well as the different laws, including that implementing censorship that regulated this cultural industry. It also pays particular attention to two historical film genres: the historical film genre per se and the gauchesque, a genre based on outlaw gauchos that was crucial for nation-building in the nineteenth century. This volume investigates the way Argentine cinema positioned itself when facing the competition of glossy American films and resorted to the historical and gauchesque to bridge the stark divisions between the Argentine left and right in the late 1960s.Trade ReviewReviews 'Argentine Cinema and National Identity is an extensively researched and well-written book that reconstructs a key period in Argentine history through the lens of a corpus of films that is largely underexplored and overlooked.'Jordana Blejmar, University of Liverpool'Carolina Rocha succeeds in offering fresh insights into cinematic representations of competing visions of Argentine collective identities during a decade characterized by political upheavals that culminated in the brutal dictatorship of 1976. With a keen eye for detail, she never loses sight of the main arguments, which she conveys in a clear and flowing prose.'Raanan Rein, Tel Aviv University'In this ambitious volume, Rocha combines the methodologies of the film scholar and the film historian to examine the Argentine motion-picture industry during a volatile period in the nation’s cultural and political spheres [...] Providing relevant historical context for her observations, Rocha furthers understanding of an understudied period in Argentine cinema.' D. West, CHOICETable of ContentsAcknowledgementsIntroductionSection I: Argentine History and Cinema 1955-1976Chapter 1: Political and Social Tensions in Post 1955 ArgentinaChapter 2: Argentine Cinema in the late 1950s and early 1960sChapter 3: Argentine Cinema 1966-1973Chapter 4: Argentine Cinema 1973-1976Section II: The GauchesqueChapter 5: Martín FierroChapter 6: Don Segundo SombraChapter 7: Santos VegaChapter 8: Juan MoreiraChapter 9: Los gauchos judíosSection III: Representing Founding FathersChapter 10: Looking for a National HeroChapter 11: Güemes, la tierra en armasChapter 12: Bajo el signo de la patriaChapter 13: Juan Manuel de RosasConclusionsBibliography

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Book SynopsisThis groundbreaking book surveys the shifts in the aesthetic discourse and artistic practises that decisively influenced the shaping of the avant-garde during Franco’s dictatorship (1939-1975). On the basis of extensive, so far unpublished, archival material, it discusses the intellectual and cultural field as an important battlefield for fighting the regime from within. The study opens with a comprehensive historical overview on the cultural world from the end of the Spanish Civil War throughout Francoism and reveals for the first time the broader intellectual and cultural context of vanguard art considering the special relations and negotiation processes between artist, critics and institutions during a major gap in the historiography of post-war Spanish culture: the late Franco dictatorship (1959-1975). It then analyses in depth the important role that a group of art critics played as theoreticians and peers in key artistic movements from the 1950s onwards. Using their extensive international networks in the midst of the Cold War period, they decisively influenced the aesthetic and cultural debates of their time and very concretely helped shaping a completely new discourse for the avant-garde in Spain. This book discusses the creation of this new discourse that linked culture and ethics/politics and analyses its impact on the intellectual and artistic landscape (visual, print and exhibition culture) during the last decades of Franco’s regime. It is indebted to a cultural historic approach that takes high culture, popular culture, politics as well as the history of ideas in account studying the reciprocal transfer processes within these fields and across European and American geographies. This study and its interdisciplinary approach will be of interest to scholars in art history, visual, cultural and museum studies of modern Spain in particular and Europe in general.Trade ReviewReviews 'A major contribution to Spanish art history scholarship, filling an important gap in the history of Spanish art, criticism, exhibitions and international networks of exchange during Late Francoism.' Dr Miriam M. Basilio, New York Associate Professor of Art History and Museum Studies'With this book, Paula Barreiro López shows new ways of approaching these already known topics, analysing the many facets of Francoist cultural policies and the implications of the international context of the Cold War on plastic practices. But above all, she suggests new paths to understanding the internal opposition of the cultural field to Francoism. [...] Here is a book that any specialist of the Spanish culture of late Francoism should consult (and appreciate) in the future.' Maria Dolores Jiménez-Blanco, Critique d’art 'Barreiro's book is one of the few studies carried out by a Spanish researcher and published in English by a prestigious academic Anglo-Saxon publishing house. […] It seems evident that Avant-garde, Art and Criticism in Francoist Spain is destined to have a considerable impact within and outside our borders.' Juan Albarrán, Archivo Español de Arte'The principal attraction of this book lies not only in the author’s approach to this period but also in the fact that it is one of the few scholarly works on the subject published in English. As such, it begins to remedy international ignorance of the art of the Franco era.' Genoveva Tusell, The Burlington MagazineTable of ContentsAcknowledgements viiIntroduction: Spanish aesthetic discourses:modernity, ideology and dictatorship 1Modernism(s) - avant-garde(s). Spain: an integrated case? 8 Methods, structure and sequence 141. From Guernica to the international alliances: culture, art, and society 21The Cultural battle lines of the Civil WarThe 'bread' of the victors: art and culture under autarky'We welcome you, Americans, with joy!': international and domestic cultural policies in the early 1950s2. 'Spain is different': art, culture and propaganda in the era of the consumer society 71The language of technocracy 73The equivocal fruits of apertura 89Dissent in the twilight of Francoism 1073. Critics and networks: assuming militant criticism 121Critical networks 122Militant criticism 'all' Argan' 137Militant critics in Spain 1494. The 'Marxization' of art criticism: information, ideology and anti-Francoism 164Marx through the 'backroom' 166'Widening the cracks': Nulla aesthetica sine ethica 181Militant Criticism at the service of anti-Francoism 193Mediations: miliatnt critics providing 'information' and 'ideology'5. Adoption(s), adaption(s) and artistic praxi 221The sociological turn(s) of the militant critics 222'Solutions of the transformation': militant critics and avant-garde artists in collaboration 233The nature of the avant-garde: a conflicting issueEpilogue Artistic avant-garde and social reality: a battle for the meaning of modern art 293Primary Sources 309Secondary Sources 320Abbreviations 337Index 338

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Book SynopsisThere are deep black nationalist roots for many of the images and ideologies of contemporary racial justice efforts. This collection reconsiders the Black Aesthetic and the revolutionary art of the Black Arts Movement (BAM), forging connections between the recent past and contemporary social justice activism. Focusing on black literary and visual art of the Black Arts Movement, this collection highlights artists whose work diverged from narrow definitions of the Black Aesthetic and black nationalism. Adding to the reanimation of discourses surrounding BAM, this collection comes at a time when today’s racial justice efforts are mining earlier eras for their iconography, ideology, and implementation. As numerous contemporary activists ground their work in the legacies of mid-twentieth century activism and adopt many of the grassroots techniques it fostered, this collection remembers and re-envisions the art that both supported and shaped that earlier era. It furthers contemporary conversations by exploring BAM’s implications for cultural and literary studies and its legacy for current social justice work and the multiple arts that support it.Trade Review'A unique text that will make an important contribution by fresh voices to the growing body of scholarship on the Black Arts Movement.' Jonathan Fenderson, Associate Professor, African & African-American Studies, Washington University in St. LouisTable of ContentsForeword: “The Umbra Origins of the Black Arts Movement” by Ishmael Reed Introduction: “Why the Black Arts Movement Matters Now” by Tru LeverettePART 1: RootsChapter 1: “‘[M]other of us poets’: Margaret Walker and the Black Arts Movement” by Seretha D. Williams Chapter 2: “Myths, Stereotypes, Sexual Politics, and the Black Power Movement in Alice Childress’s Wine in the Wilderness” by Ama S. WattleyChapter 3: “Sonia Sanchez: A Dynamic Voice of Black Arts Poetry” by John Zheng Chapter 4: “Against the Grain: Alice Childress and the Black Arts Movement” by Elizabeth Smith PART 2: Re-EnvisioningsChapter 5: “Humor in Hue: Gag Cartoons as Satire in Black World Magazine during the Black Arts Movement, 1970-1976” by Nathaniel Frederick II and William SchulteChapter 6: “Freeing Black: Myth, Language, and Revolution via Fran Ross’s Oreo” by Tru LeveretteChapter 7: “Stepping to His Own Music: Influences and Plurality of Black Identities in William Melvin Kelley’s Works” by Yannick BlecChapter 8: “Fighting the Wrongheaded Doppelgänger: Ishmael Reed and the Media” by Samuel Ludwig Chapter 9: “Rage Against the Machine: Black Impotency and the Failures of Liberalism in Amiri Baraka’s Dutchman and The Slave” by Kel Martin PART 3: RevivalsChapter 10: “The Black Arts Movement: A Visual Arts Perspective” by Paul Von BlumChapter 11: “Updating the Legacy of Black Arts Movement and Staying Relevant: Reconnecting with Africa in Ishmael Reed’s Japanese by Spring” by Jiri SalamounChapter 12: “BAM Legacies and the ‘Inner Life’ in the Contemporary Poetry of Rickey Laurentiis and Danez Smith: Discovering A 21st-Century Dialogic Sublime” by Leila KamaliChapter 13: “Being Alive. Being a Woman. Being Colored: The dilemma of being black and female at the intersection of visual and performance art during the Black Arts Movement” by Erin KendrickConclusion: “Black Love, Black Beauty, Black Abundance, and the Ongoing Work of Becoming” by Tru Leverette

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Book SynopsisThis edited collection re-examines the relationship between art and the sea, reflecting growing interest in the intersections between art and maritime history. Artists have always been fascinated by and drawn to the sea and this book considers some of the themes and approaches in art that have evolved as a result of this captivation. The chapters consider how an examination of art can provide new insights into existing knowledge of port and maritime history, and are representative of a ‘cultural turn’ in port and maritime studies, which is becoming increasingly visible. In Art and the Sea, multiple perspectives are offered as a result of the contributors’ individual positions and methodologies: some museological, others art historical or maritime-historical. Each chapter proposes a new way of building upon available interpretations of port and maritime history: whether this be to reject, support or reconsider existing knowledge. The book as a whole is a timely addition, therefore, to the developing body of revisionist texts in port and maritime history. The interdisciplinary nature of the volume relates to a current trend for interdisciplinarity in art history and will appeal to those with an interest in art history, geography, sociology, history and transport / maritime studies.Trade Review'In a time when, in the editor's words, "[there is an] increasing tendency for specialisation in all areas of scholarship", this book ably demonstrates how bringing different disciplines together informs the discussion and provides new insights.' Graham Gladden, Journal of Transport HistoryTable of ContentsAcknowledgements Notes on Contributors List of Images Introduction: Emma Roberts Chapter 1: Paintings of Ports and Ships at Canton of the Qing Dynasty China during the Eighteenth and Nineteenth Centuries. Junfu Wong Chapter 2: The Art of Cable-Laying. Morgan Daniels Chapter 3: Victorian Identity and the Sea: Imagining the Nation Within Banal Maritime Art. David Williams Chapter 4: “And so the idea of the Collection was born”. The Macpherson Collection of Maritime Prints from its Inception to the First Display at the National Maritime Museum, Greenwich. Silvia Massa Chapter 5: Lie Back and Drink of England: National Identity, Nostalgia, and Sea Travel in Edward Bawden’s The English Pub. Samuel Love Chapter 6: The Paintings of Walter Hemming at the German Maritime Museum: Contextualizing Conformity with the National Socialist Regime. Gisela Parak Chapter 7: Designing the Ocean Liners of Fascist Italy and Nazi Germany. James J. Fortuna Chapter 8: Illuminating the History of the HMS Conway Training Ship Through Stained Glass Windows. Wayne Turnbull Epilogue: Emma Roberts Bibliography Index

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Book SynopsisThis volume focuses on the migration and acculturation of images in Jewish culture and how that reflects intercultural exchange. Gender aspects of Jewish art are also highlighted, as is the role of images in interreligious encounters. Other topics covered include the history, codicology, and iconography of a Haggadah produced in the late fifteenth century.

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Book SynopsisArt and the Nation State is a wide-ranging study of the reception and critical debate on modernist art from the foundation of the Irish Free State in 1922 to the end of the modernist era in the 1970s. Drawing on art works, media coverage, reviews, writings and the private papers of key Irish and international artists, critics and commentators including Samuel Beckett, Thomas MacGreevy, Clement Greenberg, James Johnson Sweeney, Herbert Read and Brian O’Doherty, the study explores the significant contribution of Irish modernist art to post-independence cultural debate and diverging notions of national Irish identity. Through an analysis of major controversies, the book examines how the reputations of major Irish artists was moulded by the prevailing demands of national identity, modernization and the dynamics of the international art world. Debate about the relevance of the work of leading international modernists such as the Irish-American sculptor, Andrew O’Connor, the French expressionist painter, Georges Rouault, the British sculptor Henry Moore and the Irish born, but ostensibly British, artist Francis Bacon to Irish cultural life is also analysed, as is the equally problematic positioning of Northern Irish artists.Trade Review'Fluently written, this is an important book that will make a significant contribution to the expanding literature around twentieth century Irish art.' Dr Fionna Barber, Manchester Metropolitan University'Art & The Nation State offers a way into the world of Irish visual art accessible to anyone. In [Kennedy's] holistic approach to art history and reference to a wide range of sources, [she] has produced a comprehensive story of modern Irish art which is richer and more thought-provoking than most tomes on the subject.'Alice Quinn Banville, Dublin Review of Books'Maybe the single greatest tribute to the history of Modernism in the visual arts in Ireland or wherever Irish artists took it beyond the island, is Róisín Kennedy's courageous and nuanced discussion of the impacts it had on audiences, whether they were artists themselves, critical writers, collectors, or the receiving general public.'Catherine Marshall, Museum Ireland‘The great merit of [Art and the Nation State is] Kennedy's analysis encourage[s] people to rethink marginalized art in Europe and its politicized reception and to locate it within the debates about global modernity.’ Elizabeth Ansel, Sehepunkte '...Róisín Kennedy has packed a dense amount of art history into her single volume, and the depth of her research is formidable. A work of reference for art-conscious people to keep within easy reach.'Brian Fallon, Irish Arts Review

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Book SynopsisThere are deep black nationalist roots for many of the images and ideologies of contemporary racial justice efforts. This collection reconsiders the Black Aesthetic and the revolutionary art of the Black Arts Movement (BAM), forging connections between the recent past and contemporary social justice activism. Focusing on black literary and visual art of the Black Arts Movement, this collection highlights artists whose work diverged from narrow definitions of the Black Aesthetic and black nationalism. Adding to the reanimation of discourses surrounding BAM, this collection comes at a time when today’s racial justice efforts are mining earlier eras for their iconography, ideology, and implementation. As numerous contemporary activists ground their work in the legacies of mid-twentieth century activism and adopt many of the grassroots techniques it fostered, this collection remembers and re-envisions the art that both supported and shaped that earlier era. It furthers contemporary conversations by exploring BAM’s implications for cultural and literary studies and its legacy for current social justice work and the multiple arts that support it.Trade Review'A unique text that will make an important contribution by fresh voices to the growing body of scholarship on the Black Arts Movement.' Jonathan Fenderson, Associate Professor, African & African-American Studies, Washington University in St. LouisTable of ContentsForeword: “The Umbra Origins of the Black Arts Movement” by Ishmael Reed Introduction: “Why the Black Arts Movement Matters Now” by Tru LeverettePART 1: RootsChapter 1: “‘[M]other of us poets’: Margaret Walker and the Black Arts Movement” by Seretha D. Williams Chapter 2: “Myths, Stereotypes, Sexual Politics, and the Black Power Movement in Alice Childress’s Wine in the Wilderness” by Ama S. WattleyChapter 3: “Sonia Sanchez: A Dynamic Voice of Black Arts Poetry” by John Zheng Chapter 4: “Against the Grain: Alice Childress and the Black Arts Movement” by Elizabeth Smith PART 2: Re-EnvisioningsChapter 5: “Humor in Hue: Gag Cartoons as Satire in Black World Magazine during the Black Arts Movement, 1970-1976” by Nathaniel Frederick II and William SchulteChapter 6: “Freeing Black: Myth, Language, and Revolution via Fran Ross’s Oreo” by Tru LeveretteChapter 7: “Stepping to His Own Music: Influences and Plurality of Black Identities in William Melvin Kelley’s Works” by Yannick BlecChapter 8: “Fighting the Wrongheaded Doppelgänger: Ishmael Reed and the Media” by Samuel Ludwig Chapter 9: “Rage Against the Machine: Black Impotency and the Failures of Liberalism in Amiri Baraka’s Dutchman and The Slave” by Kel Martin PART 3: RevivalsChapter 10: “The Black Arts Movement: A Visual Arts Perspective” by Paul Von BlumChapter 11: “Updating the Legacy of Black Arts Movement and Staying Relevant: Reconnecting with Africa in Ishmael Reed’s Japanese by Spring” by Jiri SalamounChapter 12: “BAM Legacies and the ‘Inner Life’ in the Contemporary Poetry of Rickey Laurentiis and Danez Smith: Discovering A 21st-Century Dialogic Sublime” by Leila KamaliChapter 13: “Being Alive. Being a Woman. Being Colored: The dilemma of being black and female at the intersection of visual and performance art during the Black Arts Movement” by Erin KendrickConclusion: “Black Love, Black Beauty, Black Abundance, and the Ongoing Work of Becoming” by Tru Leverette

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Book SynopsisIncluding a number of short essays by Bataille and Leiris on aspects of the other's work as well as excerpts on Bataille from Leiris' diaries, this collection of correspondence throws new light on two of Surrealism's most radical dissidents. In the autumn of 1924, just before André Breton published the Manifeste du surréalisme, two young men met in Paris for the first time. Georges Bataille, 27, starting work at the Bibliothèque Nationale; Michel Leiris, 23, beginning his studies in ethnology. Within a few months, they were both members of the Surrealist group, although their adherence to Surrealism (unlike their affinities with it) would not last long: in 1930 they were among the signatories of "Un cadavre," the famous tract against Breton, the "Machiavelli of Montmartre," as Leiris put it. But their friendship would endure for more than 30 years, and their correspondence, assembled here for the first time in English, would continue until the death of Bataille in 1962.Table of ContentsEditor's AcknowledgementsAbbreviations Michel LeirisOn Georges Bataille Georges Bataille as Don Giovanni From Bataille the Impossible to the Impossible Documents From the Time of Lord Auch Georges BatailleOn Michel Leiris Surrealism from Day to Day The Publication of 'A Corpse' Racism Georges Bataille and Michel LeirisCorrespondence 1924-61 Michel LeirisGeorges Bataille, As Time Goes By Robert Desnos, Georges Bataille and Marcel GriauleEye Bernard NoëlAfterword: A Way of Looking that is Understood Appendix: A Bio-Bibliographic ChronologyPeriodicals to which Bataille and Leiris both contributed (1925-62)BibliographyIndex

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Book SynopsisArs Judaica is an annual publication of the Department of Jewish Art at Bar-Ilan University. It showcases the Jewish contribution to the visual arts and architecture from antiquity to the present from a variety of perspectives, including history, iconography, semiotics, psychology, sociology, and folklore.

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Book SynopsisEbook available to libraries exclusively as part of the JSTOR Path to Open initiative. Addressing the history, impacts, and legacies of the Indian Residential School system, the Canadian Truth and Reconciliation Commission is one of the few commissions to have been established in a long-standing Western liberal-democratic reality such as Canada's. It thus becomes paramount to examine the extent to which the TRC's core principles of truth-telling, restorative justice, and reconciliation engage in productive dialogue with the settler-colonialcontext of Canada and, particularly, with Indigenous philosophies and epistemologies. Good Medicine Stories does exactly that through the lens of fiction. Interweaving Indigenous,settler-colonial, trauma, and gender studies on the one hand and intersecting literary, political, historical, and cultural approaches on the other, Good Medicine Stories explores the capacities of Indigenous fiction for challenging and amplifying the work carried out by

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Book SynopsisUncovers sources from the parish pauper to the gentlewoman to consider relationships with clothing across the social hierarchy in the long eighteenth century.

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Book SynopsisA richly informed volume that deserves the attention of all scholars interested in this remarkable figure. - SEHEPUNKTE First modern study devoted to one of the twelfth-century's most enigmatic, influential and fascinating figures. Henry of Blois (d. 1171) was a towering figure in twelfth-century England. Grandson of William the Conqueror and brother to King Stephen, he played a central role in shaping the course of the civil war that characterized his brother's reign. Bishop of Winchester and abbot of Glastonbury for more than four decades, Henry was one of the richest men in the kingdom, and effectively governed the English Church for a time as Papal Legate. Raised and tonsured at Cluny, he was an intimate friend of Peter the Venerable and later saved the great abbey from financial ruin. Towards the end of his life he presided, albeit reluctantly, over the trial of Thomas Becket. Henry was a remarkable man: an administrator of exceptional talent, a formidable ecclesiastical statesman, a bold and eloquent diplomat, and twelfth-century England's most prolific patron of the arts. In the first major book-length study of Henry to be published since 1932, nine scholars explore new perspectives on the most crucial aspects of his life and legacy. By bringing ecclesiastical and documentary historians together with archaeologists and historians of art, architecture, literature and ideas, this interdisciplinary collection will serve as a catalyst for renewed study of this fascinating man and the world in which he operated.Trade ReviewThis volume represents a major step forward for the study of a pivotal figure in twelfth-century history. [...] Ultimately, this book is a vital resource for any scholar hoping to better understand Henry of Blois's place in twelfth-century English history, and a step toward a more comprehensive portrait of this elusive figure. -- COMITATUSA richly informed volume that deserves the attention of all scholars interested in this remarkable figure. * SEHEPUNKTE *The editors and contributors should be applauded for bringing together such a diverse and compelling series of articles on a figure surely deserving of further study. This volume stands as a strong testament to the figure at its heart and goes a long way towards filling the gaps in our understanding of Henry of Blois. -- Craig M. Nakashian * Nottingham Medieval Studies *There is much to admire and enjoy about this collection. ... Historians have become rather too preoccupied by the question of whether Henry was a great man. By ignoring that debate and probing into particular aspects of his life and career, this book sheds new light not only on an individual but also on the many roles played by leading clerics in twelfth-century Europe. * SPECULUM *Table of ContentsList of Illustrations List of Contributors Acknowledgements List of Abbreviations Genealogical Table: The Family Connections of Henry of Blois Introduction: Approaches to Henry of Blois - John Munns and William Kynan-Wilson Causa Dei et ecclesie Cluniacensis: Henry of Blois and Cluny - Michael J. Franklin Henry of Blois and his Legation in England - Barbara Bombi The Episcopal Colleagues of Henry of Blois - John Munns The Architectural Heritage of Bishop Henry of Blois at Winchester Cathedral - John Crook Wolvesey: Henry of Blois' domus quasi palatium in Winchester - Martin Biddle Bishop Henry's Bible - Claire Donovan Henry of Blois and the Construction of Roman Identity - William Kynan-Wilson Henry of Blois: Between Patronage and Representation in the Long Twelfth Century - Matthew M. Mesley The Last Days of Henry of Blois - Edmund King Timeline Bibliography Index

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Book SynopsisDiscussion of display through a range of artefacts and in a variety of contexts: family and lineage, social distinction and aspiration, ceremony and social bonding, and the expression of power and authority. Medieval culture was intensely visual. Although this has long been recognised by art historians and by enthusiasts for particular media, there has been little attempt to study social display as a subject in its own right. And yet,display takes us directly into the values, aspirations and, indeed, anxieties of past societies. In this illustrated volume a group of experts address a series of interrelated themes around the issue of display and do so in a waywhich avoids jargon and overly technical language. Among the themes are family and lineage, social distinction and aspiration, ceremony and social bonding, and the expression of power and authority. The media include monumental effigies, brasses, stained glass, rolls of arms, manuscripts, jewels, plate, seals and coins. Contributors: MAURICE KEEN, DAVID CROUCH, PETER COSS, CAROLINE SHENTON, ADRIAN AILES, FRÉDÉRIQUE LACHAUD, MARIAN CAMPBELL, BRIAN and MOIRA GITTOS, NIGEL SAUL, FIONN PILBROW, CAROLINE BARRON and JOHN WATTS.Trade ReviewHere is a world once largely the property of antiquarians brought together once again, properly valued and appreciated, and reintegrated into our picture of medieval society. * ENGLISH HISTORICAL REVIEW *Table of ContentsThe historian, lineage and heraldry, 1050 - 1250, David Crouch; knighthood, heraldry and social exclusion in Edwardian England, Peter Coss; Edward III and the symbol of the Leopard, Caroline Shenton; heraldry in medieval England - symbols of politics and propaganda, Adrian Ailes; dress and social status in England before the sumptuary laws, Frederique Lachaud; medieval founders' relics - royal and Episcopal patronage at Oxford and Cambridge colleges, Marian Campbell; motivation and choice - the selection of medieval secular effigies, Brian and Moira Gittos; bold as brass - secular display in English medieval brasses, Nigel Saul; the knights of the bath - dubbing to knighthood in Lancastrian and Yorkist England, Fionn Pilbrow; chivalry, pageantry and merchant culture in medieval London, Caroline Barron; looking for the state in later medieval England, John L. Watts.

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Book SynopsisThe figure of the medieval cook revealed, in the context of time and circumstance. `Stylish and racy... An excellent book and a delight to read, written with panache and entirely convincing.' Professor PETER COSS, Cardiff University. This book takes us into the world of the medieval cook, from the chefs in the great medieval courts and aristocratic households catering for huge feasts, to the peasant wife attempting to feed her family from scarce resources, from cooking at street stalls to working as hired caterers for privatefunctions. It shows how they were presented in the art, literature and moral commentary of the period (valued on some grounds, despised on others), how they functioned, and how they coped with the limitations and the expectationswhich faced them in different social settings. Particular use is made of their frequent appearance in the margins of illuminated manuscript, whether as decoration, or as a teaching tool.Trade ReviewBridget Henisch has tackled an enormous subject, the cook in western Europe, and expertly marshalled evidence throughout the medieval period. * MEDIUM AEVUM *It is an attractive piece of work, beautifully illustrated, making the subject highly approachable for the general reader. [...] A useful and highly entertaining introduction to the study of the necessity and artistry of cookery in the Middle Ages. * THE RICARDIAN *This admirable book is based on a much wider field than the art of the period. It shows a remarkable range of literary and historical sources. * SPECULUM *An accessible overview of medieval culinary practice that will entertain and inform the general public. [...] The general audience will be seduced by the lively medley of cooks and kitchens the book presents. * THE MEDIEVAL REVIEW *Pour reprendre les termes du professeur Peter Cross de l'Université de Cardiff, l'ouvrage de l'historienne américaine Bridget Ann Henisch est écrit avec panache et conviction. Elle entraîne notamment le lecteur dans l'univers multiforme des cuisines médiévales. L'auteure visit aussi bien celles fonctionelles et propres de la haute aristocratie que celles souvent frustes et sales des classes socials moins élevées. * HISTOIRE ET IMAGES MEDIEVALES *Table of ContentsPreface The Cook in Context The Cottage Cook Fast Food and Fine Catering The Comforts of Home The Staging of a Feast On the Edge: the Cook in Art Select Bibliography A Selection of Medieval Recipes Suggestions for Further Reading

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Book SynopsisNew approaches to what is arguably the most famous artefact from the Middle Ages. In the past two decades, scholarly assessment of the Bayeux Tapestry has moved beyond studies of its sources and analogues, dating, origin and purpose, and site of display. This volume demonstrates the value of more recent interpretive approaches to this famous and iconic artefact, by examining the textile's materiality, visuality, reception and historiography, and its constructions of gender, territory and cultural memory. The essays it contains frame discussions vital to the future of Tapestry scholarship and are complemented by a bibliography covering three centuries of critical writings. Contributors: Valerie Allen, Richard Brilliant, Shirley Ann Brown, Elizabeth Carson Pastan, Madeline H. Cavines, Martin K. Foys, Michael John Lewis, Karen Eileen Overbey, Gale R. Owen-Crocker, Dan Terkla, Stephen D. White.Trade ReviewThis volume admirably demonstrates a fresh range of expert thinking. [It]is uniformly of interest and good value. * JOURNAL OF MEDIEVAL ARCHAEOLOGY *Unearth[s] valuable new facts. * ENGLISH HISTORICAL REVIEW *Table of ContentsIntroduction: Fifty Years of [Re]Producing the Bayeux Tapestry Problematizing Patronage: Odo of Bayeux and the Bayeux Tapestry - Elizabeth Carson Pastan and Auctoritas, Consilium et Auxilium: Images of Authority in the Bayeux Tapestry - Shirley Ann Brown Taking Place: Reliquaries and Territorial Authority in the Bayeux Embroidery - Karen Eileen Overbey On the Nature of Things in the Bayeux Tapestry and its World - Valerie Allen Making Sounds Visible in the Bayeux Tapestry - R. Brilliant Anglo-Saxon Women, Norman Knights and a 'Third Sex' in the Bayeux Embroidery - Madeline H. Caviness Behind the Bayeux Tapestry - Gale R. Owen-Crocker Embroidery Errors in the Bayeux Tapestry and Their Relevance for Understanding Its Design and Production - Michael Lewis From Hasting to Hastings and Beyond: Inexorable Inevitability on the Bayeux Tapestry - Daniel Terkla Pulling the Arrow Out: The Legend of Harold's Death and the Bayeux Tapestry - Martin Foys The Bayeux Tapestry: A Selective Bibliography - Daniel Terkla

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Book SynopsisAn investigation into the manifestations of religious art in East Anglia and how they are connected to and inspired by their locations. The relationship between religious or spiritual artworks and the locality where such objects are made and used is the central question this volume addresses. While it is a well-known fact that religious artworks, objects and buildings can have a power or agency of their own (iconoclasm, the violent defacement of an object which paradoxically testifies to the fear and loathing it has generated, being an extreme example), the sources of this power are less well understood. It is this problem which the book seeks to begin to remedy, using East Anglia, an area of Britain with an exceptionally long history of religious diversity, as its prism. Case-studies are taken from prehistory right up to the twenty-first century, and from a variety of media, including wall-paintings, church architecture, and stained glass; famous sites examined include Seahenge and Sutton Hoo. Overall, the book shows how profoundly religious artworks are embedded in local communities, belief systems, histories and landscapes. T.A. Heslop is Professor of Visual Arts, Elizabeth Mellings a Post-doctoral Research Fellow, and Margit Thofner Senior Lecturer, at the School of World Art Studies, University of East Anglia. Contributors: Margit Thofner, T.A. Heslop, Elizabeth de Bièvre, Daphne Nash Briggs, Adrian Marsden, Timothy Pestell, Matthew Champion, Carole Hill, ElizabethRutledge, David King, John Peake, Nicola Whyte, Chris King, Francesca Vanke, Stefan Muthesius, Kate Hesketh-Harvey, Karl Bell, Elizabeth Mellings, Robert Wallis, Trevor Ashwin. Cover artwork: Glowing Embers (Seahenge), 2000. Painting by Susan Laughlin.Trade ReviewAn impressive and wide-ranging collection. ... The editors and contributors are to be congratulated on producing a thought-provoking and visually very pleasing book. * LANDSCAPE HISTORY *Table of ContentsIntroduction: On Faith, Objects and Locality - T A Heslop and Margit Thofner But Where is Norfolk? - Elisabeth de Bièvre Sacred Image and Regional Identity in late-Prehistoric Norfolk - Daphne Nash Briggs Piety from the Ploughsoil: Religion in Roman Norfolk Through Recent Metal-Detector Finds - Adrian Marsden Paganism in Early-Anglo-Saxon East Anglia - Timothy Pestell Devotion, Pestilence and Conflict: The Medieval Wall Paintings of St Mary the Virgin, Lakenheath - Matthew Champion Here be Dragons: The Cult of St Margaret of Antioch and Strategies for Survival - Carole Hill The Medieval Jews of Norwich and their Legacy - Elizabeth Rutledge Late-Medieval Glass-Painting in Norfolk: Developments in Iconography and Craft c.1250-1540 - David King Graffiti and Devotion in Three Maritime Churches - John Peake Norfolk Waywide Crosses: Biographies of Landscape and Place - Nicola Whyte Landscapes of Faith and Politics in Early-Modern Norwich - Chris King Practice and Belief: Manifestations of Witchcraft, Magic and Paganism in East Anglia from the Seventeenth Century to the Present Day - Francesca Vanke Provinciality and the Victorians: Church Design in Nineteenth-Century East Anglia - Stefan Muthesius Maharajah Duleep Singh, Elveden and Sikh Pilgrimage - Kate Hesketh-Harvey Supernatural Folklore and the Popular Imagination: Re-reading Object and Locality in Mid-Nineteenth-Century Norfolk - Karl Bell Pro Patria Mori: Christian Rallies and War Memorials of early-Twentieth-Century Norfolk - Elizabeth A. Mellings Pagans in Place, from Stonehenge to Seahenge: "Sacred Archaeological Monuments and Artefacts in Britain - Robert J. Wallis Art, Spirit and Ancient Places in Norfolk - Trevor Ashwin Sacred Sites and Blessed Objects: Art and Religion in Contemporary Norfolk - Elizabeth A. Mellings Bibliography Appendix: A Brief Note on the Maps (with map webpage link) - Trevor Ashwin Interactive maps and pie-charts

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Book SynopsisThis series [pushes] the boundaries of knowledge and [develops] new trends in approach and understanding. ENGLISH HISTORICAL REVIEW The concerns of people over differing levels of fifteenth-century society are the focus of the essays contained in this volume. How would a queen in exile wish to be depicted on a medal, or a newly-crowned king deal with recalcitrant London merchants when their interests clashed with his policies? The logistics of an invasion of France present a challenge to the military advisers of another king, and by bringing fresh insights to the text a translator of Vegetius' De re militari addresses the fears of rulers and ruled in a time of civil unrest. English supplicants to the papal curia require expert advice to navigate bureaucratic procedures at Rome; while Welsh students encounter other obstacles as they embark on careers in Church and state. Manuscript and printed versions of parliamentary statutes point to differing preferences on the part of government clerks and practising lawyers in their choice of language; while the papers of a professional estate manager from Norfolk reveal antiquarian interests and an affinity with William of Worcester. Contributors: Christopher Allmand, Peter Clarke, Rhun Emlyn, Samantha Harper, Frederick Hepburn, John Milner, Dean Rowland, Anthony SmithTable of ContentsPreface The English Translations of Vegetius' De Re Militari. What were their Authors' Intentions? - Christopher Allmand The English Commitment to the 1412 Expedition to France - John Milner Serving the Church and State: the Careers of Medieval Welsh Students - Rhun Emlyn Petitioning the Pope: English Supplicants and Rome in the Fifteenth Century - Peter D. Clarke The Queen in Exile: Representing Margaret of Anjou in Art and Literature - Frederick Hepburn The Presence of the Past: the Bokkyns of Longham in the Later Medieval Ages - Anthony Smith The End of the Statute Rolls: Manuscript, Print and Language Change in Fifteenth-Century English Statutes - Dean Rowland Divide and Rule? Henry VII, the Mercers, Merchant Taylors and the Corporation of London - S.P. Harper

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Book SynopsisThe figure of the medieval cook revealed, in the context of time and circumstance. Stylish and racy... An excellent book and a delight to read, written with panache and entirely convincing. Professor PETER COSS, Cardiff University. This book takes us into the world of the medieval cook, from the chefs in the great medieval courts and aristocratic households catering for huge feasts, to the peasant wife attempting to feed her family from scarce resources, from cooking at street stalls to working as hired caterers for privatefunctions. It shows how they were presented in the art, literature and moral commentary of the period (valued on some grounds, despised on others), how they functioned, and how they coped with the limitations and the expectationswhich faced them in different social settings. Particular use is made of their frequent appearance in the margins of illuminated manuscript, whether as decoration, or as a teaching tool.Trade ReviewBridget Henisch has tackled an enormous subject, the cook in western Europe, and expertly marshalled evidence throughout the medieval period. * MEDIUM AEVUM *It is an attractive piece of work, beautifully illustrated, making the subject highly approachable for the general reader. [...] A useful and highly entertaining introduction to the study of the necessity and artistry of cookery in the Middle Ages. * THE RICARDIAN *This admirable book is based on a much wider field than the art of the period. It shows a remarkable range of literary and historical sources. * SPECULUM *An accessible overview of medieval culinary practice that will entertain and inform the general public. [...] The general audience will be seduced by the lively medley of cooks and kitchens the book presents. * THE MEDIEVAL REVIEW *Pour reprendre les termes du professeur Peter Cross de l'Université de Cardiff, l'ouvrage de l'historienne américaine Bridget Ann Henisch est écrit avec panache et conviction. Elle entraîne notamment le lecteur dans l'univers multiforme des cuisines médiévales. L'auteure visit aussi bien celles fonctionelles et propres de la haute aristocratie que celles souvent frustes et sales des classes socials moins élevées. * HISTOIRE ET IMAGES MEDIEVALES *

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Book SynopsisRichly-illustrated consideration of the meaning of the carvings of non-human beings, from centaurs to eagles, found in ecclesiastical settings. Representations of monsters and the monstrous are common in medieval art and architecture, from the grotesques in the borders of illuminated manuscripts to the symbol of the "green man", widespread in churches and cathedrals. These mysterious depictions are frequently interpreted as embodying or mitigating the fears symptomatic of a "dark age". This book, however, considers an alternative scenario: in what ways did monsters in twelfth-century sculpture help audiences envision, perhaps even achieve, various ambitions? Using examples of Romanesque sculpture from across Europe, with a focus on France and northern Portugal, the author suggests that medieval representations of monsterscould service ideals, whether intellectual, political, religious, and social, even as they could simultaneously articulate fears; he argues that their material presence energizes works of art in paradoxical, even contradictory ways. In this way, Romanesque monsters resist containment within modern interpretive categories and offer testimony to the density and nuance of the medieval imagination. KIRK AMBROSE is Associate Professor & Chair, Department of Art and Art History, University of Colorado Boulder.Trade ReviewAn insightful and overdue study that will pave the way for future research. * SPECULUM *[An] excellent work. ... Ambrose's scholarly contribution is fundamental to the progression of the study of Romanesque sculpture. * MEDIEVAL REVIEW *Profound and intellectually wide-ranging. ... A book that offers both a fresh and profound perspective on monsters and a superb, original, perspective on the current state of the field and some of its central questions. * BURLINGTON MAGAZINE *Fascinating. To the wonderful sculptures on which the author focuses, he brings knowledge and sound judgment. -- Christopher Howse * DAILY TELEGRAPH *Table of ContentsIntroduction: Approaching Monsters Past Present Ideal Bodies (Il)Legibility Creating Monsters Imagining Cosmos Epilogue

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Book SynopsisA full and provocative reappraisal of the Bayeux "Tapestry", its origins, design and patronage. Aspects of the Bayeux Tapestry (in fact an embroidered hanging) have always remained mysterious, despite much scholarly investigation, not least its design and patron. Here, in the first full-length interdisciplinary approach to the subject, the authors (an art historian and a historian) consider these and other issues. Rejecting the prevalent view that it was commissioned by Odo, the bishop of Bayeux and half-brother of William the Conqueror, or by some other comparable patron, they bring new evidence to bear on the question of its relationship to the abbey of St Augustine's, Canterbury. From the study of art-historical, archeological, literary, historical and documentary materials, they conclude that the monks of St Augustine's designed the hanging for display in their abbey church to tell their own story of how England was invaded and conquered in 1066. Elizabeth Carson Pastan is a Professor of Art History at Emory University; Stephen D. White is Asa G. Candler Professor of Medieval History (emeritus), Emory University, and an Honorary Professor of Mediaeval History at the University of St Andrews.Trade Review[T]he most interesting, inventive, level-headed, and systematic reassessment of the Tapestry for a long time. It gets us much closer to solving many of the remaining mysteries concerning a source that is so familiar that we often fail to notice its persistent enigmas. * AMERICAN HISTORICAL REVIEW *I strongly recommend this book; any tapestry scholar will certainly want access to a copy. * SPECULUM *Pastan and White present powerful challenges to the old binaries of sacred or secular display and of Norman or English sympathies. . . . . The Bayeux Tapestry and Its Contexts> gives scholars of the famous embroidery a lot to think about, and the next generation of Bayeux Tapestry scholarship will surely be richer for it. * THE MEDIEVAL REVIEW *Interesting and thought-provoking. * FRANCIA *Table of ContentsIntroduction The Material Context of the Bayeux Embroidery: Manufacture, Display, and Literary References Is the Bayeux Embroidery a Record of Events? Imagined Patronage The Prosopography of the Bayeux Embroidery and the Community of St Augustine's, Canterbury Locating Harold's Oath and Tracing His Itinerary Bishop Odo at the Banquet The Fables in the Borders Representing Architecture Legal Ceremonies and the Question of Legitimacy The Fall of the English Quid faciat . Scollandus? The Abbey Church of St Augustine's, c. 1073-1100 Conclusion Select Bibliography

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Book SynopsisBreakdown and attempted suicide, and co-tenancy of Kelmscott Manor with Morris, balanced by usual professional concerns. The best of these letters, flowing rapidly from his pen, radiate charisma and enthusiasm, warmth and care for his friends, and a total engagement with art and literature. JULIAN TREUHERZ, BURLINGTON MAGAZINE [on I. and II.] These years were the most tumultuous of Rossetti's life. His breakdown and attempted suicide inevitably makes the letters of this period exceptionally poignant, but the volume contains many letters relating to his life and work. Throughout most of 1871 he was writing and painting; he became, with William Morris, a co-tenant of Kelmscott Manor, bringing him close to Jane Morris and also to the two Morris daughters. In October the name of Robert Buchanan entersthe letters as the likely author of 'The Fleshly School of Poetry', and an alarming unease can be sensed. Following his attempted suicide and eventual return to Kelmscott, the letters increase in number - affectionate, considerate and businesslike by turns, with a certain morbidity at times; many letters are concerned with helping Ford Madox Brown's application for the Slade Professorship at Cambridge. The wider world of Victorian London is present: Turgenev comes to dinner, Browning sends his new volumes, Swinburne arrives drunk, and the American poet and adventurer Joaquin Miller makes himself known to the Rossetti circle. Nine appendices include five devoted to Poems and one tothe Fleshly School controversy.Trade ReviewI should like to draw initial attention to the publication by D.S. Brewer of these three splendid volumes [4,5 and 6] .... Scholarship of this quality does not come cheap, but deserves to be supported by all who value it. [...] Rossetti's letters are those of a man fully engaged with whatever he undertook, and it is a great pleasure to salute these volumes from D.S. Brewer. * THE JOURNAL OF WILLIAM MORRIS STUDIES *Fredeman's magnificently edited, annotated, appendixed and indexed edition, which is also beautifully produced, is testimony to an immensely impressive editorial labour of love. [...] * . *Fredeman has reproduced, sourced and annotated every known letter by Rossetti, and provided appendices in which one seems to be reading the story of a whole generation.[...] * . *This is a magnificent work of scholarship, long overdue and to be warmly welcomed. In it, the story of these turbulent years in Rossetti's life is told again, not by a biographer recharging a well-known legend, but by an editor scrupulously sifting and reassessing small pieces of evidence. * TLS *

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Book SynopsisAn investigation of the depiction of the story of Theophilus in both its original texts, and images. The legend of Theophilus stages an iconic medieval story, its widespread popularity attesting to its grip on the imagination. A pious clerk refuses a promotion, is demoted, becomes furious and makes a contract with the Devil. Later repentant, he seeks out a church and a statue of the Virgin; she appears to him, and he is transformed from apostate to saint. It is illustrated in a variety of media: texts, stained glass, sculpture, and manuscript illuminations. Through a wide range of manuscript illuminations and a selection of French texts, the book explores visual and textual representations of the legend, setting it in its social, cultural and material contexts, and showing how it explores medieval anxieties concerning salvation and identity. The author argues that the legend is a sustained meditation on the power of images, its popularity corresponding with the rise of their role in portraying medieval identity and salvation, and in acting as portals between the limits of the material and the possibilities of the spiritual world Jerry Root is Associate Professor of French and Comparative Literature, University of Utah.Trade ReviewA valuable contribution towards understanding the power of the image in late medieval rituals of religious devotion. * PARERGON *Jerry Root's well-researched study includes a table of illustrations of the legend, a bibliography, a list of illustrations, a general index, and an index of figures. It is scholarly, perceptive, and critically and theoretically grounded, and will attract readers with a variety of interests: folklore, cultural history, literature, art history, medieval theology, hagiography, and also particularly the history of ideas about identity and interiority. * Folklore *Table of ContentsIntroduction Homage to the Devil: ritual, writing, seal The Self as dissemblance Intervention of the Virgin Sacramental action and Neoplatonic exemplarism Conclusion Works Cited Appendix: Image Charts

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Book SynopsisFirst detailed exploration of the role played by Bohemian tradition and customs in the court of Richard II. Bohemian culture exercised an important influence on the court of King Richard II, but it has been somewhat overlooked, with previous scholarship on its writers and artists generally confined to the role played by the French courtof King Charles V and the Italian city states of Milan and Florence. This book aims to fill that gap. It argues that Richard's marriage to Anne of Bohemia, daughter of the Holy Roman Emperor Charles IV, one of the greatest rulersand patrons of the age, exposed England to the full extent of this international court culture. Ricardian writers, including Chaucer, Gower and the Gawain-poet, wrote in their native language not because they felt "English" in the modern national sense but because they aspired to be part of a burgeoning vernacular European culture stretching from Paris to Prague and from Brabant to Brandenburg; thus, one of the major periods of English literature can only be properly understood in relation to this larger European context.Trade ReviewContinuing his two-decades-long exploration of medieval and early modern Anglo-Bohemian relations, Thomas, in his latest study, convincingly demonstrates the significant cultural and political ramifications of King Richard II;s marriage to Anne of Bohemia in 1382. -- Nathanial B. Smith * Renaissance Quarterly *Table of ContentsRichard II and the Luxembourg Court The Familiar Patron: Collaboration and Conflict in Chaucer and Late Medieval European Courtly Writing Scandals at Court: Pride and Penitence in Sir Gawain and the Green Knight and the Alliterative Morte Arthur Pearl in its Setting: Piety and Politics at the Luxembourg and Ricardian Courts Conclusion: The End of the Ricardian Court Culture Bibliography

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Book SynopsisThis book sets out to establish Michele Tosini's critical role in sixteenth-century Mannerist art in Florence. He was well-trained, well-educated and well-liked, and created a highly productive workshop environment that not only succeeded but thrived in one of the most competitive ages of artistic production in the history of art. To date, scholarship executed on Tosini (Carlo Gamba in 1928, Sydney Freedberg in 1974) has produced a plethora of misunderstandings about Tosini's role in the Florentine artistic community. The verdict that Tosini was a 'hack' painter who could make his works look like those of more 'established' painters in order to get commissions, and that he was an uneducated 'second-rate' painter who could not formulate complex iconographical programs, is at odds with the evidence presented in this current research. Tosini was much more than just 'the right man in the right place at the right time'. He not only promoted Mannerism, but was part of its process; indeed, the formation of the Accademia del Disegno took place at the height of his artistic career. Given his business acumen it is perhaps understandable that ;misunderstandings; have arisen. (To borrow from William Wallace, Tosini can legitimately be thought of as 'Genius as Entrepreneur'.) This is not only essential reading for all students of Late Renaissance / Mannerist art history, but a majestic story of the process of artistic endeavour and how it unfolds that is so deeply admired today.Trade Review"The fruit of twenty-two years of labor, Heidi Horniks monograph on Tosini (150377) fills an important void." - Elizabeth Pilliod, Rutgers University, Renaissance QuarterlyTable of ContentsIntroduction -- With Spirit & Without Effort; Respectful of Tradition; Confratenities, Accademia & Civic Projects; Patterns of Patronage -- Innovative Iconography; Tosini's Workshop Style -- The Dissemination of the High Maniera in Florence;; Epilogue -- A Living Legacy; Index.

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Book SynopsisWaiting at the Shore chronicles the extraordinary life of the Spanish artist Luis Quintanilla, championed by Ernest Hemingway, John Dos Passos, Elliot Paul, and many other American and European writers and artists. In 1912, at the age of 18, he ran off to Montmartre where, under the influence of his fellow countryman Juan Gris, he began his artistic career as a Cubist. Returning to Madrid before the war he befriended prominent Spaniards, including Juan Negrin, the Premier during the Spanish Civil War. In April 1931 he and Negrin participated in the peaceful revolution which ousted the monarchy and installed the Second Spanish Republic. When civil war broke out Quintanilla helped lead troops on Madrid's Montana Barracks, which saved the capital for the Republic. "Because great painters," as Hemingway put it, "are scarcer than good soldiers," the Spanish government [Negrin] ordered Quintanilla out of the army after the fascists were stopped outside Madrid. The artist completed 140 drawings of the various fronts of the war which were exhibited at New York's Museum of Modern Art, with a catalogue by Hemingway. After the Republic lost the war Quintanilla was forced into an exile which lasted several decades. Living in New York and in Paris he strove to perfect his art, shunning the modernist vogues of the time. Although a celebrity when he first arrived in the United States he eventually fell into obscurity. This volume, which is heavily illustrated, brings him out of the shadows of neglect, and provides the compelling story of an artist who led not just an extraordinary life but left a legacy of paintings and drawings which, in both their skill and great imaginative variety, should be known to all art lovers.

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Book SynopsisThis book draws parallels between literature and the arts, and between drama and painting, in terms of Time and Symbolism, as they appear in the play The Lady of the Castle by Leah Goldberg, and in a group of selected paintings by Marc Chagall, Salvador Dali, Rene Magritte, Paul Klee and Edward Munch. Discussion focuses on the connection between the written play-text and the paintings through their common visual qualities and in terms of their common thematic, structural and stylistic characteristics. In a world dominated by science and technology, which renders belief in any "absolute" problematic, two seminal events have left a permanent mark on the contemporary concept of time: Einstein's theory of relativity and Bergson's philosophy of duration (simultaneite and duree). In their wake, Time has become relative and fragmented -- a central theme in the play and in the selected works of art under discussion. Objective, scientific and chronological time is contrasted with inner, psychological time (duration), which differs from individual to individual and from culture to culture. Four categories of time are assessed: historical, physical-chronological, psychological and eternal. The primary meaning behind a symbol makes the basic assumption that a particular object or entity may represent another essence. In attempting to understand the temporal/symbolic linkages of the text and paintings, much importance is attributed to the relationship between representer' and represented' and between concrete and abstract. Through symbolic abstraction one is able to better comprehend the human and cosmic phenomena the symbol seeks to decipher. The book deals with a castle. This central symbol of the play and the paintings is multifaceted, representing what is manifest and what is hidden within the castle, revealing a magical encounter between the world of words and the world of colour.

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Book SynopsisScience has played a crucial role in the initial stages of westerners' collecting and studying ancient Chinese artworks and archaeological materials. The relevant scientific data were quickly generated using progressively sophisticated examination techniques. But the task of integrating scientific data with archaeological and art historical resources, and developing a workable interdisciplinary study method, has lagged behind scientific endeavor. Part One of this book explores the modes and functions of the scientific resources available and their integration into interdisciplinary study methods and models; pre-war researchers particularly emphasized that their studies of Chinese artistic/archaeological materials were scientific. Improvements in precision and advanced specialization of examining instruments and techniques resulted in substantively more detailed scientific data, particularly in the post-war period. This brought with it new research dimensions and increased knowledge of targeted samples, and also greater challenges to the integration of interdisciplinary study. In Part Two, Meili Yang establishes a feasible method of interdisciplinary study in terms of five case studies related to Chinese Song ceramics. Relevant data are provided and professionally explained, resulting in critical new information related to contemporary ceramic technologies. This technology information leads us to the recognition of the uniqueness of each single artwork and the artisan's individual intention and critically, recognition of the close association with contemporary society and culture at the time of manufacture. Utilizing this new method of interdisciplinary study, modern science, ancient technology, and art and society are seen to have explicit connections. The author not only broadens scholars' and readers' perspectives regarding ancient ceramic craft, but provides a rigorous methodology applicable to interdisciplinary studies across other disciplines.

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Book SynopsisOriginally published in Dutch and translated to Spanish for the fourth centenary celebration of the death of El Greco in 2014, this book is a comprehensive study of the rediscovery of El Greco -- seen as one of the most important events of its kind in art history. The Nationalization of Culture versus the Rise of Modern Art analyses how changes in artistic taste in the second half of the nineteenth century caused a profound revision of the place of El Greco in the artistic canon. As a result, El Greco was transformed from an extravagant outsider and a secondary painter into the founder of the Spanish School and one of the principle predecessors of modern art, increasingly related to that of the Impressionists -- due primarily to the German critic Julius Meier-Graefe's influential History of Modern Art (1914). This shift in artistic preference has been attributed to the rise of modern art but Eric Storm, a cultural historian, shows that in the case of El Greco nationalist motives were even more important. This study examines the work of painters, art critics, writers, scholars and philosophers from France, Germany and Spain, and the role of exhibitions, auctions, monuments and commemorations. Paintings and associated anecdotes are discussed, and historical debates such as El Greco's supposed astigmatism are addressed in a highly readable and engaging style. This book will be of interest to both specialists and the interested art public.Trade Review"The book creates a great argument for the improbability of El Greco as a choice for critics to elevate as a founding father of the Spanish School, and by knowing the multiple and strong reactions to El Grecos oeuvre, it offers art lovers a chance to reencounter the art with fresh eyes". - Barragan, Maite (2017) "Review of Eric Storm, The Discovery of El Greco. The Naturalization of Culture Versus the Rise of Modern Art, 1860-1914," Bulletin for Spanish and Portuguese Historical Studies: Vol. 42 : Iss. 2 , Article 18.

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Book SynopsisThe work of Alex Colville, O.C. (1920-2013), one of the great modern realist painters, combines the Flemish detail of Andrew Wyeth, the eerie foreboding of George Tooker and the anguished confrontations of Lucian Freud. Behind the North Americans stands their common master, Edward Hopper. Colville's works are in many museums in Canada and Germany. He has affinities with Max Beckmann and appeals to the German "secondary virtues": cleanliness, punctuality, love of order. In a long life he resolutely opposed the fashionable currents of abstract and expressionistic art. In contrast to Jackson Pollock's wild action painting, Colville created paintings of contemplation and reflection. As Jeffrey Meyers writes: I spent several days with Colville on each of three visits from California to Wolfville. I received seventy letters from him between August 1998 and April 2010, and kept thirty-six of my letters to him. He sent me photographs and slides of his work and, in his eighties, discussed the progress and meaning of the paintings he completed during the last decade of his life. His handwritten letters, precisely explaining his thoughts and feelings, provide a rare and enlightening opportunity to compare my insights and interpretations with his own intentions and ideas. He also discussed his family, health, sexuality, politics, reading, travels, literary interests, our mutual friend Iris Murdoch, response to my writing, his work, exhibitions, sales of his pictures and of course the meaning of his art. His letters reveal the challenges he faced during aging and illness, and his determination to keep painting as health difficulties mounted. He stopped writing to me when he became seriously ill two years before his death. In this context the late paintings, presented in colour in this book, take on a new poignancy.

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Book SynopsisThis book explores the interaction between collectors, dealers and exhibitions in Pablo Picassos entire career. The former two often played a determining role in which artworks were included in expositions as well as their availability and value in the art market. The term collector/dealer must often be used in combination since the distinction between both is often unclear; Heinz Berggruen, for instance, identified himself primarily as a collector, although he also sold quite a few Picassos through his Paris gallery. On the whole, however, dealers bought more often than collectors; and they bought works by artists they were already involved with. While some dealers were above all professional gallery owners; most were mainly collectors who sporadically sold items from their collection. Picassos first known dealer was Pere Manyach, whom he met as he travelled to Paris in 1900 when he was only 19 years old. As his representative, Manyach went about setting up exhibitions of his works at galleries in the French capital, such as Bethe Weills and Ambroise Vollards. Picassos first major exhibition took place in 1901 at Vollards. Daniel-Henry Kahnweiler and Leonce Rosenberg came in after Vollard lost interest during the Cubist period, as they had a manifest preference for the new style. Like Vollard, later dealers often preferred the more conventional Neoclassical phase in Picasso. This was the case with Leonces brother, Paul Rosenberg. The book is organized chronologically and discusses the interaction between Picassos collectors, dealers and exhibitions as they take place. Once collectors acquired an artwork, their willingness to lend them to exhibitions or their necessity to submit them to auction had a direct impact on Picassos prominence in the art world.

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Book SynopsisThis book explores the interaction between collectors, dealers and exhibitions in Pablo Picassos entire career. The former two often played a determining role in which artworks were included in expositions as well as their availability and value in the art market. The term collector/dealer must often be used in combination since the distinction between both is often unclear; Heinz Berggruen, for instance, identified himself primarily as a collector, although he also sold quite a few Picassos through his Paris gallery. On the whole, however, dealers bought more often than collectors; and they bought works by artists they were already involved with. While some dealers were above all professional gallery owners; most were mainly collectors who sporadically sold items from their collection. Picassos first known dealer was Pere Manyach, whom he met as he travelled to Paris in 1900 when he was only 19 years old. As his representative, Manyach went about setting up exhibitions of his works at galleries in the French capital, such as Bethe Weills and Ambroise Vollards. Picassos first major exhibition took place in 1901 at Vollards. Daniel-Henry Kahnweiler and Leonce Rosenberg came in after Vollard lost interest during the Cubist period, as they had a manifest preference for the new style. Like Vollard, later dealers often preferred the more conventional Neoclassical phase in Picasso. This was the case with Leonces brother, Paul Rosenberg. The book is organized chronologically and discusses the interaction between Picassos collectors, dealers and exhibitions as they take place. Once collectors acquired an artwork, their willingness to lend them to exhibitions or their necessity to submit them to auction had a direct impact on Picassos prominence in the art world.

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Book SynopsisFew art critics in Western art history have ever had the broad-ranging impact over several decades of Donald Kuspit, a philosopher and psychoanalyst who from 1970 until the present has been a commanding figure on the international stage. A student of German thinker Theodor Adorno under whom he earned the first of his three doctorates, Kuspit introduced a new type of philosophical art criticism into the art world. He drew on both phenomenology and Critical Theory before he then increasingly adopted psychoanalysis. Since Kuspit himself has always measured his own place in the history of art criticism by how rigorously he engages with competing approaches, this book is a searching survey of Kuspit’s role in triggering several historic shifts within art criticism, beginning with his now legendary 1974 article in Artforum, “A Phenomenological Approach to Artistic Intention.” Dense and demanding, yet deft and incisive, Kuspit’s multi-faceted art criticism has become world famous for reasons that artists, critics, art historians, and philosophers from at least ten different nations explain from various points of view. Divided into three parts and introduced by a lengthy introduction, the book features comments by recognized artists like Rudolf Baranik, Anselm Kiefer, and April Gornik, as well as critical commentaries by many scholars and critics from around the world on the richness of Kuspit’s insights into art.Table of ContentsList of illustrations List of contributors Acknowledgements Introductory Essay by David Craven, “Donald Kuspit’s Achievement,” Donald Kuspit, “My Journey: From New York to Frankfurt & Back,” Lawrence Alloway & Donald Kuspit, “An Editorial about Art Criticism” (1979), The 1983 Jewett Mather Award for Art Criticism to Donald Kuspit by Jeanne Siegel, Brian O’Doherty, and Diane Vanderlip, I. Essays about Kuspit by Artists and Interviews with Artists: 1. Rudolf Baranik, “The Innovative Art Criticism of Kuspit,” 2. Anselm Kiefer “A Dialogue with Kuspit at Documenta,” 3. Georg Baselitz “A Conversation with Kuspit at the Guggenheim,” 4. April Gornik “The Significance of Kuspit’s Criticism for Artists,” 5. Rosalyn Schwartz “The Impact of Kuspit’s Criticism on Artists,” II. Essays about Kuspit by Art Critics and Art Historians: A. The USA 6. Ray Kass & Howard Risatti, “Donald Kuspit & Clement Greenberg in Dialogue,” 7. Matthew Biro, “Modern & Postmodern Art Criticism: The Unique Place of Kuspit,” 8. Matthew Baigell, “Donald Kuspit’s Jewish Consciousness,” 9. Joseph Masheck, “On Kuspit, Kant, and Greenberg,” 10. Patricia Mathews, “The Engagé Art of May Stevens,” 11. Diane Waldman, “Kuspit and the New Subjectivism in the 1980s,” 12. Brian Winkenweder, “Kuspit’s Humanness, Subjectivity and Psychoanalysis,” B. Asia, Canada, Europe, and Latin America 13. Ananda Chakrabarty, “Soulages’s Paintings and Kuspit’s Criticism,” 14. Richard Leslie, “Dialogues in Difference: Alloway & Kuspit,” 15. Anna María Guash, “Talking With Kuspit in Barcelona,” 16. Raúl Quintanilla, “Reagan’s Anti-Aesthetic and Kuspit’s Criticisms,” 17. Tijen Tunali, “Abstract Art as Ideological Critique: Kuspit on Kandinsky,” III. Selected Papers about Kuspit’s Accomplishment at the International Association of Philosophy in Leeds (2003): “A Close Encounter with Donald Kuspit” 18. Mark Van Proyen, “Criticism and the ‘Metaphysics’ of Art: Donald Kuspit,” 19. Lucy Bowditch, “Kuspit on Gerhard Richter and the Teutonic Chill,” 20. Randall K. Van Schepen, “Dialectic & Selfhood in Kuspit’s Art Criticism,” 21. Lynn M. Somers-Davis, “A Taste for Sham: Examples of Perversion & Suffering,” A Selected Bibliography of Donald Kuspit’s Writings

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Book SynopsisThis book sets out to explore the way, with the onset of a new and integral relationship between text and image, the modern poster is able to evolve distinctive persuasive strategies that will transform modern advertising. The book shows how this fundamental development is closely related to contemporary developments in the visual arts – in particular Futurism and Art Deco – and reflects the increasing cross-fertilisation and symbiosis between art and graphic design. The book focuses in particular on the way conventional textual strategies – metaphor, metonymy, rebus – are adapted by the modern poster to produce visual or textual/visual equivalents which, through their employment of combined pictorial and linguistic elements maximise their attractive or persuasive power over the viewer/reader. A key aim of the book is to clarify the assumptions on which semiology (the study of signs) is based in the context of modern poster artists’ practice. The text/image relation is explored through five chapters focussing on (1) the rhetoric of image/text in general; (2) text and image in airline logos: British Airways and Air France; (3) visual metonymies in boxing posters; (4) text and image in posters expressing speed; (5) text/image in Swiss tourist posters. There are approximately 120 colour illustrations arranged in groups that reflect the different orientations of the chapters.Table of Contents Acknowledgements Introduction 1. The Rhetoric of Image-Text: Word and Image in Early Modern Poster Design 2. Visual Metaphors: Airline Logos—Air France’s Hippocampe and BOAC’s Speedbird 3. Visual Metonymies: Boxing Posters 4. The Poetics of the Rebus: Representing Speed 5. Mountain as Icon: Swiss Tourist Posters 1900–48 Conclusion: Image without Text Select Bibliography Index of Proper Names

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Book SynopsisThe Pre-Raphaelite Brotherhood heralded an exciting new direction in British art, and the works of Dante Gabriel Rossetti, John Everett Millais, William Holman Hunt and their contemporaries remain some of the most popular, evocative and recognisable Victorian art. Liverpool patrons and artists encouraged the group when London critics were hostile, and the city became home to its own Pre-Raphaelite school. Artists such as William Windus, John Lee, James Campbell and William Davis adopted Pre-Raphaelite principles whilst developing their own unique style and identity. The Walker Art Gallery, Lady Lever Art Gallery and Sudley House hold some of the finest works by both London-based and Liverpool Pre-Raphaelite artists, 71 of which are featured in this book.Trade Review'The book is beautifully produced and illustrated. Even those already knowledgeable about Pre-Raphaelitism will learn new information about the work and artists presented in Pre-Raphaelite Treasures. The book is invaluable as a guide to Pre-Raphaelitism in the NML collections and in the North-West generally. As a Liverpool-based art history lecturer I will certainly be ordering copies of the book for our university library and will encourage students to use it to support their visits to the Walker Art Gallery, the Lady Lever Art Gallery and Sudley House.' Amelia Yeates, The Pre-Raphaelite Society JournalTable of Contents Introduction The Pre-Raphaelite Brotherhood The Later Pre-Raphaelites Liverpool Pre-Raphaelites Further reading Index

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Book SynopsisThis book provides the most comprehensive survey of contemporary Palestinian art to date. The development of contemporary practice, theory and criticism is understood as integral to the concomitant construction of Palestinian national identities. In particular the book explores the intricate relationship between art and nationalism in which the idea of origin plays an important and problematic role. The book deconstructs the existing narratives of the history of Palestinian art, which search for its origins in the 19th century, and argues that Palestinian contemporary art demonstrates pluralistic, politically and philosophically complex attitudes towards identity and nation that confound familiar narratives of origin and belonging. The book builds upon theories of art, nationalism and post-colonialism particularly in relation to the themes of fragmentation and dispersal. It takes the Arabic word for Diaspora Shatat (literally broken apart) as a central concern in contemporary understanding of Palestinian culture and develops it, along with Edward Said’s paradoxical formula of a ‘coherence of dispersal’ as the organising concept of the book. This aspect of contemporary Palestinian art is peculiarly suited to the conditions produced by the globalisation of art and we show how Palestinian artists, despite not having a state, have developed an international profile.Trade ReviewReviews'A masterful performance of fairness and objectivity, combined with a passion for the subject that will make it the most important point of departure for all future writing on this subject.'Critical Inquiry'The book is an excellent survey of contemporary Palestinian art, bringing together a wide range of artists and mediums along with descriptions of these art works and their interpretation within the context of Palestinian culture and history.' Kiven Strohm, Journal of Palestine StudiesTable of Contents List of Illustrations Preface Acknowledgements 1. Introduction The Problem of the Beginning 2. The Problem of the Origin The Empty Centre The Wall 3. Origin and Disaster Chaos and the Open Mouth 4. Jerusalem as the Navel and the Blind Spot The City as Hierophany The City as Wiki 5. Inside the Line: Palestinians in Israel 6. Al-Shataat: A Coherence of Dispersion The Shadow of the Map The Cracked Earth Contingency, Tactics and Strategic Essentialism The Artist as Semblant 7. Trailers and Openings Bibliography Index

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Book SynopsisGives an ethnographic account of the complexities of the use of photography in Africa, both historically and in contemporary practice. This collection of studies in African photography examines, through a series of empirically rich historical and ethnographic cases, the variety of ways in which photographs are produced, circulated, and engaged across a range of social contexts. In so doing, it elucidates the distinctive characteristics of African photographic practices and cultures, vis-à-vis those of other forms of 'vernacular photography' worldwide. In addition, these studies develop areflexive turn, examining the history of academic engagement with these African photographic cultures, and reflecting on the distinctive qualities of the ethnographic method as a means for studying such phenomena. The volumecritically engages current debates in African photography and visual anthropology. First, it extends our understanding of the variety of ways in which both colonial and post-colonial states in Africa have used photography as a means for establishing, and projecting, their authority. Second, it moves discussion of African photography away from an exclusive focus on the role of the 'the studio' and looks at the circulations through which the studios' products - the photographs themselves - later pass as artefacts of material culture. Last, it makes an important contribution to our understanding of the relationship between photography and ethnographic research methods, as these have been employed in Africa. Richard Vokes is Senior Lecturer in Anthropology at the University of Canterbury, New Zealand, and author of Ghosts of KanunguTrade ReviewThe collection is an important and nuanced contribution that will be of wide interest to Africanists, and scholars concerned with photography, imperialism and postcolonialism. * ANTHROPOLOGICAL FORUM *A valuable companion for the broad themes it explores. * AUSTRALASIAN REVIEW OF AFRICAN STUDIES *These essays and Richard Vokes's presentation offer fascinating examples of photography's intersection with ethnography. * AFRICAN AFFAIRS *Richard Vokes's edited work, Photography in Africa: Ethnographic Perspectives, includes essays that dissect the role of photography (as image and practice) within anthropologists' ethnographic work, and it is this historically and ethnographically informed attention to the construction of the photographic archive on Africa that presents a new lens to consider the overlap, and even lack of distinction, between genres like 'vernacular' and official, or 'state,' photography. * AFRICAN STUDIES REVIEW *Table of ContentsIntroduction - Part I Photography & the Ethnographic Encounter - Richard Vokes Double Alienation: Evans-Pritchard's Zande & Nuer Photographs in Comparative Perspective - Christopher Morton Photographing 'the Bridge': Product & Process in the Analysis of a Social Situation in Non-modern Zululand - Chris Wingfield Frontier Photographs: Northern Kenya & the Paul Baxter Collection - Neil Carrier and Kimo Quaintance Memories of a Blue Nile Home: Still Picture, Moving Contexts & Multimedia Linkage - Wendy James Memories of a Blue Nile Home: Still Picture, Moving Contexts & Multimedia Linkage - Part II Picturing the Nation: Photography, Memory & Resistance - Judith Aston Emptying the Gallery: The Archive's Fuller Circle - Erin Haney 'Ca Bouscoulait!': Democratization & Photography in Senegal - Jennifer Bajorek 'A Once & Future Eden': Gorongosa National Park & the Making of Mozambique - Katie McKeown Reflections on Urban Space, the Visual & Political Affect in Kabila's Kinshasa - Part III The Social Life of Photographs - Katrien Pype On 'the Ultimate Patronage Machine': Photography & Substantial Relations in Rural South-western Uganda - Richard Vokes 'The Terror of the Feast': Photography, Textiles & Memory in Weddings along the East African Coast - Heike Behrend Ceremonies, Sitting Rooms & Albums: How Okiek Displayed Photographs in the 1990s - Corinne Kratz

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