History of art Books

Book SynopsisThe Chester Beatty Library’s 16th-century Ruzbihan Qur’an—produced in the city of Shiraz in southwest Iran—is one of the finest Islamic manuscripts known. In terms of both materials and workmanship, it is exquisite: lapis lazuli and gold, the two most expensive pigments available, are used on every page, while the rendering of the decoration is exceptionally fine. This is the most detailed and comprehensive study of any Islamic manuscript—and it is well worthy of such scrutiny. Praised in a 16th-century account as one of the finest calligraphers of his time, Ruzbihan Muhammad al-Tab`i al-Shirazi would have produced numerous Qur’ans during the course of his career, but only five signed by him have survived. Much of the study of this, surely his finest manuscript, is focussed on understanding the processes and procedures involved in the production of the manuscript and thus on gaining an insight into the problems faced by Ruzbihan and the other artists and how they resolved them. Certain surprising and never-before-seen techniques of production and `tricks-of-the trade’ have been uncovered. A large portion of the information presented is the result of very close examination, under high magnification, of the manuscript’s 445 folios (890 pages). Many of the reproductions included are of minute details of the decoration that are difficult, or even impossible, to see with the unaided eye. The book follows the order in which work on the manuscript would have progressed, beginning with an examination of Ruzbihan’s calligraphy, the various scripts he used to copy the text and the problems he faced, such as the spacing of the text and his errors and omissions. Additions, such as marginal notations, recitation marks and decorative devices indicating the divisions of the text, all of which guide the reciter in his reading of the Qur’an, are also considered. Although the manuscript’s renown has traditionally rested with the name of its calligrapher, it is equally the quality, extent, diversity and complexity of its superb decorative programme—the work of a team of highly skilled, yet anonymous artists and artisans—that sets the manuscript apart from most other 16th-century Persian Qur’ans. Fittingly, therefore, the bulk of the study focuses on this aspect of the manuscript. Major aspects of the illumination, such as its lavish beginning, middle and end illuminations, are examined as well as more minor elements such as the `rays’ that emerge from the frontis- and finispiece; even the tiniest of details are revealed, such as what are, in the book, termed `squiggles and eyes’, hidden amongst the illuminations and a challenge to find for the even the most eagle-eyed viewer. However, while many of the secrets of the production of the manuscript were revealed, many mysteries remain. Chief among these is the startling change in aesthetic evident in the illuminations of the final ten openings of the manuscript. Why such as change was undertaken—and then halted—is not known. As was increasingly revealed as study of the manuscript progressed—and as the reader of the book will quickly come to realise—Chester Beatty’s Ruzbihan Qur’an is an intriguing and very special manuscript.Trade ReviewProbably the most detailed examination of any complete Qur’an manuscript ever undertaken, of value to anyone involved in conservation or bibliography, and, indeed, since Ruzbihan and his colleagues undoubtedly achieved a great work of art, a source of delight to anyone who turns these pages ... there are few manuscript experts capable of Wright’s devotion to detail, but it is evident that what keeps her working on this great project is a driving enthusiasm for this superb artistic accomplishment, and she infects the reader with her passion. * The Art Newspaper *

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Book SynopsisEva and Konrad Seitz have put together over many years an outstanding collection of some of the most famous and important of all 18th century Pahari paintings, including miniatures commissioned by the Rajput rulers of the Punjab Hill states (1650-1850). This profusely illustrated book with meticulous research by J.P. Losty (curator emeritus British Library), designed by Misha Anikst and published by Francesca Galloway, London, gives the reader the opportunity to see the collection in its entirety. Pahari paintings have been the focus of Eva and Konrad Seitz’s collection since the couple first went to India in the late 1960s for Konrad to take up his position as a young diplomat at the German embassy in Delhi. They were drawn to Rajput paintings (Indian miniatures from the Hindu schools of North India and Rajasthan) which were then available in Delhi and Mumbai, and later in New York, as several princely collections were being dispersed. Eva and Konrad were part of a small group of pioneer collectors who recognised the importance of Rajput painting at a time when Mughal and Persian painting was far more sought after in the West. The Seitz collection lures you into the enchanted domain of the Hindu gods, their epics and the never-ending trials and tribulations of divine and erotic love. What attracted and intrigued Seitz to Rajput paintings in particular was their ability to induce in the viewer a kind of poetic trance – which he saw as distinct from a more Western tradition of descriptive realism. A Mystical Realm of Love is not only an opportunity to explore Pahari painting through one couple’s lifelong passion and dedication to the subject, but represents a major addition to the scholarship through Losty’s pioneering research. He attempts a new approach in documenting their role as parts of illustrated manuscripts of religious and poetic texts, and also puts forward a revised view of the development and chronology of Pahari painting.

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Book SynopsisPublished by Ad Ilissvm in association with the Burlington Magazine.Hugely ambitious, Titian: Sources and Documents includes all known documents about Titian and his work dating from his lifetime, and all known references to him in contemporary publications. The relevant section of each text is transcribed in full, preceded by a short summary in English, with extensive annotation and, where necessary, a commentary. The intention of this incredible work of scholarship is to provide a comprehensive survey of the surviving historical evidence about Titian and his career.Titian was one of the most famous, successful and long-lived of Renaissance painters. Much of his output was for rulers or institutions whose archives have been in large part preserved, and many of his family papers have also survived. In addition, he was mentioned in more than a hundred and sixty different publications in his lifetime. Although hundreds of the documents about him and his work have been published, usually in specialised publications based on material in a single archive, there have only been two attempts to provide an overview of the entire body of documents and early published references to him, the first by Crowe and Cavalcaselle in 1877, the second by Adolfo Venturi in 1928. These publications were necessarily selective and included transcriptions of only a small part of the material which was used.The collection, amounting to over two thousand nine hundred items, includes not only texts specifically about Titian himself, but also those concerning his siblings and children, his principal assistants and the other members of the Vecellio family already active as painters before his death, as well as inscriptions on paintings and prints. In addition to texts dating from Titian's lifetime, the collection includes all biographical material published before 1700 and all other texts that could realistically be thought to reflect first- or second-hand anecdotal information about him. The particular strengths and limitations of the principal early printed sources and the circumstances in which they were produced are discussed in a substantial introduction, which also includes an overview of the main archival collections consulted in the preparation of the book. Most of these are in Italy, but others are in Spain, Austria and Germany. New transcriptions are provided for the great majority of the documents that have previously been published, and many hitherto unknown documents have been included. Consideration is given also to documents now known only via secondary sources, and to fake documents, of which a significant number were produced in the past two centuries.

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Book SynopsisExplore the rich history and influence of Christian art from Antiquity to the present day. Michelle Brown traces the rich history of Christian art, crossing boundaries to explore how art has reflected and stimulated a response to the teachings of Christ, and to Christian thought and experience across the ages. Embracing much of the history of art in the West and parts of the Middle East, Africa, Asia, the Americas and Australasia, Michelle considers art of the earliest Christians to the modern day. Featuring articles by invited contributors on subjects including Icons; Renaissance Florence; Rubens and the Counter-Reformation; Religious Folk Art; Jewish Artists; Christian Themes; Making the St John’s Bible, and Christianity and Contemporary Art in North America, Christian Art is an ideal survey of the subject for all those interested in the world’s artistic heritage. • Comprehensive and authoritative text from the Early Christian period to the modern day• Wide international coverage• Feature articles on special subjects by a team of experts from around the worldTable of ContentsIntroductionWhat is Christian Art?1. The Art of the Earliest ChristiansJudaic and Graeco-Roman Roots2. In the Sign of the CrossConstantine and the Entry of Christianity into the Social Mainstream3. Martyrs and MosaicsThe Early Churches of Italy4. The Christian OrientThe Christian Art of Palestine, Armenia, Georgia and Syria5. Out of AfricaThe Art of the Churches of Coptic Egypt, Ethiopia and Nubia6. The New RomeEmperor Justinian and Early Byzantine Art7. The Art of OrthodoxyByzantium and the Iconic TraditionIcons: An Icon Writer’s Perspective (Revd Regan O’Callaghan)8. The Rise of IslamIslam and Christian ArtChristian Art in Muslim Contexts (Professor Sheila S. Blair and Professor Jonathan M. Bloom)9. Barbarians!Art and the Re-conversion of the West10. The Art of ImperialismArt in the Carolingian and Ottonian Empires‘Words Passed Down’: Carolingian Pictures of Translation and Transmission (Professor Herbert L. Kessler)11. Roods, Rituals and Christian RuleLater Anglo-Saxon Art and the Benedictine Reform12. RomanesquePilgrims, Crusaders and European StyleMonastic Aesthetics and the Rise of Gothic Art (Professor Conrad Rudolph) 13. Gothic 14. Italian GothicArt and the Seeds of RebirthChristian Art and the Italian City-State (Dr Griffith Mann)15. The Cultural Life of the Italian City-StatesHumanists, Artists and the Rise of the RenaissanceManuscripts, Humanism and Patronage in Renaissance Florence (Dr Mark Evans)16. The Italian High RenaissanceMadonnas, Popes and PrincesBrazen Images and Sounding Brass: The Significance and Use of Bronze in Christian Contexts (Dr Victoria Avery)17. The Northern RenaissanceMerchants and Mysteries18. Keeping Your Head in Times of ChangeReformation, Resistance and the Rise of ProtestantismThe Dispute on Images During the Reformation and Counter-Reformation (Professor Iole Carlettini)19. Venice the SereneMercantile Meditation and the Cost of Sublime ArtFrom Counter-Reformation to Baroque: Aspects of the Arts in Rome (Professor Daniela Gallavotti Cavallero)20. Protestantism and the Catholic Counter-ReformationDomestic Piety, Mannerism and the Theatricality of the BaroqueRubens and the Theatre of the Counter-Reformation: Biblical Imagery made Flesh (Professor Michelle P. Brown)21. The Age of EnlightenmentRationalism, Neo-Classicism and the New ImperialismThe Rise of the Study of the History of Christian Art (Professor Nancy Netzer)22. Mysticism and Romanticism RebornBlake, the Ancients and the Art of NonconformityPermission, Prohibition, Patronage and Methodism: A Denomination Engages with Art (Dr Peter Forsaith)23. Faith and the Origins of North American ArtA New EdenReligious Folk Art (Professor Virginia Raguin)24. Industrial Innovation, Aesthetic NostalgiaRomanticism, Pre-Raphaelitism and the Rediscovery of Medievalism25. Art for a New AgeThe Realists, Impressionists and Symbolists26. The Shock of the NewMechanization, Expressionism, Spiritual Realism and the Origins of AbstractionJewish Artists, Christian Themes (Emily D. Bilski)27. The Impact of ModernityDestruction, Creation, Abstraction28. The Impact of the Second World War29. The Journey ContinuesEarth Art: Landscape, Art and Eco-Theology30. Innovation and TraditionSearching for the Spiritual in Contemporary ArtThe Scribe Speaks: Making the St John’s Bible (Donald Jackson)31. Quo Vadis?Where do we go from here?Christianity and Contemporary Art in North America: The CIVA Case Study (Dr James Romaine)32. Some Concluding ThoughtsReferencesGlossary

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Book SynopsisBenedict Read died suddenly on 20 October 2016. His influence on art-history in the field of sculpture, and his ground-breaking authoritative volume, Victorian Sculpture (1982) were hugely important. He was instrumental in bringing about a sea-change in academic attitudes towards both the nineteenth century and to sculpture. This memorial Festschrift published by the PMSA of which Ben was a founder, former Chairman and trustee, celebrates his academic achievement, his considerable contribution to scholarship and the generosity of spirit with which he shared his knowledge. It is a powerful testament to the inspiration of a remarkable person. Sculpting Art History: Essays in Memory of Benedict Read contains 30 essays by friends, former students and colleagues – James Lomax, Marjorie Trusted, Julius Bryant, Rowan Bailey, Caroline Hedengren-Dillon, Jykri Suikonen, Joanna Barnes and Harriet Israel, Alison Inglis, Philip Ward-Jackson, Sandra Berresford, Ann Compton, Barbara Bryant, Claudine Mitchell, Alison Glew, Jane Winfrey, Andrew Jezzard, Juliette Peers, Mary Ann Steggles, Michael Paraskos, Sarah Crellin, Paula Murphy, Mark Stocker, Patrick Eyres, Katharine Eustace, Jonathan Black, Gerardine Mulcahy-Parker, Gillian Whiteley, Charles Avery and Jacqueline Banerjee together with 17 appreciations by Ben’s family, friends and colleagues.

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Book SynopsisAn in-depth study of the expanding role of the moving image in British art over the past thirty years Over the past three decades the moving image has grown from a marginalized medium of British art into one of the nation’s most vital areas of artistic practice. How did we get here? Artists’ Moving Image in Britain Since 1989 seeks to provide answers, unfolding some of the narratives—disparate, entwined, and often colorful—that have come to define this field. Ambitious in scope, this anthology considers artists and artworks alongside the organizations, institutions, and economies in which they exist. Writings by scholars from both art history and film studies, curators from diverse backgrounds, and artists from across generations offer a provocative and multifaceted assessment of the evolving position of the moving image in the British art world and consider the effects of numerous technological, institutional, and creative developments.Distributed for the Paul Mellon Center for Studies in British ArtTrade Review“[E]ntries…allow for reflection on the bodies (both institutional and literal) that constitute the publication…[and] search for new a direction.”—Dan Ward, Art Monthly

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Book SynopsisA fascinating look at how Elizabethan England was transformed by its interactions with cultures from around the world Challenging the myth of Elizabethan England as insular and xenophobic, this revelatory study sheds light on how the nation’s growing global encounters—from the Caribbean to Asia—created an interest and curiosity in the wider world that resonated deeply throughout society. Matthew Dimmock reconstructs an extraordinary housewarming party thrown at the newly built Cecil House in London in 1602 for Elizabeth I where a stunning display of Chinese porcelain served as a physical manifestation of how global trade and diplomacy had led to a new appreciation of foreign cultures. This party was also the likely inspiration for Elizabeth’s celebrated Rainbow Portrait, an image that Dimmock describes as a carefully orchestrated vision of England’s emerging ambitions for its engagements with the rest of the world. Bringing together an eclectic variety of sources including play texts, inventories, and artifacts, this extensively researched volume presents a picture of early modern England as an outward-looking nation intoxicated by what the world had to offer.Distributed for the Paul Mellon Centre for Studies in British ArtTrade Review“A compelling analysis [. . .]” It has wonderful illustrations of maps and globes, portraits, calligraphy, prints, textiles and porcelain”—Ann Hughes, Times Higher Education Supplement“A pleasure to hold and peruse: a luxury good in its own right”—Elizabeth Goldring, The Burlington Magazine

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Book SynopsisA timely and original look at the role of the eyewitness account in the representation of slavery in British and European art Gathering together over 160 paintings, watercolors, drawings, and prints, this book offers an unprecedented examination of the shifting iconography of slavery in British and European art between 1760 and 1840. In addition to considering how the work of artists such as Agostino Brunias, James Hakewill, and Augustus Earle responded to abolitionist politics, Sarah Thomas examines the importance of the eyewitness account in endowing visual representations of transatlantic slavery with veracity. “Being there,” indeed, became significant not only because of the empirical opportunities to document slave life it afforded but also because the imagery of the eyewitness was more credible than sketches and paintings created by the “armchair traveler” at home. Full of original insights that cast a new light on these highly charged images, this volume reconsiders how slavery was depicted within a historical context in which truth was a deeply contested subject.Distributed for the Paul Mellon Centre for Studies in British ArtTrade Review“Thomas delivered an excellent volume in which she comprehensibly shows the great impact that visual culture had on the era of abolition and how contested images of eyewitness artists were used for the propaganda purposes of the pro- and anti-slavery movements.”—Annika Vosseler, Connections“Engaging and provocative . . . Deals mainly with British publications during the heyday of illustrated book publishing, persuasively arguing that these artworks were deeply influenced by the politics surrounding their production.”—Richard Price, New West Indian Guide“[A] lavishly illustrated and finely produced book . . . Thomas brings together several bodies of scholarship on the visual culture of slavery, travel, and imperial landscape.”—Esther Chadwick, Art History “A powerful look at the varied contexts in which artists found themselves in the Americas as witnesses to societies that depended on enslaved labour . . . The book’s resonance with our contemporary reality is impossible to miss.”—Allison Young, Slavery & Abolition“[A] beautifully effective book. Large-size, perfect color reproductions of paintings and prints on a remarkably readable and viewable heavy-stock paper make it possible to survey the art of slavery for our own determinations.”—John E. Crowley, Journal of British Studies

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Book SynopsisA thought-provoking look at Aesthetic painting and its relationship to the changing technological landscape In the 19th century, the Aesthetic movement exalted taste, the pursuit of beauty, and self-expression over moral expectations and restrictive conformity. This illuminating publication examines the production and circulation of artworks made during this unique historical moment. Looking at how specific works of art in this style were created, collected, and exchanged, the book pushes beyond the notion of Aesthetic painting and design as being merely decorative. Instead, work by James McNeill Whistler, Edward Burne-Jones, Albert Moore, and others is shown to have offered their makers and viewers a means of further engaging with the rapidly changing world around them. This multifaceted and thought-provoking study provides a radical new perspective on a mode of artistic production, linking it to the era’s expanding visual culture and the technological advancements that contributed to it. In a period marked by increasing connectivity, this book shows how art of the Aesthetic movement on both sides of the Atlantic figured into growing global networks.Distributed for the Paul Mellon Centre for Studies in British Art

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Book SynopsisExploring the myths and realities of the origins of the “modern artist” in Britain The artist has been a privileged figure in the modern age, embodying ideals of personal and political freedom and self-fulfillment. Does it matter who gets to be an artist? And do our deeply held beliefs stand up to scrutiny? Making the Modern Artist gets to the root of these questions by exploring the historical genesis of the figure of the artist. Based on an unprecedented biographical survey of almost 1,800 students at the Royal Academy of Arts in London between 1769 and 1830, the book reveals hidden stories about family origins, personal networks, and patterns of opportunity and social mobility. Locating the emergence of the “modern artist” in the crucible of Romantic Britain, rather than in 19th-century Paris or 20th-century New York, it reconnects the story of art with the advance of capitalism and demonstrates surprising continuities between liberal individualism and state formation, our dreams of personal freedom, and the social suffering characteristic of the modern era.Distributed for the Paul Mellon Centre for Studies in British ArtTrade Review“The subject matter is worthwhile and there are plenty of fascinating material in the best passages.”—Alexander Adams, The Salisbury Review“This richly illustrated volume is a valuable contribution to the story of the history of art education. Artists are shown as living social beings and that no artwork can be detached from the conditions of its making.”—William Shipley Group for RSA History Bulletin

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Book SynopsisAn in-depth examination of William Blake’s glorious and acclaimed series of twelve monoprints Among William Blake’s (1757–1827) most widely recognized and highly regarded works as an artist are twelve color printed drawings, or monoprints, conceived and executed in 1795. This book investigates these masterworks, explaining Blake’s technique—one he essentially reinvented, unaware of 17th-century precursors—to show that these works were produced as paintings, and played a crucial role in Blake’s development as a painter. Using material and historical analyses, Joseph Viscomi argues that the monoprints were created as autonomous paintings rather than as illustrations for Blake’s books with an intended viewing order. Enlivened with bountiful illustrations, the text approaches the works within the context of their time, not divorced from ideas expressed in Blake’s writings but not illustrative of or determined by those writings.Distributed for the Paul Mellon Centre for Studies in British ArtTrade Review“This volume is devoted to a set of twelve pictures created in 1795 and unanimously considered Blake’s highest achievement...Relying on material evidence and sensible deduction, Visconti reconstructs the whole chronology of the twelve pictures.”—Laurent Bury, Cercles “The new standard account of how [Blake’s] ‘printed paintings’ were produced and how the works should be interpreted…. The implications of Viscomi’s scholarship will resonate for years to come.”

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Book SynopsisA study of how artists and photographers shaped imperial visions of war and peace in the Victorian period In an era that saw the birth of photography (c. 1839) and the rise of the illustrated press (c. 1842), the British experience of their empire became increasingly defined by the processes and products of image-making. Examining moments of military and diplomatic crisis, this book considers how artists and photographers operating "in the field" helped to define British visions of war and peace. The Victorians increasingly turned to visual spectacle to help them compose imperial sovereignty. The British Empire was thus rendered into a spectacle of "peace," from world’s fairs to staged diplomatic rituals. Yet this occurred against a backdrop of incessant colonial war—campaigns which, far from being ignored, were in fact unprecedentedly visible within the cultural forms of Victorian society. Visual media thus shaped the contours of imperial statecraft and established many of the aesthetic and ethical frames within which the colonial violence was confronted.Distributed for the Paul Mellon Centre for Studies in British Art

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Book SynopsisA new account of painting in early modern England centered on the art and legacy of Anthony van Dyck As a courtier, figure of fashion, and object of erotic fascination, Anthony van Dyck (1599–1641) transformed the professional identities available to English artists. By making his portrait sittings into a form of courtly spectacle, Van Dyck inspired poets and playwrights at the same time that he offended guardians of traditional hierarchies. A self-consciously Van Dyckian lineage of artists, many of them women, extends from his lifetime to the end of the eighteenth century and beyond. Recovering the often surprising responses of both writers and painters to Van Dyck’s portraits, this book provides an alternative perspective on English art’s historical self-consciousness. Built around a series of close readings of artworks and texts ranging from poems and plays to early biographies and studio gossip, it traces the reception of Van Dyck’s art on the part of artists like Mary Beale, William Hogarth, and Richard and Maria Cosway to bestow a historical specificity on the frequent claim that Van Dyck founded an English school of portraiture.Distributed for the Paul Mellon Centre for Studies in British Art

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Book SynopsisNathaniel Silver, William and Lia Poorvu Curator of the Collection, tells the acquisition story behind The Rape of Europa (1562), one of the most infl uential and iconic Renaissance paintings in America. The purchase of Titian’s masterpiece from an English aristocrat marked the beginning of a new phase in Gardner’s business relationship with scholar and art dealer Bernard Berenson and made her the envy of every art collector in the United States. While Henry James nicknamed Isabella "daughter of Titian" and all of Boston fell at her feet, European contemporaries took note of their rapidly disappearing national patrimony. The same celebrity that would make Europa the crown jewel of Boston's newest museum fueled the widely publicized debate over England’s artistic heritage. "American despoilers" became the rallying cry of British museum directors, curators, and scholars who cast their country as the victim of New World rapacity, and Isabella its most brilliant villain.This volume further explores Europa in Titian’s own time. Here the legendary painter laid claim to the power of poetic invention, creating the last of the six mythological canvases to reach Philip II in three years between 1559 and 1562. Described by the artist as poesie (literally "painted poetries"), these celebrated pictures reimagined stories from antiquity and explored the epic consequences of encountersbetween gods and mortals. Titian’s staggeringly original interpretations solicited comparisons with Ovid’s poetry and ancient art. Completed over more than a decade, they fulfi lled part of a larger agreement to furnish the king with paintings both secular – and highly sensual in character – as well as altarpieces of religious subjects. Published here for the first time, dramatically enlarged details of the composition demonstrate Titian’s deft touch and dazzlingly technical accomplishment. These bravura passages recently revealed by the painting’s comprehensive cleaning – the first since its arrival in America – are accompanied by commentary from the conservator,Gianfranco Pocobene, who returned Europa to its original glory.

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Book SynopsisThis absorbing book explores the crown jewel of the Isabella Stewart Gardner Museum's collection of rare books and manuscripts: Jean Bourdichon's Boston Hours. As court artist to King François I of France, Bourdichon produced paintings, books and even parade floats for the sovereign and his entourage. This publication accompanies the museum’s first ever exhibition dedicated to this spectacular illuminated manuscript. Painter to two kings, Jean Bourdichon remains today one of the most celebrated artists of the French Renaissance. By age twenty-four, he was already serving as "peintre du roy," a title which Bourdichon held for the rest of his life. His illustrious career at the French royal court led to a wide range of commissions - from portraits to wall maps to stained glass - but he is remembered principally for astonishing illuminated manuscripts. The peerless Grandes Heures for Queen Anne of Brittany remains the touchstone of this group which includes some of the most lavishly painted books of hours ever produced. One of these masterpieces - Bourdichon's Boston Hours - in the collection of the Isabella Stewart Gardner Museum is the subject of this book. Bourdichon's only intact book of hours in the United States was acquired by Isabella Stewart Gardner in 1890 and became the crown jewel of her collection of rare books and manuscripts. Leading scholars Nicholas Herman and Anne-Marie Eze explore its history in depth, shedding new light on the book’s patronage and provenance - from the shelves of a wealthy Catholic landowner in Lincolnshire to the shop of a Venetian art and antiques dealer. This book is the latest in the Gardner's Close Up series, each installment focusing on an individual, outstanding work of art in the collection. This publication is the first dedicated to this rare treasure, and precedes an exhibition opening in summer 2022.

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Book SynopsisThis book tells the fascinating story of the rhinoceros Miss Clara, the most famous animal of the eighteenth century. It accompanies the fi rst ever major loan exhibition devoted to Clara and celebrity pachyderms in the UK and will off er a signifi cant contribution to scholarship on the subject. The latest in the Barber’s acclaimed objectin-focus series, Miss Clara focuses on a small bronze sculpture of a rhinoceros, and also considers other celebrity beasts, the emergence of menageries and zoos, and the significance of the capture and captivity of these big beasts within wider academic discussions of colonialism and empire.'Miss Clara' arrived in Europe from the Dutch East Indies in 1741, brought by a retired Dutch East India Company captain, Douwe Mout van der Meer, who then toured her round Europe (including England) to huge acclaim and excitement. Jungfer Clara (so christened while visiting Würzburg in 1748) was the fi rst rhino to be seen on mainland Europe since 1579 and the object of great wonder and aff ection. Her fame generated a massive industry in souvenirs and imagery from life-scale paintings by major masters to cheap popular prints; there were even Clara-inspired clocks and hairstyles. This book will look at the phenomenon of Clara but, unlike previous studies of the subject, will focus primarily on sculptural/3D representations of her, within the context of other celebrity pachyderms represented by artists between the 16th and 19th centuries.Miss Clara is one of the most remarkable and best-loved sculptures in the Barber and was praised by the great German art historian and museum director Wilhelm von Bode as 'the fi nest animal bronze of Renaissance' - a telling tribute to its quality, even if he misunderstood its date. The Barber’s cast is one of only two known, the other being at the V&A. There are also closely related marble versions. Other celebrity beasts featured will include the elephants Hansken, Chunee and Jumbo; Dürer’s and various London rhinos; and the hippo Obaysch, star of London Zoo in the 1850s, and the fi rst to be seen in Europe since the fall of the Roman Empire.The publication will consist of entries for the thirty exhibits - included extended texts by Dr Helen Cowie (York University) on images of Chunee and Obaysch - preceded by three essays. Robert Wenley, Deputy Director of the Barber Institute, and the curator of the exhibition, will relate the story of Miss Clara (and of other celebrity rhinos), and explore the sculptural representations of her, presenting new research into their attribution and dating. The eminent sculptural historian, Dr Charles Avery, formerly of the V&AMuseum and Christie’s, will write a complementary essay about celebrity elephants in Europe between 1500 and 1700. Dr Sam Shaw (Open University), will discuss private menageries and public zoos between about 1760 and 1860 in the UK, and consider celebrity pachyderms as emblems of empire and colonialism.Trade Review[O]ffers an excellent introduction to the subject – accessible but academically rigorous ... The book is exquisitely illustrated. * Archives of Natural History *visually rich and thought-provoking catalogue" * The Art Newspaper *Perfectly curated ... fills the visitor with wonderment at every turn ... it’s just so delightful." * The Guardian *Gorgeous ... poignant" * World of Interiors *

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Book SynopsisThe Klesch portrait by Titian of Guidobaldo II with his son Francesco Maria represents the duke of Urbino in his full power as supreme commander of papal troops, with his heir next to him. This rare, full-length double portrait has only recently been attributed to Titian after undergoing extensive analyses and restoration, revealing a beautiful painting in non finito manner, with bravura impasto passages entirely characteristic of the master, all of which is illustrated and explained in this new book. Titian provided portraits for the greatest men and women of Europe, Charles V and Philip II of Spain primary among them. For years the Klesch portrait was dismissed as a workshop product – partly because poor condition hid its true quality, but also because it was not believed that Titian could have deigned to create one for Guidobaldo, whose father Guidobaldo della Rovere (1514–1574) and family had a long history of patronizing the artist. Recent research, however, has thrown Guidobaldo's geopolitical significance into relief. He was supreme commander of Venice, the Papal States and then Spain. He sent thousands of soldiers to the major conflicts of his day, particularly the defense of Malta (1565) and the Battle of Lepanto (1571) and his engineers were sought throughout Europe for their ingenuity. In this volume full of new research, Ian Verstegen reveals that Guidobaldo was not peripheral but central to Italian politics and was regarded at several points in history as a key figure who could bring peace or who could influence major conflicts on the Italian peninsula, particularly the War of Siena, and then Pope Paul IV's offensive war against Spain. Anne-Marie Eze gives the first comprehensive examination of the painting's provenance, outlining the portrait's vicissitudes and reception at different moments in its near 500-year history, reexamining received wisdom about its past ownership, and presenting new documentary evidence to expand on and fill gaps in our knowledge of its whereabouts. Finally, Matthew Hayes and Ian Kennedy reflect on the technique, date, recent conservation, and authorship of the painting, proving it to be a masterpiece that only the great Titian could have created.Trade Review"With excellent illustrations including many technical details, this volume is best suited to those eager for a deep dive into a singular and hitherto understudied painting." * Choice *

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Book SynopsisThis is the first catalogue of the collection of early modern ceramics in the Courtauld. The pieces in the collection showcase brilliantly the skill of potters and pottery painters working at the time of Raphael and Titian.Maiolica is one of the most revealing expressions of Renaissance art. Its extraordinary range of colours retain the vividness that they had when they left the potter's kiln. Italian potters absorbed techniques and shapes from the Islamic world and incorporated ornament and subject matter from the arts of ancient Rome. This new approach to pottery making, combined with the invention of printing, woodcut and engraving, resulted in an extraordinary type of painted pottery, praised by Vasari in his Lives of the Artists for 'surpassing the ancient with its brilliance of glaze and variety of painting'.The collection boasts a magnificent group of vessels made during the high Renaissance, the golden age of Italian maiolica. It includes precious and delicate Deruta lustreware with imagery deriving from Perugino and Raphael, as well as vessels painted in a narrative style of pottery painting known as istoriato. Highlights include vessels depicting episodes taken from the first printed Bibles of the Renaissance. Istoriato maiolica flourished particularly in the lands of the Dukes of Urbino, who promoted this craft by sending painted pottery to prestigious patrons across Europe.Emblems and devices painted on the pottery help us understand that they were meant to be used and enjoyed by the elites in Renaissance society, such as the Medici and other great Tuscan families. The catalogue will include two recent gifts to the Courtauld, a rare tile of the famous patroness of the arts Marchioness Isabella D'Este, and a refined dish painted with the story of Diana and Actaeon.All major Renaissance pottery centres are represented in the collection, including Siena, Faenza and Venice, as well as splendid examples of the mysterious pharmacy jars made at the foot of the mountain of Gran Sasso in the town of Castelli d'Abruzzo. These achievements of the art of pottery in the early modern period are completed by fine examples of Ottoman pottery, as well as examples of Valencian lustreware.Sani's introductory essay on the Victorian collector Thomas Gambier Parry will shed new light on the development of this fascinating collection, making links between Gambier Parry's artistic practice and his collecting and revealing new insights into his taste as a collector. Each detailed entry uncovers a wealth of new information on the provenance of the pieces.

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Book SynopsisWho wrote about the past in the Middle Ages, who read about it, and how were these works disseminated and used? History was a subject popular with authors and readers in the Anglo-Norman world. The volume and richness of historical writing in the lands controlled by the kings of England, particularly from the 12th century, has long attracted the attention of historians and literary scholars. This collection of essays returns to the processes involved in writing history, and in particular to the medieval manuscript sources in which the works of such historians survive. It explores the motivations of those writing about the past in the Middle Ages (such as Orderic Vitalis, John of Worcester, Symeon of Durham, William of Malmesbury, Gerald of Wales, Roger of Howden, and Matthew Paris), and the evidence provided by manuscripts for the circumstances in which copies were made.Trade ReviewThis volume thus offers a rich variety of insights into the diversity and complexity of Anglo-Norman historical writing. . . . [It] achieves its goal of using manuscripts to add nuance to our understanding of Anglo-Norman historical writing. * MANUSCRIPT STUDIES *The quality of the essays, and the originality of many of their findings, should, if nothing else, serve to spur other researchers into action. * FRANCIA *Table of ContentsIntroduction: Making and Reading History Books in the Anglo-Norman World Did the Purpose of History Change in England in the Twelfth Century? - Michael Staunton England's Place within Salvation History: An Extended Version of Peter of Poitiers' Compendium Historiae in London, British Library, Cotton MS Faustina B VII - Andrea Worm Computus and Chronology in Anglo-Norman England - Anne Lawrence-Mathers A Saint Petersburg Manuscript of Excerptio Roberti Herefordensis de Chronica Mariani Scotti - Gleb Schmidt Autograph History Books in the Twelfth Century - Laura Cleaver Paul the Deacon's Historia Langobardorum in Anglo-Norman England - Laura Pani Durham Cathedral Priory and its Library of History, c. 1090 - c. 1150 - Charles C. Rozier King John's Books and the Interdict in England and Wales - Stephen D. Church Artistic Patronage and the Early Anglo-Norman Abbots of St Albans - Kathryn Gerry Matthew Paris, Cecilia de Sanford and the Early Readership of the Vie de Seint Auban - Laura Slater New Readers, Old History: Gerald of Wales and the Anglo-Norman Invasion of Ireland - Caoimhe Whelan Bibliography

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Book SynopsisMultiple Impressions examines works by 40 leading printmakers from contemporary China, highlighting the extraordinary innovations, in both technique and conception, which have transformed this long-established art form in recent years. It includes works by such artists as Xu Bing, Kang Ning, Song Yuanwen, Chen Qi, He Kun, and Fang Limin, as well as many other accomplished printmakers. Essays by noted scholars place contemporary printmaking in its complex art historical and cultural contexts, discuss the relationship between printmaking and contemporary art, and interpret new work by the internationally prominent artist Xu Bing. The book explores three key themes in printmaking today: "Landscapes Old and New" illustrates the variety of techniques and visual idioms contemporary printmakers draw on to create expressive and fantastic landscapes; "Fellow Citizens" turns to the human figure; and "Layered Abstractions" focuses on works that showcase the distinct visual effects and pictorial language that underscore the process of making a print.Trade Review"Recent publications on contemporary art in China have given short shrift to woodblock prints, which have a long and important history; this exhibition catalogue fills the gap. Summing Up: Highly recommended." * Choice *

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Book SynopsisTimeless Renaissance features 74 recently rediscovered drawings from the 16th through the early 18th centuries. The book offers a fascinating glimpse of Count Allessandro Maggiori (1764-1834) as an art collector and reveals the cultural and historical importance of the collection he assembled in his villa near Monte San Giusto. All of the works were clearly influenced by Raphael's 16th-century Renaissance ideals of beauty, which were further developed throughout the 17th century by Bolognese masters such as Annibale Carracci, Guido Reni, and Domenichino. The Maggiori collection embraces this Neo-Renaissance, or "Timeless Renaissance." Mostly gathered in the years of the Napoleonic dominion over the Italian peninsula, the drawings selected by Maggiori subtly reveal the emergence of Italian collective identity and a new civic awareness before Italy became an autonomous state. Deeply indebted to the seats of Catholicism in Rome and Bologna, the works represent a tradition opposed to the ideals of post-revolutionary France. They are distinctly Italian.

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Book SynopsisBreath of Heaven, Breath of Earth: Ancient Near Eastern Art from American Collections encompasses the geographic regions of Mesopotamia, Syria and the Levant, and Anatolia and Iran, and explores several broad themes found in the art of the ancient Near East: gods and goddesses, men and women, and both real and supernatural animals. These art objects reveal a wealth of information about the people and cultures that produced them: their mythology, religious beliefs, concept of kingship, social structure, and daily life.Trade Review"[Breath of heaven] begins with a general discussion of the emerging archaeologists and collectors of the ancient Near East. . .Part 2 of this book documents, through individual catalogue entries, each of the 64 objects illustrated in color plates. A bibliography, chronology, and map supplement the text in this beautiful volume." * Choice *Table of ContentsPreface Dedication Civilizations in the Sand: Archaeologists, Collectors, and the American Discovery of the Ancient Near East Breath of Heaven, Breath of Earth: Ancient Near Eastern Art from American Collections -The Divine Realm -The Human Realm -The Animal Realm Selected Bibliography Chronology Map Photo Credits

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Book SynopsisMel Katz is a highly regarded Portland sculptor and teacher whose work is firmly rooted in the principles of geometric abstraction. He moved to Portland, Oregon, in 1964 to teach at Portland State University, where he taught for the next thirty-two years. He helped found the Portland Center for the Visual Arts in 1971, one of the first alternative artist spaces in the country. Originally trained as a painter, Katz has produced a remarkable body of work over the past fifty years that reflects his unique journey from painter to sculptor, working in many different media, including polyurethane, fiberglass, wood, formica, steel, and aluminum. Katz has been featured in numerous one-person and group exhibitions throughout the United States, including the First Western States Biennial. He was the subject of a major retrospective exhibition at the Portland Art Museum in 1988 and was included in the traveling exhibition, Still Working, in 1994. His work is included in the collections of the Hallie Ford Museum of Art, Portland Art Museum, the Jordan Schnitzer Museum of Art, the Seattle Art Museum, the Tacoma Art Museum, the Oregon Arts Commission, the City of Seattle, and many national corporations.

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Book SynopsisJames B. Thompson: Fragments in Time explores the development of Thompson’s work over the past two decades, from his Certain Situations series of the mid-1990s to his more recent Forgotten Biography of Tools series from 2015. Bob Hicks best describes Thompson’s work: “[it] grapples with the perplexing issues of cultural and geological change. [Thompson] ranges freely through ancient and forgotten forms to confront the mysteries and fractures of the universe, investigating not just the abandoned and the unknown, but the limits and possibilities of the art forms, often with understated wit.” James B. Thompson was born in Chicago in 1951 and received his MFA from Washington University in 1977. Since 1986, Thompson has been a member of the art faculty at Willamette University in Salem, Oregon, where he teaches courses in painting, printmaking, drawing, and design. His art has appeared in numerous solo and group exhibitions throughout the United States and is included in public and private collections throughout the United States and Europe. Thompson is recognized as one of the most interesting and innovative artists in Oregon, and the Hallie Ford Museum of Art is proud to honor him with this twenty-year retrospective.

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Book SynopsisCrow’s Shadow Institute of the Arts at 25 explores the first twenty-five years of a remarkable nonprofit printmaking and traditional arts studio based on the Confederated Tribes of the Umatilla Indian Reservation in eastern Oregon, the only such center located on a reservation community in the United States. Art historian Prudence Roberts, drawing from conversations with CSIA founder, the artist James Lavadour, narrates the institute’s history from its beginnings through the establishment of a professional quality printmaking program and an international reputation. Native American art scholar heather ahtone and curator Rebecca Dobkins trace the development of indigenous printmaking in North America, further contextualizing this story. Over sixty color plates will illustrate selected work from the dozens of artists, indigenous and non-indigenous, who have completed residencies at CSIA since its founding, including luminaries of contemporary Native American art Rick Bartow, Joe Feddersen, Jeffrey Gibson, Edgar Heap of Birds, James Lavadour, Lillian Pitt, Wendy Red Star, and Marie Watt.

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Book SynopsisSince the 1980s, Oregon-based art collectors George and Colleen Hoyt have amassed one of the finest private collections of Northwest Coast art in the United States. Transformations traces the history of contemporary Northwest Coast Native art since the 1950s. Included are works by some of the region's foremost Native artists of the past half century, including Robert Davidson, Doug Cranmer, Beau Dick, and Susan Point. The collection of over six hundred prints and carvings by over one hundred artists is a promised gift from George and Colleen Hoyt to the Hallie Ford Museum of Art. Richly illustrated with color photographs, the book features a foreword by John Olbrantz, an essay by Rebecca J. Dobkins, and artist biographies by Tasia Riley. Exhibition dates: Hallie Ford Museum of Art, September 17–December 17, 2022

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Book SynopsisThe first compact history of the American poster with 80 full color reproductions and an essay on poster design. The "modern" American poster has figured prominently in virtually every major political, social, commercial, and cultural development in the country. With arresting images and text, these posters have informed and sold Americans on election campaigns, the nation's war efforts, protest movements, consumer products, travel, entertainment, etc. They also comprise a history of U.S. graphic design, reflecting dramatic changes in style, advertising theory, and printing, as well as the emergence of key graphic designers. The American Image provides a rare survey of this popular art, spanning more than one hundred years. Selected from the Resnick Collection, the book analyzes some 70 posters representative of every significant style and theme. They range from design masterpieces to works of historical value, from posters by renowned designers to those created anonymously, and from celebrated images to those never before published. This handsome book includes superb, full-color reproductions; an incisive essay on American poster design by R. Roger Remington; and a preface and authoritative commentary on each image by Mark Resnick. MARK RESNICK is currently Executive Vice-President, Business Affairs, for Twentieth Century Fox. He has assembled what is likely the foremost private collection of American posters spanning the 1890s to present. R. ROGER REMINGTON is the Massimo and Lella Vignelli Distinguished Professor in Design in the School of Design, Rochester Institute of Technology. He is the author of several books, the most recent of which is American Modernism: Graphic Design, 1920 to 1960.

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Book SynopsisThe book is a descriptive history of the major photographic printing processes that were used between the years 1840-1895, the first fifty years of photography. The Albumen and Salted Paper Book is a descriptive history of the major photographic printing processes that were used between the years 1840-1895. These first 50 years of photography established a tradition of individual experimentation and craftsmanship where each photographer participated in the manufacture of the printing materials that were used. Albumen print and salted paper print were the ordinary, all-purpose materials of the time-albumen print is the second most common type of photograph ever made. This book describes both the technical information of these historical materials and offers the reader a very organized approach to this interesting process. James Reilly is the Director of the Image Permanence Institute, a recognized leader in the development and deployment of sustainable practices for the preservation of images and cultural property.

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Book SynopsisInspired by nineteenth-century painters and photographers, Congress passed legislation preserving America’s spectacular natural resources for the enjoyment of all. Today, artists continue to play a significant role in interpreting these iconic panoramas, intimate corners, and diverse wildlife within our national parks. In Art of the National Parks, seventy painters and sculptors offer distinctive visions of eight of the nation’s most beloved wild lands: Acadia, Everglades, Grand Canyon, Grand Tetons, Rocky Mountain, Yellowstone, Yosemite, and Zion. Susan Hallsten McGarry, well-known author and curator, guides readers on a lively journey through the artists’ styles, techniques, and philosophies. Art historian/author Jean Stern, director of the Irvine Museum, discusses the historic artists who put into motion our nation’s conservation consciousness. And Terry Lawson Dunn, biologist and educator, highlights the national parks’ ecological successes and challenges. With more than 450 artworks, this glorious, large-format book is a must for anyone who has hiked the trails, watched a sunset, marveled at buffalo herds, or yearned to experience our nation’s mythic and transformative vistas. It is also an indispensible compendium of artists who are at the forefront of twenty-first-century American landscape and wildlife art. Art of the National Parks is available in seven different book jackets depicting the art and beauty from each national park featured in the book. Featured parks include: Acadia, Grand Canyon, Yellowstone/Tetons, Zion, Everglades, Yosemite, and Rocky Mountain. Special cover requests will be accommodated as stock allows based on cover availability. To ensure special handling, please order direct.

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Book SynopsisFor three decades the signature “W. C. Hook” has connoted dynamic design, saturated colour, and muscular brushwork. William Cather Hook’s ability to straddle the border between pictorial illustrationsion and pure paint, between traditional yet modern, has won him collectors worldwide. Less well-known about this master of acrylics is the breadth of his subject matter. In this retrospective of paintings dating from the early 1980s to the present Hook guides the reader on a journey that includes the back roads of northern New Mexico, the high country of the colourado Rockies and Sangre de Cristos, California’s Pacific coastline and central valley, the reaches of the Sonoran Desert, and historic vistas in England and Italy. Whether depicting crashing surf, aspen forests, or luminous big skies, Hook’s vision is inviting, vibrant, and infused with radiant light. Also explored is the artist’s biography, from his Kansas roots to his current studios in Santa Fe, New Mexico, and Carmel, California.

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Book SynopsisRelational Undercurrents accompanies an exhibition curated by Tatiana Flores for the Museum of Latin American Art in Long Beach, California, which forms part of the Getty Foundation's Pacific Standard Time: LA/LA. This initiative examines the artistic legacy of Latin America and U.S. Latinos through a series of exhibitions and related programs. This exhibition catalog and volume edited by Flores and Michelle Ann Stephens calls attention to the artistic production of the Caribbean islands and their diasporas, challenging the conventional geographic and conceptual boundaries of Latin America. The editors offer an "archipelagic model," which proposes a mapping of the Caribbean from the perspective of its islands as distinct from its continental coasts. The exhibition, organized around the four themes of Conceptual Mappings, Perpetual Horizons, Landscape Ecologies, and Representational Acts, highlights thematic continuities in the art of the insular Caribbean, placing Hispanophone artists in visual conversation with those from Anglophone, Francophone, Dutch, and Danish backgrounds. It includes over eighty artists, among them Tania Bruguera, Allora & Calzadilla, Christopher Cozier, Jorge Pineda, Edouard Duval-Carrié, and Ebony G. Patterson. In accompanying essays, curators, critics, and scholars discuss particular artistic traditions in Cuban, Puerto Rican, Dominican, and Haitian art and theorize the broader decolonial and archipelagic conceptual frameworks within which such works are produced. Relational Undercurrents will be on display that the Museum of Latin American Art from September 2017 through January 2018. Publication by the Museum of Latin American Art in collaboration with Fresco Books / SF Design, LLC. Distributed by Duke University Press.Trade Review"The project as a whole helps to unpack connections between regional and international divides,and moreover between diaspora and island, land and sea, art and theory, histories and ground. It is an effort that will surely ripple, and that carries with it the potential to rupture and reconfigure modes of thinking of and through the insular Caribbean, its art,and its histories— told and untold." -- Adrienne Rooney * CAA Reviews *"In its compendious and imaginative reach, Relational Undercurrents augurs brightly for a new generation of scholarship on Caribbean art. . . . Beautiful color illustrations grace the volume throughout, showing details and installation views that document the work, much of it little known or exhibited. A fitting, interdisciplinary counterpart to Flores’s exhibition, Relational Undercurrents posits the power and plausible archipelagicity of contemporary Caribbean art, daring to chart new conceptual and topographical terrain." -- Abigail McEwen * Latin American and Latinx Visual Culture *Table of ContentsForeword / Lourdes I. Ramos-Rivas, PhD 11 Part I. Relational Undercurrents: Contemporary Art of the Caribbean Archipelago 1. Relational Undercurrents: Towards an Archipelagic Model of Insular Caribbean Art / Tatiana Flores and Michelle A. Stephens 14 2. Inscribing into Consciousness: The Work of Caribbean Art / Tatiana Flores 29 Catalogue Images 91 Part II. The Caribbean Islands and Their Diasporas 3. Actes de Transformation: Mixing and Mapping Haitian Aesthetics / Jerry Philogene 191 4. Among the Islands: Dominican Art at Home and Abroad / Rocío Aranda-Alvarado 205 5. A Local History in the Global Narrative: Notes on Cuban Art between Two Centuries / Antonio Eligio (Tonel) 219 6. Aglutinación: The Collective Spirit of Puerto Rican Art / Laura Roulet 231 Part III. The Archipelagic Caribbean 7. On Metaphysical Catastrophe, Post-Continental Thought, and the Decolonial Turn / Nelson Maldonado-Torres 247 8. There are no islands without the sea: Being a compendium of facts, fictions, names, etymologies, lyrics, and questions, in the form of a broken-up archipelago / Nicholas Laughlin 261 9. Arc'd Relations: Archive and Archipelago in the Greater Caribbean / Michelle A. Stephens 278 Exhibition Checklist 294 Artist Biographies / Kaitlyn Argila, Diego Atehortúa, and Kaitlin Booher 300 Contributor Biographies 307 Index 308 Acknowledgments 317

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Book SynopsisArtist Robert Gratiot refers to his work as ""painterly photo-realism,"" and he readily reveals his complete commitment to this reference by rendering his subjects with photographic accuracy. His mastery of painterly methods and of various drawing techniques highlights his astounding eye-to-hand coordination. Gratiot precisely conveys a particular scene through meticulously produced details, each down to the smallest and expertly handled. But it is more than that-he regards each small section of a painting as an abstraction, and then assembles these tiny abstractions to build the realistic whole. His paintings are obviously the product of the considerable efforts of a very gifted and extremely meticulous painter.""The genuine revelation is how deeply personal and individual these pieces are for Robert Gratiot. This is a surprise, particularly considering the impersonal nature of his subjects. However, each is deeply felt and carries hidden moods and veiled stories, which until he shared them, were known only to Gratiot.""-Michael Paglia

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Book SynopsisThe majesty of Earth's most magnificent features was the domain of Wilson Hurley (1924-2008). In paintings of natural wonders throughout the galaxy, he was committed to expressing his love of the richness of reality. His journey to become a revered twentieth-century American landscapist is brought to life in this intimate biography. Written for appreciators, collectors, and working artists, Hurley's goals and procedures - from thumbnails to plein air field studies and finished studio paintings - are elucidated in depth, including a commission that resulted in five monumental triptychs of our nation's most prized vistas installed at the National Cowboy and Western Heritage Museum.

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Book SynopsisRelicarios - finely crafted, bi-faced lockets of gold or silver - are artifacts of the Spanish Colonial era. These exquisite jewels containing devotional imagery protected by glass may include paintings on vellum, nacre, alabaster, copper, or ivory; prints; or miniature sculptures of boxwood, ivory, alabaster, or tagua. Although tons of relics were imported from Europe, particularly by Jesuits, in general only high-status individuals wore relicarios containing relics. Relicarios attest to colonists' dedication to their favourite Virgins and saints as well as fealty to church and crown. As powerful amulets they protected wearers in a precarious world. Relicarios reflects forty years of the author's research, including correspondence and interviews with relicarieros, art historians, curators, collectors, silversmiths, anticuarios, and clergy as well as the author's collection of several hundred examples. Photos commissioned from leading art photographers in the Americas were mostly unpublished until this handsome volume.

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Book SynopsisA highly-illustrated monograph on the life and work of Arthur Singer, an American wildlife artist specializing in birds. His work in reference books and U.S. stamps is internationally acclaimed. Arthur B. Singer was an American wildlife artist specializing in bird illustration. In a career spanning five decades, he illustrated more than 20 books, including his masterpiece, Birds of the World, as well as classic bird guides: Birds of North America, Birds of Europe, and The Hamlyn Guide to Birds of Britain and Europe. Singer joined the U.S. Army in 1942 and was assigned to Company C of the 603rd Camouflage Engineers.As a member of unit, known as the "Ghost Army," Singer along with other artists, created camouflage and other forms of deception on the battlefields of Europe. Upon his return to the U.S., he worked briefly in an advertising agency and became a full-time illustrator and artist in 1955. During the 1980s, assisted by his son, Alan, Singer's paintings of state birds were seen by millions when the U.S. Postal Service issued the State Birds & Flowerspostage stamps. The stamps became one of the largest selling commemoratives in U.S. Postal history. He received the Hal Borland Award in 1985 from the National Audubon Society. His paintings are represented in several public and private collections in the United States and Europe. Since his death in 1990, retrospectives of Singer's artwork have been presented in several museums and art galleries across the U.S. PAUL SINGER has focused on designs for zoos, museums, and botanic gardens. He has worked as an interpretive sign designer for the National Park Service and his illustrations are included inThe Knopf Nature Guide series for Audubon, The Audubon MasterGuides to Birding, The Knopf Collector Guides to American Antiques and other publications. ALAN SINGER is a graduate of The Cooper Union School of Art and worked with his father, Arthur, on painting revisions to both of Singer's field guides to birds, and helped illustrate the State Bird & Flower Stamps for the U.S. Postal Service. Since 1989, he has been a tenured professor at the Rochester Institute of Technology. A prolific printmaker, painter, andauthor, he has had 27 solo exhibits.Trade Review[This book] is a well-ordered and fluent work outlining Singer's life and many achievements. . . . beautifully designed and produced. * BRITISH BIRDS *This book compiled by two of his sons, is a wonderful tribute. * NATUUR.ORIOLUS *

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Book SynopsisThe catalogue of an exhibition comparing versions of Monet's Waterloo Bridge at the Memorial Art Gallery in Rochester, NY. Impressionist master Claude Monet began over forty versions of Waterloo Bridge during his three London sojourns between 1899 and 1901. He viewed his paintings of the landmark bridge both individually and as an ensemble, collectively expressing his sense of the essential subject - the atmosphere and colors of the fog-bound landscape of London's Thames River. Monet struggled to complete these paintings after his return to France, where he re-worked many of the canvases in his Giverny studio, releasing them for sale over the course of several years. The exhibition Monet's Waterloo Bridge: Vision and Process brings together eight paintings from the famous London series. Scholarly essays and an in-depth technical study of the Memorial Art Gallery's Waterloo Bridge, Veiled Sun (1903) explore Monet's artistic vision as well as the process by which he struggled to achieve that vision. NANCY NORWOODis Curator of European Art, Memorial Art Gallery, Rochester, New York.Table of ContentsForeword Introduction Monet's Waterloo Bridge: Vision and Process Between the Balcony and the Studio: Monet's Struggle to Finish the Thames Series Looking at Waterloo Bridge Technical Analysis of the Painting, Waterloo Bridge, Veiled Sun 1903 Paintings in the Exhibition Acknowledgements

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Book SynopsisThis catalogue explores the role of craft in voicing dissent in an era of political disruption. Crafting Democracy: Fiber Arts and Activism calls upon craft, during an era of political disruption, as a creative force to voice dissent, express hope, critique the curtailment of civil rights, and to restore dignity to the human experience. The essays and artwork featured in this exhibition catalogue are framed within the context of American democracy and disclose how we, as individuals and as a culture, "craft democracy" and ultimately question what democracy means today. This is the catalogue of an exhibition held at Harold Hacker Hall, Central Library of Rochester [New York] & Monroe County: August-October, 2019. Juilee Decker is associate professor of museum studies at Rochester Institute of Technology. Her publications include the 3rd edition of Museums in Motion: An Introduction to the History and Functions of Museums (2017) and the four-volume series Innovative Approaches for Museums (2015). Hinda Mandell is associate professor in the School of Communication at Rochester Institute of Technology and is a co-editor of Nasty Women and Bad Hombres: Gender and Race in the 2016 U.S. Presidential Election (University of Rochester Press, 2018). She is editor of Crafting Dissent: Handicraft as Protest from the American Revolution to the Pussyhats (forthcoming with Rowman & Littlefield).

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Book SynopsisXuanhe Catalogue of Paintings is the first complete translation of the well-known document produced at the court of Emperor Huizong (r. 1100–1125). Dated to 1120, the Catalogue is divided into ten categories of subject matter. Under Daoist and Buddhist Subjects, Figural Subjects, Architecture, Barbarian Tribes, Dragons and Fish, Landscape, Domestic and Wild Animals, Flowers and Birds, Ink Bamboo, and Vegetables and Fruit are biographies of 231 painters, ranging from famous early masters, such as Wu Daozi (ca. 685-758) and Li Cheng (919-967), to otherwise unknown artists of the Song-dynasty court, including fourteen eunuch officials and sixteen male and female members of the royal family. Titles of their pictures held in the palace collection are listed for each artist. These 6,396 paintings testify to the visual culture experienced by viewers of the twelfth century. The author's Introduction analyzes the Catalogue as a source of evidence about the formation of the Song-dynasty palace collection and argues that the majority of its pictures were already in the collection before Huizong's reign, as a result of conquest, confiscation, tribute, gift culture, collecting by earlier emperors, and the production of academy artists and regular officials at the Song court. Under Huizong's reign, around a thousand other pictures were added to the Catalogue through acquisition and reattribution. Open access edition funded by the National Endowment for the Humanities.

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Book SynopsisIn 1857 the French poet Charles Baudelaire, who was fascinated by lesbianism, created a scandal with Les Fleurs du Mal [The Flowers of Evil]. This collection was originally entitled "The Lesbians" and described women as "femmes damnees," with "disordered souls" suffering in a hypocritical world. Then twenty years later, lesbians in Paris dared to flaunt themselves in that extraordinarily creative period at the turn of the 19th and 20th centuries which became known as the Belle Epoque. Lesbian Decadence, now available in English for the first time, provides a new analysis and synthesis of the depiction of lesbianism as a social phenomenon and a symptom of social malaise as well as a fantasy in that most vibrant place and period in history. In this newly translated work, praised by leading critics as "authoritative," "stunning," and "a marvel of elegance and erudition," Nicole G. Albert analyzes and synthesizes an engagingly rich sweep of historical representations of the lesbian mystique in art and literature. Albert contrasts these visions to moralists' abrupt condemnations of "the lesbian vice," as well as the newly emerging psychiatric establishment's medical fury and their obsession on cataloging and classifying symptoms of "inversion" or "perversion" in order to cure these "unbalanced creatures of love." Lesbian Decadence combines literary, artistic, and historical analysis of sources from the mainstream to the rare, from scholarly studies to popular culture. The English translation provides a core reference/text for those interested in the Decadent movement, in literary history, in French history and social history. It is well suited for courses in gender studies, women's studies, LGBT history, and lesbianism in literature, history, and art.Trade ReviewAn authoritative study that reveals how Sapphists were associated with the first expressions of a feminism that threw the popular imagination off balance and produced such inexhaustible fantasies. -- Marc Emile Baronheld Elle Belgique A marvel of elegance and erudition... Natalie Clifford Barney the Amazon, the tortured personalities of Renee Vivien and Lucie Delarue-Mardrus, the character of Claudine so smartly portrayed by Colette, Madame Adonis by Rachilde... Albert has brought these forgotten personages back to life with passion... The sterile and flamboyant lesbian with a mysterious and pernicious eroticism ended up embodying the spirit of the fin-de-siecle and by symbolizing to perfection the excesses of Decadence. -- S. M. Revue Inverses In Lesbian Decadence, Nicole G. Albert delves deeply into the history of lesbian representation and uses her finely sharpened pen to reveal to us the fascination which the descendants of Sappho exercised [on readers at the turn of the last century]... One of the greatest strengths of Albert's book is not to stop at the canonical works but to include hundreds of sources from scholarly philology to popular caricatures. -- Laure Murat Magazine Tetu This book presents a richly detailed portrait of 'the lesbian,' an image foregrounded in the world of arts and letters in the Belle Epoque. Fantasies connected to the kinds of 'deadly pleasures' that women enjoyed among themselves, often when they were intoxicated by opium, resulted in an enormous number of books, articles, and illustrations that the author has brought to light for us with stunning erudition. -- P. K. Le Monde At last Nicole Albert's landmark study of the place of 'the lesbian' in fin-de-siecle French culture is available in English! Exhaustively researched and newly updated, Albert's book draws on a wide variety of sources from literature, the arts, journalism, and the emerging field of sexology. Albert demonstrates how 'sapphism' was imagined and re-imagined by observers, and how the Belle Epoque vogue for lesbianism created a spectral figure both 'demonized and poeticized.' Situated at the intersection of history and literature, Lesbian Decadence should be of interest to everyone interested in a deeper understanding of how culture is shaped by notions of gender and sexuality. -- Michael Wilson, Associate Dean for Graduate Studies, University of Texas By far the most authoritative book on how lesbianism, with its many distinct but related aspects, is depicted in decadent discourse of the French Fin de Siecle. The book is itself a jewel of decadent criticism: multi-faceted, studded with insights, and beautifully wrought. -- Melanie Hawthorne, Professor of French, Department of International Studies, Texas A&M University Albert's book is a treat for American LGBT Studies researchers. She provides us with a treasure trove of paintings, drawings, and cartoons... Lesbian Decadence will not only be cited heavily in future nineteenth century LGBT Studies research, but it brings the amazing scholarship of Erber and Peniston to light as well. Best of all, due to its multiple illustrations, it is a fun read for academic non-fiction, and will inspire us in English-speaking countries to learn more about our French cousins. -- Rachel Wexelbaum Lambda Literary Including an excellent bibliography, this book will interest students of fin-de-siecle France, LGBT history, and gender studies. CHOICE [Lesbian Decadence] brings together an astonishingly wide range of literary, artistic, medico-scientific, and historical sources to catalogue and trace the many ways in which lesbianism was anything but invisible at the fin-de-siecle. -- Annabel L. Kim H-France Review Remarkably learned. -- David Charles Rose Women's History ReviewTable of ContentsList of IllustrationsAcknowledgmentsTranslators’ NoteProloguePart I. “At that time, Sappho was reborn in Paris”1. Sappho: The Resurrection of a Myth2. The Poets’ Muse3. Lesbos; or, The Topography of a VicePart II. “Her Traits, Her Vices, and Her Sexual Aberrations”4. The Birth of the Female Invert5. A Vice or an Illness?6. A Heroine at the Crossroads of Medicine and Literature7. When the Third Sex Comes Out8. Madame Don Juan, Arlequine, and OthersPart III. “Damned Women or Exquisite Creatures? ”9. Deadly Pleasures10. The Half-Women11. Female Narcissus12. Female Spaces, Male GazeNotesBibliographyIndex

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Book SynopsisRitual and Capital is an expansive volume that collects an interdisciplinary range of voices and genres that reflect on ritual as a form of resistance against capitalism. The poems, essays, and artworks included in this anthology explore habits and practices formed to subvert, subsist, and survive under the repression of capital. These works explore the refuge in ritual, how ritual practices might endow objects with qualities that resist market values, the use of ritual in embodied practices of healing and care, and how ritual strengthens communities. The publication of Ritual and Capital is the culmination of a series of public readings organized by Wendy’s Subway, a nonprofit organization in Brooklyn, as part of their Spring 2016 Reading Room residency at the Bard Graduate Center. Copublished by the Bard Graduate Center and Wendy’s Subway, Ritual and Capital is the first title in the BGCX series, a publication series designed to expand time-based programming after the events themselves have ended. Springing from the generative spontaneity of conversation, performance, and hands-on engagement as their starting points, these experimental publishing projects will provide space for continued reflection and research in a form that is inclusive of a variety of artists and makers.

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Book SynopsisDrawing inspiration from Standing Bear’s legacy, Amiotte uses ephemera, historical and modern photographs and artworks, and the remembered stories of his relatives to compose collages that tell the story of a culture and people in transition. The vivid juxtaposition of materials allows viewers to experience the nuances and fluctuations in the Lakota people’s environment, values, and way of life. Louis S. Warren relates the life of Standing Bear in a brief biography, and Janet Catherine Berlo contributes an essay placing Amiotte’s collages in their artistic and anthropological contexts.

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Book Synopsis

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