History of art Books

Book SynopsisIn The Politics of Taste Ana María Reyes examines the works of Colombian artist Beatriz González and Argentine-born art critic, Marta Traba, who championed González's art during Colombia's National Front coalition government (195874). During this critical period in Latin American art, artistic practice, art criticism, and institutional objectives came into strenuous yet productive tension. While González's triumphant debut excited critics who wanted to cast Colombian art as modern, sophisticated, and universal, her turn to urban lowbrow culture proved deeply unsettling. Traba praised González's cursi (tacky) recycling aesthetic as daringly subversive and her strategic localism as resistant to U.S. cultural imperialism. Reyes reads González's and Traba's complex visual and textual production and their intertwined careers against Cold War modernization programs that were deeply embedded in the elite's fear of the masses and designed to avert Cuban-inspired revolution. In so doing, Reyes provides fresh insights into Colombia's social anxieties and frustrations while highlighting how interrogations of taste became vital expressions of the growing discontent with the Colombian state.Trade Review“Ana María Reyes tackles an important but understudied subject that is absolutely essential to understanding contemporary Colombian politics, culture, and society: the relationship between aesthetics and the Cold War in Colombia. Her analysis of Beatriz González's artistic practices, Marta Traba's art criticism, the institutions where they worked and exhibited, and Colombia's cultural politics and Cold War policies during the National Front period is brilliant and compelling.” -- Mary Roldán, author of * Blood and Fire: La Violencia in Antioquia, Colombia, 1946–1953 *“In this exciting and enlightening book, Ana María Reyes provides an entirely new perspective on the art of Beatriz González, on Latin American engagements with pop, and on Marta Traba's assessment of González's work. By offering a clear sense of the cultural dynamics of the Cold War in Colombia and class politics within Bogota during this period, Reyes allows readers to better appreciate González's subject matter, style, color sensibility, and use of appropriation.” -- Mary Coffey, author of * Orozco’s American Epic: Myth, History, and the Melancholy of Race *“Rich, multivalent context as means to weighing Colombian Beatriz González’s early artistic production (1964–70) is exactly what this assistant professor of Latin American art at Boston University offers readers with her monograph The Politics of Taste. The author’s analysis is buttressed by field research including access to the artist’s personal archive, twelve hours of personal interviews with her, and archival work in Medellín, Colombia…. Reyes’s skillfully crafted text is the first single-author monograph on the artist in English.” -- Teresa Eckmann * Art Journal *"Reyes’s study is rich in information, illustrations, and ideas. . . . This book is authoritative, rigorous, and consistently insightful." -- Luis Rebaza-Soraluz * E.I.A.L. *

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Book SynopsisAnna Arabindan-Kesson examines how cotton became a subject for nineteenth-century art by tracing the symbolic and material correlations between cotton and Black people in British and American visual culture.Trade Review“Beautifully conceived, consummately researched, and effectively presented, Black Bodies, White Gold makes an important contribution to art history, African American and Black diaspora studies, American studies, and British Empire studies.” -- Lisa Lowe, author of * The Intimacies of Four Continents *“Anna Arabindan-Kesson's book offers an expansive visual accounting of cotton and its representations, from ‘negro cloth’ to contemporary art, that impressively charts the materiality, meaning, and memory of 'white gold' in the making of the Atlantic world and beyond. It is an exemplary model of African diasporic and globally oriented histories of art.” -- Krista Thompson, author of * Shine: The Visual Economy of Light in African Diasporic Aesthetic Practice *“Arabindan-Kesson’s book expands the analytic potential of previous art-historical studies that trace the representation of Blackness across the threshold after emancipation.... One of its most valuable contributions to the field of art history ... is its inventive recourse across time, folding contemporary art into a methodology that illuminates subaltern historical conditions otherwise excluded or redacted from the archive." -- C.C. McKee * Panorama *"This thoughtful, well-illustrated book offers a long-overdue, original, engaged approach to studies of the cotton economy in tandem with slavery. . . . Arabindan-Kesson initiates new ways of seeing and reading visual art toward revealing and facing difficult truths about persistent race discrimination and injustice. Highly recommended. Lower-division undergraduates through faculty." * Choice *"[Arabindan-Kesson's] beautifully written storytelling is not only highly engaging and compelling to read, but . . . also offer[s] an indispensable account of the ways in which racial capitalism and corporate imperialism have shaped and been shaped by visual culture.” -- Edwin Coomasaru * Oxford Art Journal *“Black Bodies, White Gold . . . is a tour de force in its seamlessly transnational approach, uniting of historic and contemporary artworks, and creative deployment of theoretical approaches for ethically attending to the absence and the violence of slavery’s archives. Arabindan-Kesson’s commitment to antiracist work consistently drives her analysis.” -- Jennifer Van Horn * Art Bulletin *“Black Bodies, White Gold is a thoughtful, rigorous meditation on materiality, meaning, and memory. . . . Arabindan-Kesson’s methodologically innovative emphasis on materiality, land, labor, and value has significant insights for environmental studies, showing how vision materially shapes the world.” -- Anita Girvan * The Goose *“With beautifully-printed images, Arabindan-Kesson’s well-researched text uses a variety of historical and contemporary examples to drill down into the often-shrouded history of the Black lives behind the journey of cotton. . . . Black Bodies, White Gold is highly relevant for studies in art history, African American art, African diaspora history, colonialism, and business and commerce.” -- Suzanne Sawyer * ARLIS/NA *“Black Bodies, White Gold carefully unpacks the material, representational, and historical complexities of cotton with impressive skill and knowledge, offering a compelling, original and expansive approach to art history, fit for the twenty-first century.” -- Sarah Thomas * Art History *Table of ContentsAcknowledgments vii Illustrations xv Introduction: Threads of Empire 1 1. Circuits of Cotton 29 2. Market Aesthetics: Color, Cloth, and Commerce 67 3. Of Vision and Value: Landscape and Labor after Slavery 121 4. Material Histories and Speculative Conditions 171 Coda: A Material with Memory 203 Notes 213 Bibliography 247 Index 285

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Book SynopsisThis book tells the previously untold stories of six major art thefts at the Metropolitan Museum of Art New York, written by its former Chief Security Officer, John Barelli. Reader will be taken into the loading docks and curatorial offices, to the Temple of Dendur and the American Wing and its magnificent Engelhard Courtyard, the majestic Main Hall where the author stood opening many mornings as the world poured in, the Astor Courtyard and the Valez Blanco Patio. In the museum's Arms and Armor department the author will point out that museum staff helped create the helmets that our soldiers used in World War, he'll share with readers what happen to the coins in the museum's fountains. At the heart of this book there will always be artthose who love it and those who take it, two groups of people that are far from mutually exclusive.Trade Review“The theft and sometime recovery of a work of art holds a fascination for many that John Barelli fully satisfies in these absorbing pages born of a long career studying the subject and putting it into practice at the Metropolitan Museum of Art”. Philippe de Montebello Director Emeritus, the Metropolitan Museum of Art John Barelli made us feel totally secure at the Met for more than a quarter of a century—and now he tells us exactly how he handled threats, thefts, and the challenges of keeping art and visitors safe in the post-9/11 world. Like the great treasures he protected, this is a masterpiece of a memoir. Harold Holzer Author, winner of the National Humanities Medal, and former senior Vice President for External Affairs at the Met Museum

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Book SynopsisWinner of the 2019 CHOICE Award The authoritative book on the origins, history, and influence of illustration. Bravo! David Brinley, University of Delaware, USAHistory of Illustration covers image-making and print history from around the world, spanning from the ancient to the modern. Hundreds of color images show illustrations within their social, cultural, and technical context, while they are ordered from the past to the present. Readers will be able to analyze images for their displayed techniques, cultural standards, and ideas to appreciate the art form. This essential guide is the first history of illustration written by an international team of illustration historians, practitioners, and educators.Trade ReviewBeyond situating illustrations in a time and place as material objects, the book offers practice research methodologies for evaluating visual images, encouraging students to develop the critical skill necessary to bring intellectual rigor to current illustration production. * Journal of the Printing Historical Society *The authoritative book on the origins, history, and influence of illustration. This book will educate and foster mutual respect between designers, fine artists, faculty colleagues, and of course, the illustration students enrolled in contemporary Bachelors of Fine Arts programs. Bravo! -- David Brinley, University of Delaware, USAHighly detailed and thorough. I especially like that the history of illustration of non-western cultures aren’t ignored. . .Covers all of the major illustrators and movements. -- Deanna Staffo, Maryland Institute College of Art, USAThis book is one of the most thorough histories of illustration that I have seen and it would serve graphic design students well. Its content on non-western cultures far exceeds any comprehensive illustration or design history text available at this time. -- Amanda Horton, University of Central Oklahoma, USAThis book is probably the first to cover the subject of illustration in such depth, it should be a core study text for most illustration courses I would suggest. Even though it covers a huge amount of ground, it is very well structured and referenced. * Steve Wilkin, University of Central Lancashire, UK *Table of ContentsPreface Acknowledgements Introduction SECTION ONE: ILLUSTRATIVE TRADITIONS IN EUROPE, ASIA and AFRICA 1. Image and Meaning, Prehistory to 1500 by Robert Brinkerhoff and Margot McIlwin Nishimura 2. Illustration in Printed Matter in Early Modern Europe, 1400–1660 by Susan Doyle 3. Pluralistic View of Indian Images: 2nd BCE to the 1990s by Binita Desai and Nina Sabnani 4. Illustrative Traditions in the Muslim Context by Irvin Cemil Schick 5. Chinese Illustration before 1900 by Sonja Kelley and Frances Wood 6. Prints and Books in Japan’s Floating World by Daphne Rosenzweig 7. Illustration in Latin America from Pre-Columbian to Modern 1990s by Maya Stanfield-Mazzi 8. Illustration in the African Context by Bolaji Campbell with contributions by Winifred Lambrecht SECTION TWO: IMAGES AS KNOWLEDGE, IDEAS AS POWER 9. Observation and the Representation of Natural Science Illustration 1450–1900 by Shelley Wall 10. Visualizing Bodies: Anatomical and Medical Illustration from the Renaissance to the nineteenth century by Shelley Wall 11. Dangerous Pictures: Social Commentary in Europe, 1720–1860 by Robert Lovejoy 12. From Reason to Romanticism by Hope Saska SECTION THREE: THE ADVENT OF MASS MEDIA 13. Illustration on British and North American printed ephemera of the Nineteenth and Early Twentieth Centuries by Graham Hudson 14. Illustration in the expansion of the Graphic Journalism, and Magazine Fiction in Europe and North America, 1830–1900 by Brian Kane and Page Knox 15. Beautifying Books and Popularizing Posters: Illustration in the Later Nineteenth Century by Susan Ashbrook and Alison Syme 16. Fantasy and Children’s Book Illustration Nineteenth and early Twentieth-Century England by Alice Carter 17. Six Centuries of Fashion Illustration by Pamela Parmal SECTION FOUR: DIVERGING PATHS IN 20TH CENTURY AMERICAN AND EUROPEAN ILLUSTRATION 18. American Narratives: Periodical Illustration in the Late Nineteenth and Early Twentieth Century by Mary Holahan with contributions by Alice Carter and Joyce Schiller 19. Avant-garde Illustration, 1900–1950 by Jaleen Grove 20. Diverse American Illustration Trends in Periodicals, 1915–1940 by Roger Reed 21. Wartime Imagery and Propaganda, 1890–1950 by Thomas LaPadula 22. Illustrating Alternate Realities in Pulps and Other Popular Fiction by Nicholas Egon Jainschigg with contributions by Robert Lovejoy 23. Overview of Comics and Graphic Narratives by Brian M. Kane with contributions by Loren Goodman and Michelle Nolan SECTION FIVE: THE EVOLUTION OF ILLUSTRATION IN AN ELECTRONIC AGE 24. The Shifting Postwar Marketplace: Illustration Competes with Growing Media Options in the United States and Canada, 1940–1970 by Stephanie Plunkett 25. Children's Book Illustration, 1920–2000 by H. Nichols B. Clark 26. Countercultures: Underground Comix, Rock Posters and Protest Art, 1960–1990 by Robert Lovejoy 27. Print Illustration in the Postmodern World by Whitney Sherman 28. Medical Illustration after Gray’s Anatomy: 1859 to the present by David M. Mazierski 29. Digital Forms by Nanette Hoogslag and Whitney Sherman Bibliography Glossary Index

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Book SynopsisA century after the Bauhaus's founding in 1919, this book reassesses it as more than a highly influential art, architecture, and design school. In myriad ways, emerging ideas about the body in relation to health, movement, gender, and sexuality were at the heart of art and life at the school. Bauhaus Bodies reassesses the work of both well-known Bauhaus members and those who have unjustifiably escaped scholarly scrutiny, its women in particular. In fourteen original, cutting-edge essays by established experts and emerging scholars, this book reveals how Bauhaus artists challenged traditional ideas about bodies and gender. Written to appeal to students, scholars, and the broad public, Bauhaus Bodies will be essential reading for anyone interested in modern art, architecture, design history, and gender studies; it will define conversations and debates during the 2019 centenary of the Bauhaus's founding and beyond.Trade Review[Bauhaus Bodies] presents us with a picture of the Bauhaus that is anything but remote. * Journal of Design History *Bauhaus Bodies addresses gender issues more broadly, with fourteen essays by established and newer scholars on body culture, spirituality, dance, androgyny, clothing, experimental photography, and the unsung contributions of Bauhaus wives and female wall painters. * Woman's Art Journal *Whether for their subsequently unrecognized collaborations with husbands or their seemingly unseen service labor, women shaped Bauhaus aesthetics and are still less known than the men even today. [This] anthology examines the famous architecture and design school beyond its lily-white reputation. * Deutschlandfunk (Bloomsbury Translation) *Dispensing with the usual focus on a monolithic school and its leaders, this collection will prove an indispensable resource for investigating the Bauhaus' immediate social impact, historical context, and far-reaching historical implications. * CHOICE *Bauhaus Bodies provides a remarkable contribution to our understanding of the Bauhaus and its community by tackling a vital set of issues surrounding the body, gender, and sexuality in modernism. Offering cutting-edge research and exceptional insight, this collection of essays brings together wide-ranging materials across a series of topics related to the politics and cultures of the body, explicating the Bauhaus in greater depth and with compelling nuance. Illustrating the crucial role of embodied experience and new experiments in living, Bauhaus Bodies is an indispensable guide to the school’s wider impact on society, the arts, identity, body politics, health and physical culture, movement and space, and in many other social and cultural spheres. * Robin Schuldenfrei, Katja and Nicolai Tangen Lecturer in 20th Century Modernism, The Courtauld Institute of Art, University of London, UK *What role did the body play at the Bauhaus? The essays in this volume offer answers to that question by offering a panorama of perspectives, from Ise Gropius to the known and unknown female students at the school. The body and gender played definitive roles in an institution that was largely run by men and notions of 'rationalized modernism'. This is the first anthology to demonstrate how one-sided that latter perspective is, which it does by uncovering a number of previously overlooked aspects, such as the role of gymnastics in the school’s foundation course and the instrumental role played by Ise Gropius in the everyday administration of the institution. * Magdalena Droste, former Professor at the Brandenburg University of Technology Cottbus-Senftenberg, Germany *Table of ContentsList of Images Introduction: Embodying the Bauhaus Elizabeth Otto (University at Buffalo, State University of New York, USA) Part I: The Bauhaus in Weimar and Beyond: Gendered Bodies and the Search for Utopia 1. Soft Skills and Hard Facts: A Systematic Overview of Bauhaus Women’s Presence and Roles Patrick Rössler and Anke Blümm (Bauhaus Museum, Germany) 2. Bodies Drilled in Freedom: Nudity, Body Culture, and Classical Gymnastics at the Weimar Bauhaus Ute Ackermann (Bauhaus Museum, Germany) 3. The Spiritual Enhancement of the Body: Johannes Itten, Gertrud Grunow, and Mazdaznan at the Early Bauhaus Linn Burchert (Humboldt University, Germany) 4. Utopias of a New Society: Lucia Moholy, László Moholy-Nagy, and the Loheland and Schwarzerden Women’s Communes Sandra Neugärtner (Harvard University Graduate School of Arts and Science, USA) 5. Invisible Bodies and Empty Spaces: Notes on Gender at the 1923 Bauhaus Exhibition Paul Monty Paret (University of Utah, USA) Part II: A New Unity? Technologies and Techniques of Gender 6. Clothing Bauhaus Bodies Kathleen James-Chakraborty (University College Dublin, Ireland) 7. Paul Klee and the New Woman Dancer: Gret Palucca, Karla Grosch, and the Gendering of Constructivism Susan Funkenstein (University of Michigan, USA) 8. Ise Gropius: “Everyone Here Calls me ‘Frau Bauhaus’!” Mercedes Valdivieso (University of Lleida, Spain) 9. Dörte Helm, Margaret Leiteritz, and Lou Scheper–Berkenkamp: Rare Women of the Bauhaus Wall-Painting Workshop Morgan Ridler (Montclair State University and Westchester Community College, USA) 10. Androgyny in Oskar Schlemmer’s Figural Art Deborah Ascher Barnstone (University of Technology Sydney, Australia) Part III: Identities and Ideologies in Bauhaus Photography and New Media 11. Disorder or Subordination? On Gender Relations in Bauhaus Photographs Burcu Dogramaci (Ludwig Maximilian University of Munich, Germany) 12. Bauhaus Double Portraits Karen Koehler (Hampshire College, USA) 13. “A School for Becoming Human”: The Socialist Humanism of Irene Blühová’s Bauhaus Photographs Julia Secklehner (Courtauld Institute of Art in London, UK) 14. Marcel Breuer and the Theatrical Interior Jordan Troeller (Harvard University, USA) List of Contributors Index

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Book SynopsisGiven that the Surrealists were initially met with widespread incomprehension, mercilessly ridiculed, and treated as madmen, it is remarkable that more than one hundred years on we still feel the vitality and continued popularity of the movement today. As Willard Bohn demonstrates, Surrealism was not just a French phenomenon but one that eventually encompassed much of the world. Concentrating on the movement's theory and practice, this extraordinarily broad-ranging book documents the spread of Surrealism throughout the western hemisphere and examines keys texts, critical responses, and significant writers. The latter include three extraordinarily talented individuals who were eventually awarded the Nobel Prize in Literature (Andre Breton, Pablo Neruda, and Octavio Paz). Like their Surrealist colleagues, they strove to free human beings from their unconscious chains so that they could realize their true potential. One Hundred Years of Surrealist Poetry explores not only the birthTrade ReviewOne Hundred Years of Surrealist Poetry is at once an anthology and a beautifully accessible handbook, providing guidance, insights and information on essential aspects of surrealist theory and practise. From automatic writing and objective chance to mad love and black humour, the topics explored are exemplified by astonishing poems and oneiric prose from French, Hispanic and Portuguese writers, all translated by Willard Bohn with characteristic flair and empathy. * Peter Read, Professor Emeritus of Modern French Literature and Visual Arts, University of Kent, UK and author of Picasso and Apollinaire The Persistence of Memory (2008) *With his characteristic clarity, as well as formidable aesthetic and linguistic breadth, Bohn has produced a major work for serious students and scholars of Surrealism. Using important examples from many different cultural and theoretical sources, he offers new, wide-ranging perspectives on the origins and later history of the movement throughout the world. He also presents close readings of several key texts, many of which incorporate, and often surpass, analyses published by some of the most influential critics (Riffaterre, Bonnet, Balakian, Jenny, Caws, Murat ) who have worked on these often mysterious, enigmatic works. I highly recommend it, therefore, to anyone working in comparative literature, art history, even film studies, thanks to his explanations of surrealist images in a variety of art forms. * Stamos Metzidakis, Professor Emeritus of French and Comparative Literature, Washington University in Saint Louis, USA *Table of ContentsIntroduction 1. André Breton and Automatic Writing 2. Revisiting the Surrealist Image 3. Paul Eluard and Surrealist Love 4. Surrealism and the Poetic Act 5. José María Hinojosa and Early Spanish Surrealism 6. Federico García Lorca 7. J. V. Foix and Catalan Surrealism 8. Portuguese Experiments with Surrealism 9. Octavio Paz 10. South American Surrealists Coda Acknowledgments Bibliography Index

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Book SynopsisSet against the backdrop of war, revolution, and regicide, and moving from London to Venice, Mantua, Madrid, Paris and the Low Countries, Jerry Brotton’s colourful and critically acclaimed book, The Sale of the Late King's Goods, explores the formation and dispersal of King Charles I’s art collection. Following a remarkable and unprecedented Parliamentary Act for ‘The sale of the late king’s goods’, Cromwell’s republican regime sold off nearly 2,000 paintings, tapestries, statues and drawings in an attempt to settle the dead king’s enormous debts and raise money for the Commonwealth’s military forces. Brotton recreates the extraordinary circumstances of this sale, in which for the first time ordinary working people were able to handle and own works by the great masters. He also examines the abiding relationship between art and power, revealing how the current Royal Collection emerged from this turbulent period, and paints its own vivid and dramatic picture of one of the greatest lost collections in English history.Trade ReviewBrotton has taken on a cracking good story, confidently snaking through the complicated politics of seventeenth-century European art-dealership, from Venice and the Low Countries to the Escorial and back into the side-streets of turbulent London and the thousand-odd rooms of Whitehall Palace. He beds this vast mass of convoluted activity with its great cast of characters from de Critz to Van Dyck – its rivalries, frauds, enthusiasms, bankruptcies, brinkmanship and U-turns – deeply into the political, social and artistic context of the time. This is no pillow book: that Brotton maintains his authorial grip on both the grand sweep and the elaborate detail while controlling the drive of his multi-layered narrative is a superb achievement -- Kate Colquhoun * Daily Telegraph *Provocative . . . admirably researched and compellingly narrated -- Miranda Seymour * Sunday Times *Jerry Brotton, a young historian with an enviable command of the secondary literature, both historical and art-historical, and a good understanding of the way objects and works of art assume ideological significance, has told the amazing story of Charles I’s collection and its subsequent sale in full -- Charles Saumarez Smith * Literary Review *Jerry Brotton holds a magnifying glass to the amassing of the royal collection and its later dispersal . . . bustles with fascinating detail * History Today *Admirable * The Times *Colourful * Observer *Magnificent * Daily Express *

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Book SynopsisThis book addresses a topic of increasing importance to artists, art historians and scholars of cultural studies, migration studies and international relations: migration as a profoundly transforming force that has remodelled artistic and art institutional practices across the world. It explores contemporary art’s critical engagement with migration and globalisation as a key source for improving our understanding of how these processes transform identities, cultures, institutions and geopolitics. The author explores three interwoven issues of enduring interest: identity and belonging, institutional visibility and recognition of migrant artists, and the interrelations between aesthetics and politics, including the balancing of aesthetics, politics and ethics in representations of forced migration.Trade Review‘[…] an interesting view on the phenomenon of migration, which is not examined primarily through the prism of its current economic, social, political or security implications, but with regards to contemporary art. Despite this, the issue is embedded in a broader historical and theoretical framework – Petersen points out the so-called “mobility turn”, for instance. In the clarification of the concept of migration, she primarily refers to the book by T. J. Demos – The Migrant Image: The Art and Politics of Documentary During Global Crisis (2013), containing the definitions of the main types of migration (diaspora, refugees, nomadism), which she further specifies (circular migration). Regarding the analysis of specific works, she deals with the concept of “migratory aesthetics”, referring to Mieke Bal and Griselda Pollock and, to the correlations of aesthetics, politics and ethics.’Jana Geržová, Profile / Contemporary Art Magazine, No. 4 (2018) -- .Table of ContentsIntroduction1 Globalisation-from-above and globalisation-from-below2 The politics of identity and recognition in the 'global art world'3 The artist as migrant worker4 Mining the museum in an age of migration5 Identification, disidentification and the imaginative reconfiguration of identity6 Migrant geographies and European politics of irregular migrationConclusionIndex

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Book SynopsisRanging from early twentieth century modernist appropriations of non-western art through to the ways in which Mexican muralists in the 1930s negotiated European avant-gardist strategies, and then up to contemporary installation and lens-based practices during the current period of globalisation, this book seeks to understand selected moments in the art of the last one hundred years through the prism of postcolonialism.Table of ContentsIntroduction – Warren Carter1 Modernism and its margins – Paul Wood 2 Mexican muralism reconsidered – Warren Carter3 Artists, institutions and the ‘global contemporary’ – Gill Perry4 Art, movement and migration since 1970 – Amy CharlesworthConclusion – Warren CarterIndex

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Book SynopsisSurrealist women’s writing: A critical exploration is the first sustained critical inquiry into the writing of women associated with surrealism. Featuring original essays by leading scholars of surrealism, the volume demonstrates the extent and the historical, linguistic, and culturally contextual breadth of this writing. It also highlights how the specifically surrealist poetics and politics of these writers’ work intersect with and contribute to contemporary debates on, for example, gender, sexuality, subjectivity, otherness, anthropocentrism, and the environment.Drawing on a variety of innovative theoretical approaches, the essays in the volume focus on the writing of numerous women surrealists, many of whom have hitherto mainly been known for their visual rather than their literary production. These include Claude Cahun, Leonora Carrington, Kay Sage, Colette Peignot, Suzanne Césaire, Unica Zürn, Ithell Colquhoun, Leonor Fini, Dorothea Tanning, and Rikki Ducornet.Trade Review'This book does not attempt to impose a harmonious, all-encompassing feminist perspective that would gloss over the complexities of being a ‘woman writer’ within the grand scheme of surrealism, but looks, rather, to highlight differences and ambivalences, enriching the discourse surrounding this literature. An enthralling and intensely intellectual investigation into surrealist women’s writing, this study is of critical importance for literary scholars and admirers of surrealism as it offers a profound reconsideration of these ten authors.'French Studies'The 11 essays in the collection look at the work of Claude Cahun, Lenora Carrington, Ithell Colquhoun, Colette Peignot, Kay Sage, and Unica Zürn, among others. Beyond examining the women’s literary work, the essays show how these writers’ work informs contemporary discussion of gender, sexuality, ecocriticism, the Other, and the Anthropocene. Wetz’s excellent introduction frames the questions and concerns surrealist women writers explored in their work.'CHOICE(Reprinted with permission from Choice Reviews. All rights reserved. Copyright by the American Library Association.) -- .Table of ContentsIntroductionAnna Watz1 ‘The dung beetle’s snowball’: the philosophic narcissism of Claude Cahun’s essay-poetryFelicity Gee2 Identity convulsed: Leonora Carrington’s The House of Fear and The Oval LadyAnna Watz3 Recasting the human: Leonora Carrington’s dark exilic imaginationJeannette Baxter4 Colette Peignot: the purity of revoltMichael Richardson5 Suzanne Césaire’s surrealism: tightrope of hope Kara M. Rabbitt6 Kay Sage alive in the worldKatharine Conley7 Outside-in: translating Unica ZürnPatricia Allmer8 Ithell Colquhoun’s experimental poetry: surrealism, occultism, and postwar poetryMark S. Morrisson9 Leonor Fini’s abhuman familyJonathan P. Eburne10 ‘Open sesame’: Dorothea Tanning’s critical writingCatriona McAra11 Magic language, esoteric nature: Rikki Ducornet’s surrealist ecologyKristoffer NohedenBibliographyIndex

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Book SynopsisLeonora Carrington (1917-2011) was an English surrealist artist and writer who emigrated to Mexico after the Second World War. This volume approaches Carrington as a major international figure in modern and contemporary art, literature and thought. It offers an interdisciplinary exploration of the intellectual, literary and artistic currents that animate her contribution to experimental art movements throughout the Western Hemisphere, including surrealism and magical realism.The book contains nine chapters from scholars of modern literature and art, each focusing on a major feature in Carrington's career. It also features a visual essay drawn from the 2015 Tate Liverpool exhibition Leonora Carrington: Transgressing Discipline, and two experimental essays by the novelist Chloe Aridjis and the scholar Gabriel Weisz, Carrington's son. This collection offers a resource for students, researchers and readers interested in Carrington's works.Trade Review‘Feminist readings duly predominate in Leonora Carrington and the International Avant-Garde, edited by Jonathan P. Eburne and Catriona McAra. In this collection a dozen authors set out to reinsert Carrington – against her willed marginality – into the intellectual currents of her many epochs, as an active collaborator […] these resourceful studies draw Carrington's co-ordinates in cultural space. Eburne's inspired reading of the wraithy cloud at the centre of Grandmother Moorhead's Aromatic Kitchen (1975) connects it by winding paths to Carrington's lovely phrase in “Jezzamathatics”: “an incalculable gesture of suspended astonishment.”’Lorna Scott Fox, TLS, May 2017‘This brimming cauldron of essays affirms the continuing value of Carrington’s work, with contributions from established and more recent scholars, as well as from contemporary artists including Lucy Skaer, Lynn Lu and Samantha Sweeting. The contents are imaginatively expanded to include a contribution in the form of an affectionate alphabet of memories from the Mexican novelist Chloe Aridjis, and a gallery of images interspersed with quotations from Carrington that reveals something of her range of media, which Aridjis and her fellow curators provided for the Tate Liverpool exhibition Leonora Carrington in 2015.’Robert Radford, The Burlington Magazine, November 2017‘The editors of Leonora Carrington and the International Avant-Garde are right to argue that she ought to be seen as ‘a major artist and writer in her own right’ […] many of the contributions here offer overdue research into her wider work and interests, such as her pieces for the Mexican journal S.NOB, her writing and illustrations for children and her interest in Mexican history and Tibetan Buddhism.’Edmund Gordon, London Review of Books, November 2017‘In a series of essays that reframe and problematize readings of the artist’s paintings, graphic arts, and writings, Leonora Carrington and the international avant-garde offers a welcome take on its subject. A particular strength of the volume is its emphasis on the artist’s literary works, including novels and short stories […] Leonora Carrington and the international avant-garde provides challenging new readings and fecund analysis of Carrington’s little-studied written texts, juxtaposed with consideration of her painting and graphic work.’Caroline I. Harris, Woman’s Art Journal (Spring/Summer 2019) -- .Table of ContentsIntroduction: Leonora Carrington and the international avant-garde - Jonathan P. Eburne and Catriona McAra1 An A-Z of Leonora Carrington memories, mostly in quotes, gathered over years of visits to her home - Chloe Aridjis2 'An allergy to collaboration': the early formation of Leonora Carrington's artistic vision - Susan L. Aberth3 'Genealogical gestation': Leonora Carrington between modernism and art history - Ara H. Merjian 4 Experience and knowledge in Down Below - Natalya Lusty5 Dissecting The Holy Oily Body: Remedios Varo, Leonora Carrington and El Santo Cuerpo Grasoso - Tara Plunkett6 'A language buried at the back of time': The Stone Door and poststructuralist feminism - Anna Watz7 Losing one's head in the 'Children's Corner': Carrington's contributions to S.NOB in 1962 - Abigail Susik8 Shadow children: Leonora as storyteller - Gabriel Weisz9 Poetic wisdom: Leonora Carrington and the esoteric avant-garde - Jonathan P. Eburne10 Carrington's sensorium - Janet Lyon11 A nonagenarian virago: quoting 'Carrington' in contemporary practice - Catriona McAra12 Leonora Carrington: transgressing discipline - Chloe Aridjis, Francesco Manacorda and Lauren BarnesIndex

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Book SynopsisMarie Duval: maverick Victorian cartoonist offers the first critical appraisal of the work of Marie Duval (Isabelle Émilie de Tessier, 1847–1890), one of the most unusual, pioneering and visionary cartoonists of the later nineteenth century.It discusses key themes and practices of Duval’s vision and production, relative to the wider historic social, cultural and economic environments in which her work was made, distributed and read, identifing Duval as an exemplary radical practitioner.The book interrogates the relationships between the practices and the forms of print, story-telling, drawing and stage performance.It focuses on the creation of new types of cultural work by women and highlights the style of Duval’s drawings relative to both the visual conventions of theatre production and the significance of the visualisation of amateurism and vulgarity.Marie Duval: maverick Victorian cartoonist establishes Duval as a unique but exemplary figure in a transformational period of the nineteenth century.Trade Review'The multiple authors work together to recover and document Duval’s complex creative life... Together they bring more to their subject than the traditional English literature, art history, and history disciplines that inform most scholarly work on periodicals.'Victorian Periodicals Review -- .Table of ContentsIntroduction - Simon Grennan, Roger Sabin, Julian WaitePart I: Work1 Finding a voice at Judy - Roger Sabin2 Marie Duval and the woman employee - Simon Grennan3 Marie Duval’s theatre career and its impact on her drawings - Julian Waite4 The children’s book author: Queens & Kings and Other Things - Roger Sabin5 Marie Duval and the technologies of periodical publishing - Simon GrennanPart II: Depicting and performing6 The significance of Marie Duval’s drawing style - Simon Grennan7 The relationship between performance and drawing: suggestive synaesthesia in Marie Duval’s work - Julian Waite8 The role of spectacle in Marie Duval’s work - Julian Waite9 A women’s cartoonist? - Roger SabinAppendix 1 Questions of attribution Simon Grennan, Roger Sabin, Julian WaiteAppendix 2 Questions of terminology and historicisation Simon Grennan, Roger Sabin, Julian WaiteBibliographyIndex

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Book SynopsisThis book argues that Ford Madox Brown’s murals in the Great Hall of Manchester Town Hall (1878–93) were the most important public art works of their day. Brown’s twelve designs on the history of Manchester, remarkable exercises in the making of historical vision, were semi-forgotten by academics until the 1980s, partly because of Brown’s unusually muscular conception of what history painting should set out to achieve. This ground-breaking book explains the thinking behind the programme and indicates how each mural contributes to a radical vision of social and cultural life. It shows the important link between Brown and Thomas Carlyle, the most iconoclastic of Victorian intellectuals, and reveals how Brown set about questioning the verities of British liberalism.Trade Review'Ford Madox Brown: The Manchester Murals and the Matter of History offers readers a meticulous analysis of Brown’s final artistic project … The detailed visual analyses in these chapters are a major strength and contribution of Trodd’s book .. Trodd has taken the time to consider each image as part of a larger conceptual whole. His attentive readings reveal the coherent structure of the series and lend credence to his overarching argument that the murals have been largely misunderstood… , Trodd has done an exemplary job of articulating the stakes of his assertion in relation to larger concerns about British painting, Pre-Raphaelite conceptions of history, and the fraught relationship between Victorian art and dominant conceptions of modernism… Trodd’s reading has the dual benefit of enriching our understanding of Brown’s artistic motives and expanding our conception of how late-Victorian painting contributed to the history of British art… Without a doubt, Trodd’s interpretation of the murals is the most sustained and detailed to date.'Carolyn Porter Phinizy, Journal of Pre-Raphaelite Studies (Summer 2023)Ford Madox Brown and the Manchester Murals has been nominated for the William MB Berger Prize. -- .Table of ContentsIntroductionPART I: A WORKING LIFE1 Ford Madox Brown and the historical imagination2 The makingof Ford Madox BrownPART II: HISTORY EMBODIED3 Manchester, mythos, murals4 The endless periphery5 Manchester made modernAfterword: the last of Ford Madox Brown Index

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Book SynopsisThe traumatic surreal is the first major study to examine the ground-breaking role played by Germanophone women artists working in surrealist traditions in responding to the traumatic events and legacies of the Second World War. Analysing works in a variety of media by leading artists and writers, the book redefines the post-war trajectories of surrealism and recalibrates critical understandings of the movement’s relations to historical trauma. Chapters address artworks, writings and compositions by the Swiss Meret Oppenheim, the German Unica Zürn, the Austrian Birgit Jürgenssen, the Luxembourg-Austrian Bady Minck and the Austrian Olga Neuwirth and her collaboration with fellow Austrian Nobel-prize winning novelist Elfriede Jelinek. Locating each artist in their historical context, the book traces the development of the traumatic surreal through the wartime and post-war period.Trade Review‘…a welcome addition to recent scholarship on both the women of, and inspired by, Surrealism, and the role of trauma in contemporary art.’ The Burlington Magazine'...a groundbreaking book that offers new perspectives on female positions and lineages in the history of surrealism.' Woman's Art Journal -- .Table of ContentsIntroduction1 Meret Oppenheim’s hauntologies2 Unica Zürn’s pathographies3 Birgit Jürgenssen’s abjections4 Bady Minck’s tourist imaginaries5 Olga Neuwirth / Elfriede Jelinek: temporality and traumaIndex

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Book SynopsisA detailed study of the creative ambitions, social and technological constraints behind the evolution of punk and post-punk graphic styles. -- .

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Book SynopsisThe wood engravers’ self-portrait tells the story of the image-making firm Dalziel Brothers, investigating and interpreting a unique archive from the British Museum. The study takes a creative-critical approach to illustration, alongside detailed investigation of print techniques and history. Five siblings ran the wood engraving firm Dalziel Brothers: George, Edward, Margaret, John and Thomas Dalziel. Prospering through five decades of work, Dalziel became the major capitalist image makers of Victorian Britain. This book, based on AHRC-funded research, outlines the achievements of these remarkable siblings and uncovers the histories of some of the 36 unknown artisan employees that worked alongside them. Dalziel Brothers made works of global importance: illustrations to Lewis Carroll’s Alice books, novels by Charles Dickens, and landmark Pre-Raphaelite prints, as well as other, brilliant works that are published here for the first time since their initial creation.Table of ContentsIntroduction Approaching engravings: medium and the parasite1 A wordless memoir: the illustrator as archivistPart I The Dalziel family and their ‘woodpecker’ employees, 1839-18932 ‘The print of [her] feet’ (Wordsworth): the wood engravers’ self portrait3 Ruskin’s sinisterity: disjointed hands and brains, and the division of art labour4 Barnaby Rudge and ‘the atmosphere of letters’ (Craik): apprenticeship, education and employment5 Ghostwriting the line of the other: Wilkie Collins’s After Dark, and Dalziel’s freelance engravers6 ‘This midnight forger’ (Trollope): signatures, authorship, and relations between engravers and draughtspeoplePart II Medium and technique at Dalziel Brothers7 ‘Off with her head!’ (Carroll): execution, technical violence, and the discipline of visual culture8 ‘These many ingenious adaptations of photography’ (Dalziel): photography and wood engraving, from Eadweard Muybridge to Julia Margaret Cameron9 ‘A peculiar brilliancy of black’ (DeVinne): the colour of monochrome, and Thomas Dalziel’s The May Queen10 Speed, print, newsConclusion11 Greedy rats

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Book SynopsisWhat did it mean for painter Lee Krasner to be an artist and a woman if, in the culture of 1950s New York, to be an artist was to be Jackson Pollock and to be a woman was to be Marilyn Monroe? With this question, Griselda Pollock begins a transdisciplinary journey across the gendered aesthetics and the politics of difference in New York abstract, gestural painting. Revisiting recent exhibitions of Abstract Expressionism that either marginalised the artist-women in the movement or focused solely on the excluded women, as well as exhibitions of women in abstraction, Pollock reveals how theories of embodiment, the gesture, hysteria and subjectivity can deepen our understanding of this moment in the history of painting co-created by women and men. Providing close readings of key paintings by Lee Krasner and re-thinking her own historic examination of images of Jackson Pollock and Helen Frankenthaler at work, Pollock builds a cultural bridge between the New York artist-women and their other, Marilyn Monroe, a creative actor whose physically anguished but sexually appropriated star body is presented as pathos formula of life energy.Monroe emerges as a haunting presence within this moment of New York modernism, eroding the policed boundaries between high and popular culture and explaining what we gain by re-thinking art with the richness of feminist thought.Trade Review‘With theoretic acuity, Griselda Pollock revisits New York Abstract Expressionism to propose a feminist reading of the Jewish-American artist Lee Krasner that is as astonishing as it is compelling. Seeking to discover inscriptions of feminine sexual difference, these psychoanalytically inspired essays revolve around a conceptual triangulation, in which Krasner’s position as a painter-woman in abstract art is conceived as a third position, interrogating and reworking two competing components of her creative energy – with Jackson Pollock as an iconisation of her identity as an artist and Marilyn Monroe as an iconisation of her identity as a woman. The triptych that emerges is utterly riveting.’ Elisabeth Bronfen, Professor of English and American Studies, University of Zurich‘Killing Men & Dying Women represents an exciting new development for Griselda Pollock’s work. She deconstructs the misogyny of 1950s America as well as an art establishment that critically ignored and institutionally marginalised the women artists of Abstract Expressionism. Making an unflinching use of feminist psychoanalytic theory, she argues for a more significant maternal relation in the human psyche’s development than traditional psychoanalysis allows. This perspective brings into visibility occluded modes of feeling and understanding that women’s art, fragilely, preserves. The image and the story of Marilyn Monroe is woven into the texture of the argument, upsetting the decade’s transcendent image of “woman” and revealing the patriarchal insecurities it represented.’Laura Mulvey, Professor of Film Studies, Birkbeck, University of London‘A book that reveals art history as a concerted and difficult and passionate business – a contest, a battle, in short, a lived experience.’Alexander Nemerov, Carl and Marilynn Thoma Provostial Professor in the Arts and Humanities, Stanford University -- .Table of ContentsIntroduction1 Prophecy, 19562 Five essays on sexuality (and art)3 What did Greenberg not say, or dare to think?4 Is the gesture male?5 Is the artist hysterical?6 Massacred women do not make me laugh, nor do the agonies of Marilyn Monroe’s body7 Dancing space: Prophecy to Sun Woman I8 Three memories: Rosenberg and MonroeAppendix: Sexual differenceIndex

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Book SynopsisThis study examines how nineteenth-century industrial Lancashire became a leading national and international art centre. By the end of the century almost every major town possessed an art gallery, while Lancashire art schools and artists were recognised at home and abroad. The book documents the remarkable rise of visual art across the county, along with the rise of the commercial and professional classes who supported it. It examines how Lancashire looked to great civilisations of the past for inspiration while also embracing new industrial technologies and distinctively modern art movements. This volume will be essential reading for all those with an interest in the new industrial society of the nineteenth century, from art lovers and collectors to urban and social historians.Table of Contents1. Introduction: art in the first industrial society 2. Lorenzo in Liverpool: William Roscoe, civic myths and the institutionalisation of urban culture 3. An ‘ornament to the town’? The Royal Manchester Institution and early public art patronage in Manchester4. From private to civic: the diverse origins of the municipal art gallery movement5. A ‘solid foundation’? Art schools and art education6. The art of philanthropy? The formation and development of the Walker Art Gallery7. A problem of scale and leadership? Manchester’s municipal ambitions and the ‘failure’ of public spirit8. Challenging ‘the ocean of mediocrity and pretence’? The alternative visions of the Whitworth and Harris Galleries9. The rise and fall of the municipal art gallery movement? The public and private dimensions of local civic artBibliographyIndex

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Book SynopsisMonumental cares rethinks monument debates, site specificity and art activism in light of problems that strike us as monumental or overwhelming, such as war, migration and the climate crisis. The book shows how artists address these issues, from Chicago and Berlin to Oslo, Bucharest and Hong Kong, in media ranging from marble and glass to postcards, graffiti and re-enactment. A multidirectional theory of site does justice to specific places but also to how far-away audiences see them. What emerges is a new ethics of care in public art, combined with a passionate engagement with reality harking back to the realist aesthetics of the nineteenth century. Familiar questions can be answered anew: what to do with monuments, particularly when they are the products of terror and require removal, modification or recontextualisation? And can art address the monumental concerns of our present?Trade Review'The book is a provocative volume that is academically rigorous, and it will enrich the public debate on commemoration with its sophisticated reflections on notions of temporality and authenticity of historical markers, siting, and public participation, at a moment when monuments have been at the forefront of political activism.'Tijana Vujosevic, Art Margins‘Against the notion that monuments are things of the past, Widrich shows them to be generative of a contemporary art movement that is reclaiming historic places as laboratories for new artistic experiments centred around an ethic of care. She illuminates how artists are expanding what it means to care for monuments beyond the conservation of historic materials, to include looking after their capacity to conjure the collective imagination and direct it towards possible futures. At a time when collective action seems thwarted by the intractable forces of climate change and political injustice, Widrich reveals the capacity of art to jolt the collective nerve into more ambitious forms of care. A tour de force.’Jorge Otero-Pailos, Professor and Director of Historic Preservation, Columbia University‘Monumental cares is a well-crafted intellectual accomplishment, inviting readers to think with care and nuance about monuments as instructions about what the public sphere is or could be. Mechtild Widrich turns to the ethics of care to open up the fundamental question of what monuments in shared public space are about. There are very few books that so compellingly make the argument that monuments are not of the past, but about how we collectively care for changing the present and the future.’Elke Krasny, Professor for Art and Education at the Academy of Fine Arts Vienna, co-editor of Critical Care: Architecture and Urbanism for a Broken Planet'Mechtild Widrich brings to the fore key questions of contemporary approaches to monumentality, and shakes these further. Moving with agility across a wide range of detailed case studies, this book makes a compelling case for a layered perspective that sees the monumental in its complex and interrelational potential: as history materialised through art in multidirectional interactions with time, space and their mediation. It is a book that refuses simplistic solutions, reminding us of the vital role of the public sphere in confronting and commemorating our shared histories and of the importance of an ethics of care in doing so.'Jacek Ludwig Scarso, Reader in Art and Performance, London Metropolitan University'Monumental Cares: Sites of History and Contemporary Art presents a significant intervention in the art history of public art that makes site-specificity its key term. The book is also a bold contribution to contemporary debates about monument activism.Throughout Monumental Cares, Widrich confronts the difficulties posed by public art that grapples with political violence, touching on polarizing contemporary concerns about migration, climate change, and state sanctioned as well as ongoing everyday violence against people across the globe. Ultimately, the book is a plaidoyer for the careful maintenance of public space through monuments and markers that help audiences—past, present, and future—to navigate the multiplicity of sites that articulate shared and multidirectional histories. Monumental Cares also makes the case for the importance of multidirectional art history, opening the field, it is to be hoped, for more to follow.'CAA Reviews, Caroline Schopp'The book addresses those debates but its project is also broader, looking at the power of images and artworks to address violence. The book is also centrally concerned with the kinds of public sphere to which the reception of images and artworks give rise, especially in combination with myriad forms of digital mediation.'21 Inquiries, Adair Rounthwaite -- .Table of ContentsWho cares? An introduction1 The sites of history2 Cold War in stone – and plastic3 Materializing art geographies4 Reversing monumentality5 Reflections6 Drawing pain: political art in circulation Caring about monuments: a conclusionIndex

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Book SynopsisThis book is the first historical study of colour in modern British hospitals, examining the use of colour to understand the layered meanings of modernity in twentieth-century Britain. -- .

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Book SynopsisWinner of the Barbara Jelavich Book Prize 2023“I am Jugoslovenka” argues that queer-feminist artistic and political resistance were paradoxically enabled by socialist Yugoslavia’s unique history of patriarchy and women’s emancipation. Spanning performance and conceptual art, video works, film and pop music, lesbian activism and press photos of female snipers in the Yugoslav wars, the book analyses feminist resistance in a range of performative actions that manifest the radical embodiment of Yugoslavia’s anti-fascist, transnational and feminist legacies. It covers celebrated and lesser-known artists from the 1970s to today, including Marina Abramovic, Sanja Ivekovic, Vlasta Delimar, Tanja Ostojic, Selma Selman and Helena Janecic, along with music legends Lepa Brena and Esma Redžepova. “I am Jugoslovenka” tells a unique story of women’s resistance through the intersection of feminism, socialism and nationalism in East European visual culture."Trade Review'Examining both well-known and heretofore neglected artists, this book provides a nuanced discussion of gender, feminism and identity politics in the region. It also serves to widen the discussion about feminist performance practices and strategies beyond the canonical west.'Amy Bryzgel, Professor of Film and Visual Culture, University of Aberdeen'"I am Jugoslovenka!" is an essential, nuanced feminist intervention into Yugoslav studies. In discussing Yugoslav feminist performance politics, the book places artists and performers as divergent as Marina Abramovic, Lepa Brena and Esma Redžepova side by side. Tumbas effectively dismantles elitist hierarchies about "high" and "low" cultural production and feminist praxis during and after Yugoslavia.'Dijana Jelaca, Brooklyn College'Jasmina Tumbas’s book surveys the cultural landscape of late socialist Yugoslavia to reveal the figure of “Jugoslovenka” as an innovative theoretical construct that captures the simultaneity of emancipatory opportunities and entrenched patriarchy. Imaginative and original, it provides a much-needed extension of the ongoing feminist reassessment of state socialism to the field of art history.'Vladimir Kulic, Associate Professor of Architectural History, Iowa State University'Tumbas's sensitive awareness of historical context is made in the deft interweaving of visual cultural analysis with the author's story as a refugee from Vojvodina in Germany in the early 1990s...'Art Monthly'I am Jugoslovenka!" presents a supremely compact overview of performance politics during and after Yugoslav socialism, providing elaborated examples and visual analysis of numerous performances, events or figures that were seen as agents of female emancipation and empowerment. As Jasmina Tumbas not only expertly chooses and compiles the existing research material, but also engages in producing novel approaches and theoretical concepts that will, hopefully, initiate future interest and interpretations.' Dr. Jana Dolecki'An enormously fascinating read through all five chapters, this book presents a captivating and hitherto unique overview of feminist performance politics in Yugoslavia. The range of figures alone (photos, artworks, paintings, posters, video stills) illustrates the dimensions of the vast territory Tumbas has mapped, showcasing feminist works spanning several decades. In demonstrating how much we can learn about Yugoslavia and Yugoslav feminism from visual history, the book shifts Western notions about the region significantly. Tumbas guides the Balkan imaginary away from grim warlords in camouflage suits facing trial in The Hague to a much brighter image: (post-)Yugoslavia’s female artists.'Dr. Miranda Jakiša, Comparative Southeast European Studies 'Tumbas also provides the reader the context of her own family background with a working-class Yugoslav mother and grandmother, neither of whom identified with feminism but taught her “more about emancipatory resistance than much of [her] higher education, or many of the feminist text[s]” she has read since then. It is this combination of the archival and the personal, which cannot be overlooked when discussing feminist art practices, that makes Tumbas’s such a rich study ... Tumbas’s book provides the type of diverse and expansive examination the field of art history has recently come to expect, one that includes a discussion of a range of individuals from diverse backgrounds, including the contributions not just of women artists but also Roma and queer women.'Art Journal 'It is not too often an art historical monograph achieves a comprehensive and engaging marriage of social, political, and cultural contexts. Jasmina Tumbas’s book “I am Jugoslovenka!”, achieves not only this, but also successfully incorporates the intersections of gender and the LGBTQ community....“I am Jugoslovenka!” is a cohesive and original work which accomplishes a championing of Jugoslovenka feminist legacy, a legacy and a history of work which has at times been overlooked and erased. Tumbas’s work is well-written and accessible to readers, chronicling the rise and fall of nationalism and its socialist impacts and ideologies in Yugoslavia'Erin Walter, University of Glasgow'It is this recognition and working within the messy contradictions of history that makes Tumbas’s text and its methodology a unique and truly paradigm-shifting contribution...Tumbas’s mapping of the histories of socialism, activism, feminist politics, art, and popular culture in, and after Yugoslavia, illuminates not just the otherwise highly understudied and unacknowledged contributions of Yugoslav artists and cultural producers within the history of art but poses a productively disruptive challenge to the discipline’s organizational logics. The interdependent developments of socialism, patriarchy, nationalism, feminist resistance, and avant-gardism that are articulated in the text put into practice a queer anticolonial methodology, the structure of which compliments the politics of the performances described therein.'CAA reviews".... a daring, well-researched, theoretically grounded, and beautifully written book....boldly refreshing. The content analysis of discrete cultural happenings—such as performances, exhibitions, specific artwork, or the praxis of arts collectives—brings to life the unique and dynamic arts and performance culture in Yugoslavia from the 1970s to the 1990s. At the same time, strongly grounded in theory, Tumbas’ analysis helps deconstruct monolithic understandings of feminism by analyzing its diverse political and cultural manifestations. The book not only offers a new interpretation of the Yugoslav cultural scene but also calls for scholars to reconceptualize categories of feminism and ideas of socialist emancipation."2023 Barbara Jelavich Book Prize Committee -- .Table of ContentsIntroduction: Jugoslovenka: the unique position of Yugoslav women during and after socialism1 Jugoslovenka’s body under patriarchal socialism: art and feminist performance politics in Yugoslavia2 Marina Abramovic, Lepa Brena and Esma Redžepova: socialist nation, Orientalism, and Yugoslav legacy3 Queer Jugoslovenka4 Jugoslovenka in a sea of avant-garde machismo: a feminist reading of NSK5 The last generation of Jugoslovenkas: diverse forms of emancipatory resistance and performance strategiesConclusion: Jugoslovenka: a wide-ranging model for feminist performance politics in art and culture Index

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Book SynopsisBaroquemania explores the intersections of art, architecture and criticism to show how reimagining the Baroque helped craft a distinctively Italian approach to modern art. Offering a bold reassessment of post-unification visual culture, the book examines a wide variety of media and ideologically charged discourses on the Baroque, both inside and outside the academy. Key episodes in the modern afterlife of the Baroque are addressed, notably the Decadentist interpretation of Gianlorenzo Bernini, the 1911 universal fairs in Turin and Rome, Roberto Longhi’s historically grounded view of Futurism, architectural projects in Fascist Rome and the interwar reception of Adolfo Wildt and Lucio Fontana’s sculpture. Featuring a wealth of visual materials, Baroquemania offers a fresh look at a central aspect of Italy's modern art.Trade Review'This is a very well-written and extremely well-researched book on a fascinating topic. It is certainly essential reading for anyone interested in contemporary Italian art.'Francesca Billiani, Professor of Italian at the University of Manchester. -- .Table of ContentsIntroduction1 Decadent Seicento: the emergence of the Baroque in the Italian fin de siècle2 The Baroque’s revenge: the 1911 jubilee exhibitions and the search for an Italian style3 Baroque Futurism: Roberto Longhi, seventeenth-century art and the Italian avant-garde 4 Classical Baroque: the Seicento and the return-to-order5 Baroque memories in the architecture of interwar Rome6 Form and formlessness: the reimagination of Baroque sculpture during FascismConclusionsIndex

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Book SynopsisThis volume features new research by an international group of scholars on Russia's historic relationship with Asia and the ways in which it was mediated and represented in the fine, decorative, and performing arts and architecture from the mid-eighteenth century to the first two decades of Soviet rule. -- .

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisThis book offers a journey through the history of the ancient craft of felting from the earliest times, when people first discovered that animal fibre, moisture and friction created a durable, warm fabric. Felt has been used for everything from apparel to housing; it has been used for practical, decorative and even religious applications. This book looks at the rise and fall of felting through history and into the industrial era, including its importance to the hat-making industry. The second part of the book brings us to the modern - and some might say, golden - era of artisanal felting with interviews from felters and textile artists generously sharing their creative process. Finally, if you are inspired to try this fascinating craft, there are step by step instructions for both wet and needle felting, and a useful list of resources to get you started on your own felt-making journey.

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Book SynopsisBarely a decade passed from the Wright Brothers' first powered flight to aircraft becoming lethal instruments of war. The Royal Flying Corps and Royal Naval Air Service took off in the very early days of The Great War and captured the public's imagination and admiration. Sydney and Richard Carline happened to be both pilots and artists as was Frenchman Henri Farre. Their works inspired celebrated painters like Sir John Lavery who took to the skies in an airship in the First World War. Feeding on the demand for works depicting this new dimension of warfighting, a new genre of art was born which has remained popular ever since. During the Second World War, the paintings of Paul Nash stood out as did Eric Ravilions who, ironically, died in an air crash. War artist Albert Richards dropped with British paratroopers on D-Day. Post-war, paintings by leading British and international artists graphically illustrate conflicts such as the Falklands, Bosnia and the Gulf War. John Fairley has brought together a dazzling collection of art works covering over 100 years of air warfare, enhanced by lively and informative text. The result is a book that is visually and historically satisfying.

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Book SynopsisMaking is good for you. Exploring crafts can be relaxing and therapeutic : the projects in this book are accessible to anyone who is inspired to recycle old clothes and textiles into unique, decorative, useful projects. Our forbears improvised tools to recycle their worn clothes - mostly dark suiting or mill waste if they lived near a mill. Usually they made mats for their cold floors or as draft excluders across doors. Nowadays you can choose from so many more colours and textures - painting with rags! Try one project or more. You will be able to use the techniques to design and make your own one-off items for your home or as hand-made gifts. The techniques here are traditional and simple - you will be surprised at how drab fabrics become transformed. Simple designs work best and you can even improvise as you work. If a fabric runs out, then use another - I call that organic design! Hooking is the best technique for pictorial detail and different techniques could be combined for original wall art. Historically, rugs were made by several people sitting round a horizontal frame with the children cutting the pieces of rag which were prodded into the hessian (burlap) backing to make a shaggy mat. There is a prodded project (for purists) but you can also achieve the same effect without a frame by progging, which can be done on table or thigh (carefully). Warning - this craft can be addictive!

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Book SynopsisWith all the wit, knowledge and wisdom of one of the UK''s foremost cultural commentators, Stephen Bayley takes the reader on a satirical roller-coaster ride through the world of art and design in the late 20th century.''Brilliantly drawn ..the pages are full of Wildean paradoxes'' The Spectator______________________________Someone once said you can find beauty anywhere. But all Eustace Dunne can see is ugliness.The buildings are grey, the people are tired and unimaginative, the food is inedible and life is drab, drab, drab.Growing up in an England ravaged by the Second World War, Eustace resolves to make things beautiful again. A mercurial stint in art school gives him a springboard into a world that is changing so fast you have to hold on tight to keep up. And in that world, ambition, timing and a modicum of talent can transform you into anything you want to be.Before long he''s an artist, a designer, a restaurate

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Book SynopsisA comprehensive, first-of-its-kind book about Chicago’s residential architecture and the stories that shaped it. This is an entertaining and precisely illustrated story of Chicago homes from the city’s earliest days through the Second World War, revealing everything about what makes a home a Chicago home. A city famous for its architecture—and for arguing with New Yorkers about who built it first and best—now has a definitive guide to the unique housing types and styles that have inspired so much devotion. This book is for curious Chicagoans and visitors alike—anyone who’s ever wondered how to spot a Foursquare or where to find Italianate homes from before the Great Chicago Fire.Why are Chicago’s lots so narrow? How many Chicagoans built homes from a kit? What exactly is a “greystone”? The authors combine their decades of experience in historic preservation and illustration to create an evergreen resource that Chicagoans and visitors will turn to for answers to these and other questions about the city’s neighborhoods and the homes its citizens live in, visit, and admire. 

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Book SynopsisKnown as the master of French Romanticism for his energetic paintings, Eugène Delacroix (1798–1863) was also a consummate draftsman. This handsome book, one of the few to explore this topic in depth, provides new insight into Delacroix’s drawing practice, paying particular attention to his materials and techniques and the ways in which the artist pushed the boundaries of the medium. The remarkable group of nearly 130 drawings featured here, many of which have been rarely seen, include academic and anatomical studies, sketches from nature, and preparatory drawings related to many of Delacroix’s most renowned canvases, among them The Massacre at Chios and Liberty Leading the People. Published by The Metropolitan Museum of Art / Distributed by Yale University PressExhibition Schedule:The Metropolitan Museum of Art (07/17/18–11/11/18)

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Book SynopsisFeaturing decorative, religious, and utilitarian objects from the Geometric period to the Hellenistic Age, this is the ideal introduction to Greek sculpture Introducing eight centuries of Greek sculpture, this latest addition to The Met’s compelling and widely acclaimed How to Read series traces this artistic tradition from its early manifestations in the Geometric period (ca. 900–700 BCE) through the groundbreaking creativity of the Archaic and Classical periods to the dramatic achievements of the Hellenistic Age (323–31 BCE). The 40 works of art featured represent a broad range of objects and materials, both sacred and utilitarian, in metal, marble, gold, ivory, and terracotta. Sculptures of deities and architectural elements are joined by depictions of athletes, animals, and performers, as well as by funerary reliefs, perfume vases, and jewelry. The accompanying text both provides insight into Greek art as a whole and illuminates centuries of Greek life. Detailed commentaries on each work and an overview of major themes in Greek art offer a fascinating, object-focused introduction to one of the most influential cultures in Western civilization.Published by The Metropolitan Museum of Art/Distributed by Yale University Press

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Book SynopsisThe latest volume in The Met's How to Read series, focusing on the rich and varied textiles of Africa through forty exemplars from the nineteenth century to the present day Across the African continent, handwoven cloth and clothing have historically been labor-intensive creations deeply embedded in local and regional value systems. These fabrics could be endlessly adapted to communal and individual needs, variously serving to clothe the body, divide architectural space, protect the physical and spiritual wellbeing of the wearer, and convey the wealth and authority of the owner. In this volume of The Met's acclaimed and popular How to Read series, readers are guided through forty masterworks of African fiber arts, from a dynamic nineteenth-century interior hanging from Sierra Leone to a dreamlike textile canvas by contemporary Malagasy artist Joël Andrianomearisoa. Organized geographically, the book explores the complex histories of production, consumption, and exchange attached to these extraordinary works, providing clear explanations of long-standing and newly embraced techniques and materials, as well as offering readers new ways to appreciate Africa's diverse textile traditions. Published by The Metropolitan Museum of Art/Distributed by Yale University Press

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Book SynopsisOne of the delights of life is the discovery and rediscovery of patterns of order and beauty in nature—designs revealed by slicing through a head of cabbage or an orange, the forms of shells and butterfly wings. These images are awesome not just for their beauty alone, but because they suggest an order underlying their growth, a harmony existing in nature. What does it mean that such an order exists; how far does it extend? The Power of Limits was inspired by those simple discoveries of harmony. The author went on to investigate and measure hundreds of patterns—ancient and modern, minute and vast. His discovery, vividly illustrated here, is that certain proportions occur over and over again in all these forms. Patterns are also repeated in how things grow and are made—by the dynamic union of opposites—as demonstrated by the spirals that move in opposite directions in the growth of a plant. The joining of unity and diversity in the discipline of proportional limitations creates forms that are beautiful to us because they embody the principles of the cosmic order of which we are a part; conversely, the limitlessness of that order is revealed by the strictness of its forms. The author shows how we, as humans, are included in the universal harmony of form, and suggests that the union of complementary opposites may be a way to extend that harmony to the psychological and social realms as well.

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Book SynopsisLeonardo da Vinci was obsessed with water. The famed Italian Renaissance artist meticulously drew every aspect of rivers, from the nature of water drops to the ways currents create and destroy the earth’s surface. His obsession led him to become a professional hydraulic engineer and an expert on the physics of water. He disproved Aristotle’s 1,800-year-old theory of the water cycle and developed the one we use today. He discovered the nature of erosion and heretically disproved the biblical flood. He created beautiful maps and drawings of river currents and of his audacious plans to reroute the Arno River for war and peace.It is obvious to David Ladensohn, who has been fly-fishing for forty years, that Leonardo would have made the perfect fishing guide. The artist’s keen sense of humor and winning personality would have made him a wonderful companion. He knew more about how rivers work than any person before him and would have been outstanding

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Book SynopsisOnce interred with mummified remains, nearly a thousand funerary portraits from Roman Egypt survive today in museums around the world, bringing viewers face-to-face with people who lived two thousand years ago. Until recently, few of these paintings had undergone in-depth study to determine by whom they were made and how. An international collaboration known as APPEAR (Ancient Panel Paintings: Examination, Analysis, and Research) was launched in 2013 to promote the study of these objects and to gather scientific and historical findings into a shared database. The first phase of the project, was marked with a two-day conference at the Getty Villa. Conservators, scientists, and curators presented new research on such topics as provenance and collecting, comparisons of works across institutions, and scientific studies of pigments, binders, and supports. The papers and posters from the conference are presented in this online publication, which offers the most up-to-date information available about these fascinating remnants of the ancient world.

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Book SynopsisThe first study devoted to classical art's vital creative impact on the work of the Flemish master Peter Paul Rubens. For the great Peter Paul Rubens (1577-1640), the classical past afforded lifelong creative stimulus and the camaraderie of humanist friends. A formidable scholar, Rubens ingeniously transmitted the physical ideals of ancient sculptors, visualized the spectacle of imperial occasions, rendered the intricacies of mythological tales, and delineated the character of gods and heroes in his drawings, paintings, and designs for tapestries. His passion for antiquity profoundly informed every aspect of his art and life. Including more than 150 color illustrations, this volume addresses the creative impact of Rubens's remarkable knowledge of the art and literature of antiquity through the consideration of key themes. The book's lively interpretive essays explore the formal and thematic relationships between ancient sources and Baroque expressions: the significance of neo-Stoic philosophy, the compositional and iconographic inspiration provided by exquisite carved gems, Rubens's study of Roman marble sculpture, and his inventive translation of ancient sources into new subjects made vivid by his dynamic painting style. This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Villa October 21, 2020, to January 11, 2021.Trade Review"The mythical Gorgon Medusa petrified the flesh and blood of those who beheld her. Rubens reversed the metamorphosis. He transformed the ancient sculptures that stood at the center of his art from stone back into flesh and blood. This exhibition and its catalogue display and explain that powerful process of artistic creation, presenting it vividly and lucidly to visitors and readers alike."-Jeffrey Muller, Professor of History of Art and Architecture, Brown University ;; "Rubens's paintings speak directly to the emotions, but a real understanding of his work is only possible if we recognize that his worldview was permeated by antiquity. Not only a great introduction, this book also provides many new insights into Rubens's love and comprehensive knowledge of classical art and literature."-Friso Lammertse, Curator of 17th-Century Dutch and Flemish Painting, Rijksmuseum

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Book SynopsisEngagingly written and profusely illustrated, this book offers readers a close-up "view from the scaffolding" of some of the greatest Renaissance wall paintings at the Vatican. Beginning in the late 1400s, the greatest artists of Renaissance Italy were summoned to Rome, where they decorated the walls and ceilings of the Vatican. Expert restorer Maurizio De Luca spent his forty-year career in the Vatican Museums, including fifteen years as head restorer of the Painting Restoration Laboratory. He personally oversaw some of the most important restorations of the last half century, including wall paintings by Perugino, Botticelli, and others on the walls of the Sistine Chapel; the Pintoricchio wall paintings in the Borgia Apartments; the Raphael Rooms; and the last two frescoes by Michelangelo, in the Pauline Chapel at the Apostolic Palace. In this accessible and copiously illustrated book, De Luca conveys the kind of knowledge that can only be derived from close personal observation. The reader is offered a stunningly intimate perspective that illuminates the distinctive expressive challenges, choices, and techniques of each artist and demonstrates how the conservation process enriches the understanding and interpretation of these iconic works.Trade Review"This book is indispensable in facilitating, simply and lucidly, the approach to one of the most important places in history and in the world through the murals that illustrate it. The images chosen to accompany the text are of excellent quality, allowing even the non-expert reader to follow the author's thinking without difficulty as it unfolds, and for the scholar they correctly support his assertations." --Il Giornale Dell'Arte

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Book SynopsisReframing long-held assumptions about what distinguishes fine from decorative art, this innovative study explores a mode of making, seeing, and thinking that slices across eighteenth-century visual culture.

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Book SynopsisArt and Value is the first comprehensive analysis of art's political economy throughout classical, neoclassical and Marxist economics. It provides a critical-historical survey of the theories of art's economic exceptionalism, of art as a merit good, and of the theories of art's commodification, the culture industry and real subsumption. Key debates on the economics of art are examined in detail. Subjecting mainstream and Marxist theories of art's economics to an exacting critique, Art and Value concludes with a new Marxist theory of art's economic exceptionalism.Trade Review“[Dave Beech’s] book is well worth reading for anyone trying to grasp the strange place of art in our present social order, in which (even after the crash of 2008 revealed the reigning neoliberalism for the calamity it is) money is represented as the one unassailable truth.…What in the world is art worth? Its economic exceptionalism remains a conundrum, albeit one a reader of Art and Value can discern more clearly than before.” —Barry Schwabsky, Hyperallergic “It is impossible in the hackwork of a review to do justice to both the nuanced and wide-ranging arguments set forth in Art and Value … The consequences for rethinking art’s relationship to capitalism (and its politics), as well the collision between the economic and non-economic more broadly, I think, are far-reaching. Art and Value is definitely … exceptional.” —Alex Fletcher, Art Monthly "We're all looking for an opening. Dave Beech has put his hand on a key hidden for decades under a mountain of gloom. The result is Art and Value. I've never read anything like it … In meticulous detail, Beech demonstrates how works of art are 'economically exceptional': that they are not in fact produced as commodities but only come into relation with the commodity form in ways that are not eternal, necessary, and incurable, but social, changeable, and even insignificant. It opens an authentically new dimension in this long debate and, in doing so, shows us a model of artistic, and by extension, social and political freedom that can inspire hope, confidence, and daring. This is a book of, and for, high spirits. —Jeff Wall, artist. “[E]schewing facile totalizations, [Beech] makes some much-needed theoretical distinctions rooted in Marx’s work, and highlights anomalies and details. He is definitely asking the right questions.” —Andrew Kliman, an economist and Professor in economics at Pace University, New York.“[Dave Beech’s] book is well worth reading for anyone trying to grasp the strange place of art in our present social order, in which (even after the crash of 2008 revealed the reigning neoliberalism for the calamity it is) money is represented as the one unassailable truth.…What in the world is art worth? Its economic exceptionalism remains a conundrum, albeit one a reader of Art and Value can discern more clearly than before.” —Barry Schwabsky, Hyperallergic “It is impossible in the hackwork of a review to do justice to both the nuanced and wide-ranging arguments set forth in Art and Value … The consequences for rethinking art’s relationship to capitalism (and its politics), as well the collision between the economic and non-economic more broadly, I think, are far-reaching. Art and Value is definitely … exceptional.” —Alex Fletcher, Art Monthly "We're all looking for an opening. Dave Beech has put his hand on a key hidden for decades under a mountain of gloom. The result is Art and Value. I've never read anything like it … In meticulous detail, Beech demonstrates how works of art are 'economically exceptional': that they are not in fact produced as commodities but only come into relation with the commodity form in ways that are not eternal, necessary, and incurable, but social, changeable, and even insignificant. It opens an authentically new dimension in this long debate and, in doing so, shows us a model of artistic, and by extension, social and political freedom that can inspire hope, confidence, and daring. This is a book of, and for, high spirits. —Jeff Wall, artist. “[E]schewing facile totalizations, [Beech] makes some much-needed theoretical distinctions rooted in Marx’s work, and highlights anomalies and details. He is definitely asking the right questions.” —Andrew Kliman, an economist and Professor in economics at Pace University, New York.Table of ContentsAcknowledgements Introduction PART ONE 1. Art, Value and Economics 2. Art and Exceptionalism in Classical Economics 3. Art and Exceptionalism in Neoclassical Economics 4. Exceptionalism After 1945 5. Exceptionalism After 1966 6. Exceptionalism Reassessed PART TWO 7. On the Absence of a Marxist Economics of Art 8. Art and Productive Capital 9. Art and Merchant Capital 10. Art and Finance Capital 11. Art and Post-Fordism Conclusion Bibliography Index

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Book SynopsisInsightful quotes written in Tibetan calligraphy are paired with photos of Buddhas from around the world to create this collection of timeless iconography.  Calligraphy has held an honored place in the spiritual traditions of Tibet. Monks dedicate their lives to mastering the many subtleties of the art, often spending years transcribing sacred Buddhist manuscripts. The carefully composed lines and deliberate spatial awareness in each work of calligraphy within Sacred Scripts encourage reflection, mindfulness, and meditation. Within these pages, sacred mantras, seed syllables, and Buddhist quotes are presented in authentic Tibetan scripts. Photos of Buddha statues from around the world complement the calligraphy and create an ethereal mood of serenity. Addressing the stresses of our modern world and the demise of spiritual languages, Sacred Scripts provides insight and inspiration for attaining inner peace and well-being.

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Book SynopsisAlmost nine million people from all over the world flock to the Louvre in Paris every year to see its incomparable art collection. Yet few, if any, are aware of the remarkable history of that location and of the buildings themselves, and how they chronicle the history of Paris itself-a fascinating story that historian James Gardner elegantly tells for the first time.Before the Louvre was a museum, it was a palace, and before that a fortress. But much earlier still, it was a place called le Louvre for reasons unknown. People had inhabited that spot for more than 6,000 years before King Philippe Auguste of France constructed a fortress there in 1191 to protect against English soldiers stationed in Normandy. Two centuries later, Charles V converted the fortress to one of his numerous royal palaces. After Louis XIV moved the royal residence to Versailles in 1682, the Louvre inherited the royal art collection, which then included the Mona Lisa, given to Francis by Leonardo da Vinci; just over a century later, during the French Revolution, the National Assembly established the Louvre as a museum to display the nation's treasures. Subsequent leaders of France, from Napoleon to Napoleon III to Francois Mitterand, put their stamp on the museum, expanding it into the extraordinary institution it has become.With expert detail and keen admiration, James Gardner links the Louvre's past to its glorious present, and vibrantly portrays how it has been a witness to French history - through the Napoleonic era, the Commune, two World Wars, to this day - and home to a legendary collection whose diverse origins and back stories create a spectacular narrative that rivals the building's legendary stature.Trade ReviewIn his fluent and fact-rich account of the building's many stages James Gardner...deftly combines the niceties of bricks, mortar and changing architectural styles with telling anecdotes and the broader historical context...with his eye for colour as well as architectural detail * Sunday Times *In his courageous and erudite new book, critic James Gardner is bold to take in, and take on, what few mortals have the chance or the stamina to do. Think of reading this book as the full experience you are temporarily denied today, or may never have had the energy to undertake. . .Open the book and enjoy the visit. * Washington Post *Mysterious in effect, the Louvre is delightfully mysterious in history, too, as James Gardner shows in The Louvre . . . Gardner's muscular, impatiently expert prose recalls Robert Hughes in his city books. -- Adam Gopnik * The New Yorker *I hadn't realized just how mythically resonant a museum could be until I read James Gardner's eloquent encomium to the Louvre . . . This history is told with all the great verve, insight, and eye for detail that Mr. Gardner's criticism is noted for . . . [His] passion also invites us to share his affection - and to plan a visit. * Wall Street Journal *With its fast-moving and rich narrative, this truly excellent book needed to be written: the fascinating and turbulent story of the Louvre as a royal palace has been largely eclipsed by its much shorter and more famous life as a museum. Here both parts of its long history have been splendidly recounted. -- Philippe de Montebello, Director Emeritus, The Metropolitan Museum of ArtThe perfect balance of architectural and social history, full of fascinating and unexpected detail, and salted with delightfully sly wit. -- Jacky Colliss Harvey, author of RED: A Natural History of the RedheadJames Gardner makes the walls talk. He traces the many metamorphoses of the Louvre, revealing how from its humble origins as a fortress it has come to occupy the heart of Paris and the centre of French - and indeed world - culture. His remarkable achievement is to show us how the building is every bit as spectacular and as fascinating as the treasures it holds. -- Ross King, author of BRUNELLESCHI'S DOMETable of Contents1: The Origins of the Louvre 2: The Louvre in the Renaissance 3: The Louvre of the Early Bourbons 4: The Louvre and the Sun King 5: The Louvre Abandoned 6: The Louvre and Napoleon 7: The Louvre under the Restoration 8: The Nouveau Louvre of Napoleon III 9: The Louvre in Modern Times 10: The Creation of the Contemporary Louvre

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Book SynopsisIllustrated publications and the role of market forces in shaping representations of Egypt at a time when European colonial interests in the region were at their peak, with 80 color and black and white illustrationsIn the nineteenth century, following Napoleon Bonaparte's 1798 campaign in Egypt, new possibilities of travel and improvements in printing technology saw an emergence of publishing ventures in France and Britain dedicated to the production of albums and travel accounts featuring images of Muslim Egypt and Islamic architecture and catering to a growing European fascination with the East. Visualizing Egypt analyzes the context and process of production of these highly illustrated publications, from their conceptualization to the finished product and its afterlife, from marketing to the sales of these books, and from circulation to their reception by nineteenth-century audiences. By tracing the long, arduous, and often risky publishing journeys of the makers of these books, including publishers, writers, and artists, such as the Frenchman Émile Prisse d'Avennes, Paulina Banas reveals a complex terrain of changing market demands, collaborations, and conflicting views, and the unsettled authorship of these works, prompting us to think more profoundly about artistic and intellectual exchange in the world of nineteenth-century Orientalist book production. Visualizing Egypt considers nineteenth-century book illustrations on Egypt and the Orient not merely as expressions of enduring ideology and colonial propaganda, but as representations shaped by the often-overlooked commercial exigencies of the growing publishing industry and the reckless competition within it.

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