History of art Books
Museum of New Mexico Press Luis Tapia Ay Que Vida
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£18.89
Museum of New Mexico Press Converging Streams Art of the Hispanic Native
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£48.44
Museum of New Mexico Press Pottery of Acoma Pueblo
Book SynopsisThe pottery of Acoma Pueblo stands at the height of ceramics among the Pueblo Indian pottery traditions. This exhaustively researched book traces the history of Acoma pottery over the past seven hundred years, concentrating on the periods from 1300 to 1930. with a summary of the modern period. The authors studied over several thousand examples, presenting more than 800 examples here, along with dozens of photographs of potters. The book identifies more than nine hundred Acoma potters, several of whom are credited for the first time, who worked between about 1880 to the present. Acoma pottery has evolved significantly in form and decoration over the past seven hundred years, each change reflecting the interplay of many factors, including advances in technology, individual innovations, changing markets, and the evolving uses of pottery vessels. The book is a comprehensive illustrated survey of Acoma pottery at a depth and level of detail that has never before been achieved, and will be t
£146.29
Hancock House Publishers Ltd ,Canada Totem Poles of the Northwest
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£8.07
Beaverbrook Art Gallery Anthony Flower
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£17.99
Beaverbrook Art Gallery Ekpahak
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£17.99
Beaverbrook Art Gallery Nekt Wikuhpon Ehpit
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£11.39
Beaverbrook Art Gallery Glitter and GloomÉclat Et Obscurité
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£24.29
Loom Press Legends of Little Canada
Book SynopsisOn the cusp of becoming a teenager, Charlie Gargiulo lived through the planned destruction of the Little Canada neighborhood of Lowell, Mass., in the 1960s. This is his story. He went on to become a legendary community organizer who led efforts to ensure people would have decent housing and a fair chance to earn a living and make a happy life for themselves.Trade ReviewBook endorsement“Charlie Gargiulo has unearthed for us a time capsule of treasures—treasures of family, community, and connectedness buried deep by the heartless blows of Urban Renewal’s wrecking ball. With his technicolor remembrances of long-gone neighborhood characters and a wry kid’s-eye-view, we get to navigate the gritty and wondrous streets of Lowell’s Little Canada, excavating young Charlie’s loss and grief as well as his hard-won sense of solidarity, ethical persistence, and justice. Legends of Little Canada is a universal story you’ll want to share across divides of geography, ethnicity, and generation.”—Michael Patrick MacDonald, author of All Souls: A Family Story from Southie -- Michael Patrick MacDonald * cover endorsement *With Legends of Little Canada, Charlie Gargiulo joins Mark Twain, Thomas Wolfe, and J.D. Salinger in the great American tradition of coming-of-age sagas. A boy struggles in a confusing world of urban violence, family breakdown, and humiliation by heartless government bureaucrats and teachers to become a man.—Charles Glass, author of Americans in Paris, Deserters, and They Fought Alone -- Charles Glass Charlie Gargiulo’s memoir of growing up in a working-class family in Lowell, Mass., is a poignant story of heartaches and triumphs. He saw the Little Canada neighborhood he grew up in get demolished for urban renewal. When he was an adult, when the same plans of demolition and displacement were announced for the Acre neighborhood of Lowell, Charlie organized the Coalition for a Better Acre (CBA) to successfully prevent this and to then lead the renewal of that neighborhood for people of lower incomes including many immigrants. CBA continues as one of the most effective community development organizations in the state. Charlie’s story is one of leadership, commitment, resilience, and vision to provide thriving and affordable neighborhoods.—Lew Finfer, Massachusetts Communities Action Network -- Lew Finfer
£18.89
Clear Light Publishers Douglas Johnson A Painters Odyssey
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£32.79
JDF & Associates Ltd Pick Up a Pencil The Work of Laurence Fish
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£27.55
The Shelagh Cluett Trust Le Cabinet de Curiosites
Book SynopsisLe Cabinet de Curiosites de Mademoiselle Clouette is an exhibition of Shelagh Cluett''s collection and work. This publication guides the viewer through the artefacts and ephemera collected on her epic travels over 25 years in Asia. Taking an ethnographic turn, the aim is to illustrate, through ''things'' rather than ideas, how displacement and documentation influence art practice. Juxtaposed with a selection of Cluett''s own smaller sculptures to evoke both formal and conceptual affinities, these objects act as agents of partial connections within an ideal contact zone for transcultural exchange: a library.
£10.00
American Traveler Hohokam Arts And Crafts
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£10.44
Textile Museum of Canada with Owens Art Gallery Permanent Danger Danger Permanent
£37.46
Te Papa Press Peter McLeavey The Life and Times of a New
Book SynopsisFrom Montana award-winning author Jill Trevelyan comes the first biography of Peter McLeavey, the charismatic, pioneering art dealer who since the 1960s has shaped - even transformed - New Zealand art. McLeavey''s personal story is remarkable, but his contemporaries will recognise common themes: the religious upbringing, the struggle to be bohemian in repressive mid-century small town New Zealand, the challenges of marriage and fatherhood, the dilemma of whether to stay or leave New Zealand, and the need to make a mark. Through exclusive access to McLeavey''s extensive and hitherto untapped archive of letters, diaries, exhibition files and more, this book offers insights into the artists McLeavey has represented across half a century. Here, in their own words - lively, salty, and often heart-breaking - are Colin McCahon, Toss Woollaston, Len Lye, Milan Mrkusich, Bill Hammond, Gordon Walters, Michael Illingworth, Robin White, Richard Killeen, John Reynolds, Yvonne Todd and many more. Far more than a simple biography, this is the big story of contemporary New Zealand art itself, in a period of massive change and growth, and Trevelyan offers an utterly fresh and compelling historical account of the birth of the modern art market and the status of art today. A must-read for anyone interested in New Zealand''s art, culture or recent history.
£42.49
Te Papa Press Ten x Ten
Book SynopsisIn an entirely fresh way to approach the collection, Te Papa's ten art curators have each chosen ten of their favourite works in the national art collection at Te Papa, and tell us why they love, admire, revere or are moved by their chosen works.Trade Review'Just ahead of the opening of the much-anticipated gallery revamp that will enhance the art experience at Te Papa, an exciting new book by the museum’s press offers a fresh approach to art appreciation.' – Graham Beattie; 'This is a beautiful book covering the broad and diverse range of art at Te Papa as they prepare to renew their gallery space...This book is great start for anyone even just a little curious about art or planning to visit Te Papa’s renewed gallery space.' – The Reader.Table of ContentsIntroduction: Curators' choices 6 Ten/01 Head of Art - Charlotte Davy 18 Ten/02 Historical International Art - Mark Stocker 44 Ten/03 Historical New Zealand Art - Rebecca Rice 68 Ten/04 Historical Photography - Lissa Mitchell 92 Ten/05 Modern Art - Chelsea Nichols 118 Ten/06 Decorative Art & Design - Justine Olsen 140 Ten/07 Modern & Contemporary Maori & Indigenous Art Megan Tamati-Quennell 164 Ten/08 Photography - Athol McCredie 186 Ten/09 Pacific Art - Nina Tonga 212 Ten/10 Contemporary Art - Sarah Farrar 234 The curators The artists Image credits Index
£29.74
Te Papa Press Crafting Aotearoa
Book SynopsisA major new history of craft that spans three centuries of making and thinking in Aotearoa New Zealand and the wider Moana (Pacific). Paying attention to Pakeha (European New Zealanders) , Maori, and island nations of the wider Moana, and old and new migrant makers and their works, this book is a history of craft understood as an idea that shifts and changes over time. At the heart of this book lie the relationships between Pakeha, Maori and wider Moana artistic practices that, at different times and for different reasons, have been described by the term craft. It tells the previously untold story of craft in Aotearoa New Zealand, so that the connections, as well as the differences and tensions, can be identified and explored. This book proposes a new idea of craftone that acknowledges Pakeha, Maori and wider Moana histories of making, as well as diverse community perspectives towards objects and their uses and meanings.Trade Review'Crafting Aotearoa is ambitious, to say the least. Across 460-plus pages it surveys three centuries of craft in New Zealand and the broader Pacific, examining its role in defining cultural identity, and the tensions and transformations that occur as it engages with outside knowledge and practices ... a delight to dip into. For a significant work, it carries its load lightly' - New Zealand Geographic; 'Crafting Aotearoa charts it all, providing an important overview of all things cut and carved, stitched and sewn, hammered and hewn to build a uniquely New Zealand story of cultural change' - Sally Blundell, New Zealand Listener; '... first and foremost an acknowledgement of history as it should be acknowledged: a kind of retelling that is resolved to start a 'dynamic conversation' between Maori, Pakeha and wider Moana Oceania (Pacific) craftspeople and their work ... it's a wellspring of knowledge on what has constituted three centuries of making in New Zealand' - Urbis; 'An indispensable, encyclopaedic and comprehensive reference to three centuries of craft in New Zealand, Crafting Aotearoa manages the difficult task of marshalling the contentious categories of craft, art, folk art, design and indigenous practices in a way that will surely set the standard for future scholarship ... Although there have been sporadic books on craft in Aotearoa before, this is the first of its scope, and for a reference work it is surprisingly readable and not at all bogged down in its scholarship or the ever-volatile politics of craft' - Paul Wood.Table of ContentsContents 8 Introduction 18 Chapter 1 Craft and island nations 23 The Ancestors of the Arts, Tevita 'O Ka'ili 30 No Tangaroa ke tena Marae: Connecting with Oceania, Julie Paama-Pengelly 39 The Exchange of Kula Feathers, Tarisi Vunidilo 43 Pulotu, Hawaiki and Lapita, Hufanga `Okusitino Mahina 48 Chapter 2 Craft on board 57 Cook Samplers, Vivien Caughley 61 Blacksmithing on Guam, Michael Bevacqua 64 The Ancestry of Te Aute, Nikau Gabrielle Hindin 67 An Iconic Collectible, Donald Kerr 78 Chapter 3 Craft and belief 85 Craft and `Civilisation' at the LMS Museum, Chris Wingfield 89 Identifying Early Colonial-made Furniture, William Cottrell 96 The Art of Tuvalu Crochet: Kolose, Marama T-Pole 99 A Victorian Gothic Masterpiece, Ann Calhoun 102 `God in their luggage', Julie Adams 108 Chapter 4 Craft and the authentic 120 Needlework in the New Zealand Education System, Stella Lange 127 St Barnabas' Chapel, Norfolk Island, Ann Calhoun 141 Polynesian Corpuscles: Tracing Cultural Stratification Through Craft, Ioana Gordon-Smith 144 From Furniture Restoration to Faking Taonga, Elizabeth Cotton 148 Makea: Queen of Rarotonga, Preserver of Women's Weaving Traditions, Joanna Cobley 151 The Havelock Work: Craft and the Occult, Georgina White 158 Liberty and Co. in New Zealand, Walter Cook 161 Mary Eleanor Joachim, Bookbinder, Margery Blackman 166 The Women's Section, Moira White 168 Chapter 5 Craft and tourism 177 Souvenirs of the `Eighth Wonder of the World', Richard Wolfe 180 Crafting Kapa Haka, Tryphena Cracknell 190 A Novelty Barometer, Marguerite Hill 198 The Coral Route, Lynette Townsend 200 The Coconut Shell As Art Object, John Perry 207 Maori Culture and the Contemporary Scene, Taarati Taiaroa 211 Fashioning Souvenirs, Elizabeth Wratislav 215 The Geyser Room Experience, Michael Smythe 217 The World Came Knocking, Kevin Murray 220 Chapter 6 Craft and the modern 225 Making Do in Hard Times, Rosemary McLeod 229 `Something to See': Women's Institutes, Claire Regnault 237 Guilds and Societies in Craft Practice, Helen Schamroth 241 Theo Schoon: Bauhaus to Our House, Andrew Paul Wood 245 Joseph Churchward's Handcrafted Typefaces, Safua Akeli Amaama 256 Studio Craft and the Everyday, Moyra Elliott 262 A New Vision for New Zealand Craft, Lucy Hammonds 267 Indigenous Pacific Museums and Cultural Centres, Tarisi Vunidilo 272 Craft and the Hippie Myth, Vic Evans 278 Peter Stichbury and Abuja, Justine Olsen 288 Chapter 7 Craft and belonging 293 The Craft of Punk, Simon Swale 295 The Permanent Crucible, Benjamin Lignel 299 Craft and Conceptual Art, Warren Feeney 301 Bone Stone Shell across the Ditch, Julie Ewington 316 What Planet Do You Come From?, Rosanna Raymond 322 New Zealand Wearable Art and the Craft Conundrum, Natalie Smith 325 Words Were Loaded, Siliga David Setoga 330 Tatau as Craft, Sean Mallon 331 Crafting a Continuum, Ane Tonga 335 Mau Mahara, Philip Clarke 337 The 1983 Tokomaru Bay Weaving Hui, Christina Hurihia Wirihana 344 Pacific Men's Craft in New Zealand, Sean Mallon 346 Chapter 8 Craft in the contemporary 351 Street Craft in a Cracked City, Reuben Woods 355 From Craft Practitioners to Designer-makers, Michael Smythe 358 Crafting Make Believe, Claire Regnault 363 Contemporary Quilting Communities, Jane Groufsky 367 Slow Fashion and Craft Activism, Natalie Smith 369 More Than Just a Cup of Tea, Johnny Hui 373 The Social and Sustainably Crafted Object, Andrea Bell 381 Masi: Wedding Ceremonial Dress Practices in Fiji, Joana Monolagi 386 Performing Measina: Craft in Contemporary Pacific Performance, Lana Lopesi 389 Kowhaiwhai Ceramics, Tharron Bloomfield 394 Our Mothers Were Not Marked, Julia Mage'au Gray 400 He Rauemi Tuturu: Muka in Contemporary New Zealand Jewellery Practice, Tryphena Cracknell 409 Meliors Simms: Agent of Change, Bronwyn Lloyd 416 Casting Shadow, Chasing Light, Lydia Baxendell 422 Notes Further reading More about craft About the editors Contributors Acknowledgements Objects Image credits Index
£52.79
Te Papa Press Whatu Kakahu
Book SynopsisA celebration of the science and art of Maori weaving, focused on the largest collection of Maori cloaks in the world.Trade Review'… a definitive work on the subject, showcases 40 distinctive kākahu from Te Papa’s large collection … Beautifully illustrated and richly informative …' – New Zealand Geographic; 'Ranging from the primitive and precious, through the unique and prestigious, to their contemporary reincarnation, Whatu Kākahu is the definitive description of Māori cloaks in Te Papa’s collections. Illustrated throughout with stunning photographs that document the subtle beauty of these cultural treasures …'– Scoop.Table of ContentsForeword Introduction Te Mana o te Kakahu: The Prestige of Cloaks Nga Aho: Threads that Join Ko te Putaiao, te Ao o nga Tupuna: Ancestral Maori Scientific Practice Te Ao Tawhito/Te Ao Hou: Entwined Threads of Tradition and Innovation Whatu: The Enclosing Threads Nga Kakahu o Te Papa: The Cloaks of Te Papa Te Kaitiakitanga o Te Whare Pora: The Custodianship of Weaving Types of Cloaks known from Museum Collections Acknowledgements Notes Glossary Select Bibliography Contributors Image Credits Index
£46.39
Cambridge University Press The Imagery and Politics of Sexual Violence in
Book SynopsisThis book is the first comprehensive study of images of rape in Italian painting at the dawn of the Renaissance. Drawing on a wide range of primary sources, Péter Bokody examines depictions of sexual violence in religion, law, medicine, literature, politics, and history writing produced in kingdoms (Sicily and Naples) and city-republics (Florence, Siena, Lucca, Bologna and Padua). Whilst misogynistic endorsement characterized many of these visual discourses, some urban communities condemned rape in their propaganda against tyranny. Such representations of rape often link gender and aggression to war, abduction, sodomy, prostitution, pregnancy, and suicide. Bokody also traces how the new naturalism in painting, introduced by Giotto, increased verisimilitude, but also fostered imagery that coupled eroticism and violation. Exploring images and texts that have long been overlooked, Bokody''s study provides new insights at the intersection of gender, policy, and visual culture, with evidentTable of Contents1. Introduction; 2. Victims of lust; 3. Medicalized misogyny; 4. Rape as a weapon of war; 5. Political allegories; 6. Abduction in illustrated romances; 7. Lucretia and the renaissance rape.
£71.25
Cambridge University Press Color and Meaning in the Art of Achaemenid Persia
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£80.75
Cambridge University Press The Cambridge Encyclopaedia of Late Antique Art and Archaeology Volume 2 Settlements Regions Peoples and Debates
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£120.00
Cambridge University Press Art Knowledge and Papal Politics in Medieval Rome
Book SynopsisDiscovered in 1995, the remarkable thirteenth-century frescoes in the great hall, or Aula Gotica, of Rome''s Santi Quattro Coronati complex are among the most important vestiges of medieval Italian painting. In this volume, Marius Hauknes offers a thorough investigation of the fresco cycle, which includes allegorical representations of the liberal arts, the virtues and vices, the seasons, the signs of the zodiac, and the months of the year. Hauknes relates these subjects to the papacy''s growing interest in fields of worldly knowledge, such as music, time, astrology, and medicine. He argues that the Santi Quattro Coronati frescoes function as a large-scale, interactive encyclopedia that not only represented secular knowledge but also produced philosophical speculation, stimulating beholders to draw connections between pictorial motifs across architectural space. Integrating medieval intellectual history with close attention to multi-sensory and architectural conditions of fresco Hauknes'' study offers new insights into religion, art, science, and spectatorship in medieval Italy.
£94.50
Cambridge University Press The Young Leonardo Art and Life in FifteenthCentury Florence
Book SynopsisLeonardo da Vinci is often presented as the 'transcendent genius', removed from or ahead of his time. This book, however, attempts to understand him in the context of Renaissance Florence. Larry J. Feinberg explores Leonardo's origins and the beginning of his career as an artist. While celebrating his many artistic achievements, the book illuminates his debt to other artists' works and his struggles to gain and retain patronage, as well as his career and personal difficulties. Feinberg examines the range of Leonardo's interests, including aerodynamics, anatomy, astronomy, botany, geology, hydraulics, optics, and warfare technology, to clarify how the artist's broad intellectual curiosity informed his art. Situating the artist within the political, social, cultural, and artistic context of mid- and late-fifteenth-century Florence, Feinberg shows how this environment influenced Leonardo's artistic output and laid the groundwork for the achievements of his mature works.Trade Review'Feinberg's work offers a nuanced, intelligent account of varied themes within the artist's early period. The text is insightful and thought provoking.' Choice'At last, we have a completely fresh and compelling look at the artist's early years. The Young Leonardo brilliantly places the artist in the context of contemporary Florentine culture and society while giving us fascinating new insights into his thought processes and observations on the subjects and meanings of even his most enigmatic works. A complex, demythologized appreciation of the man and his genius emerges from this wonderfully written book.' Steven Naifeh and Gregory White Smith, authors of the Pulitzer Prize-winning Jackson Pollock and Van Gogh: A Life'Feinberg nicely interweaves biography, the implacable social milieu in fifteenth-century Italy and analysis of Leonardo's rapidly evolving paintings and drawings. Among the book's best features is its keen avoidance of idealizing puffery, which makes Leonardo's accomplishments under often difficult daily circumstances all that much more impressive.' Los Angeles TimesTable of ContentsIntroduction; 1. Childhood; 2. Florence and Cosimo the Elder; 3. The cultural climate of Florence; 4. First years in Florence and the Verrocchio workshop; 5. First works in Florence and the artistic milieu; 6. Early pursuits in engineering – hydraulics and the movement of water; 7. The Bust of a Warrior and Leonardo's creative method; 8. Early participation in the Medici court; 9. Leonardo's personality and place in Florentine society; 10. Important productions and collaborations in the Verroccio shop; 11. Leonardo's colleagues in the workshop; 12. Leonardo's Madonna of the Carnation and the exploration of optics; 13. The Benois Madonna and continued meditations on the theme of sight; 14. The Madonna of the Cat; 15. Leonardo, the Medici, and public executions; 16. Leonardo and Ginevra de'Benci; 17. Leonardo as portraitist and master of the visual pun; 18. The young sculptor; 19. The Madonna Litta; 20. The Adoration of the Magi and invention of the High Renaissance style; 21. The Adoration and Leonardo's military interests; 22. Leonardo and allegorical conceits for the Medici court; 23. Early ideas for the Last Supper; 24. Leonardo and the Saint Sebastian; 25. Saint Jerome; 26. First thoughts for the Virgin of the Rocks and the invention of the Mary Magdelene-courtesan genre; 27. Milan; 28. Leonardo and the Sforza court.
£65.70
Cambridge University Press Mosaics in the Medieval World From Late Antiquity
Book SynopsisIn this book, Liz James offers a comprehensive history of wall mosaics produced in the European and Islamic middle ages. Taking into account a wide range of issues, including style and iconography, technique and material, and function and patronage, she examines mosaics within their historical context. She asks why the mosaic was such a popular medium and considers how mosaics work as historical 'documents' that tell us about attitudes and beliefs in the medieval world. The book is divided into two part. Part I explores the technical aspects of mosaics, including glass production, labour and materials, and costs. In Part II, James provides a chronological history of mosaics, charting the low and high points of mosaic art up until its abrupt end in the late middle ages. Written in a clear and engaging style, her book will serve as an essential resource for scholars and students of medieval mosaics.Trade Review'This fabulous book is a great achievement. The 166 splendid color illustrations (many previously unpublished) alone would make the volume of great value, but James (Univ. of Sussex, UK) also provides a rich scholarly apparatus of footnotes and bibliography and a fine list of all extant mosaics, arranged by period and country. Written with panache, the book wears its erudition lightly and is accessible to a wide readership. Essential.' L. Nees, Choice'This stunning new book will change the way you look at medieval mosaics … The attention to detail and to making this book useable, with indices, lists of sites and bespoke maps, ensure that this will be a much-consulted book for anyone working on the late antique, early medieval and medieval built environment.' Caroline Goodson, Medieval ArchaeologyTable of ContentsPart I. Making Wall Mosaics: Introduction to Part I; 1. Making glass tesserae; 2. Making mosaics; 3. The business of mosaics; 4. The value of mosaics; Part II. Mosaics by Century: Introduction to Part II; 5. In the beginning: wall mosaics in the fourth century; 6. Types or prototypes? Mosaics in the fifth century; 7. Emperors, kings, popes and bishops: mosaics in the sixth century; 8. New beginnings? Islam, Byzantium and Rome: mosaics in the seventh and eighth centuries; 9. Medium and message: ninth- and tenth-century mosaics; 10. A universal language? Eleventh-century mosaics; 11. Incorrigibly plural: mosaics in the twelfth century; 12. Men and mosaics: the thirteenth century; 13. Boom and bust: mosaics in the fourteenth and fifteenth centuries; Conclusion; Appendix of sites; Bibliography.
£157.70
Cambridge University Press A History of Chinese Art 2 Volume Hardback Set The Cambridge China Library
Book SynopsisA History of Chinese Art is a lavishly illustrated work covering the history of Chinese art from the Pre-Qin period (pre-221 BCE) to the early twentieth century in two volumes. Compiled by leading art historians at the Central Academy of Fine Arts in Beijing, the volumes offer a Chinese perspective on the rich artistic tradition that has flourished throughout China's long history, from ancient pottery and tomb painting to furniture, sculpture, ceramics, calligraphy and fine art. Discussion is supported by full-colour illustrations throughout, sourced from collections in China and around the world, including recent archaeological discoveries. A History of Chinese Art provides an introductory point of reference for those with an interest in Chinese history, culture and art.
£219.45
Cambridge University Press Community and Identity in Ancient Egypt
Book SynopsisThis book examines a group of twelve ancient Egyptian tombs (c.2300 BCE) in the elite Old Kingdom cemetery of Elephantine at Qubbet el-Hawa in modern Aswan. It develops an interdisciplinary approach to the material - drawing on methods from art history, archaeology, anthropology, and sociology, including agency theory, the role of style, the reflexive relationship between people and landscape, and the nature of locality and community identity. A careful examination of the architecture, setting, and unique text and image programs of these tombs in context provides a foundation for considering how ancient Egyptian provincial communities bonded to each other, developed shared identities within the broader Egyptian world, and expressed these identities through their personal forms of visual and material culture.Table of ContentsIntroduction; 1. People and place: historical and social context; 2. Tombs in context: description of cemetery and overview of tombs; 3. Figure, panel, program: form and meaning; 4. Individuals, community, identity: summation and interpretation of program content; Conclusion.
£999.99
Cambridge University Press The Living Icon in Byzantium and Italy
Book SynopsisThis is the first book to explore the emergence and function of a novel pictorial format in the Middle Ages, the vita icon, which displayed the magnified portrait of a saint framed by scenes from his or her life. The vita icon was used for depicting the most popular figures in the Orthodox calendar and, in the Latin West, was deployed most vigorously in the service of Francis of Assisi. This book offers a compelling account of how this type of image embodied and challenged the prevailing structures of vision, representation and sanctity in Byzantium and among the Franciscans in Italy between the eleventh and thirteenth centuries. Paroma Chatterjee uncovers the complexities of the philosophical and theological issues that had long engaged both the medieval East and West, such as the fraught relations between words and images, relics and icons, a representation and its subject, and the very nature of holy presence.Trade Review'Paroma Chatterjee's book presents a precise and intelligent study of the vita icons of saints produced in Italy and in Byzantium. Her readings of these distinctive works are informed by current discussions in the literature and by broader theoretical concerns. As such, this is a book that builds a scrupulous and articulate case for a fluid and dynamic understanding of the icon.' Charles Barber, Princeton University'… a thoughtful, nuanced, theoretically sophisticated, and provocative study that will challenge the reader.' Anne Derbes, Hood CollegeTable of ContentsIntroduction: the metaphor of the 'living icon'; 1. The saint in the text; 2. The saint in the image; 3. 'Wrought by the finger of God'; 4. Depicting Francis' secret; Epilogue: Francis in Constantinople.
£88.34
Cambridge University Press The Mapping of Power in Renaissance Italy
Book SynopsisHow did maps of the distant reaches of the world communicate to the public in an era when exploration of those territories was still ongoing and knowledge about them remained incomplete? And why did Renaissance rulers frequently commission large-scale painted maps of those territories when they knew that they would soon be proven obsolete by newer, more accurate information? The Mapping of Power in Renaissance Italy addresses these questions by bridging the disciplines of art history and the histories of science, cartography, and geography to closely examine surviving Italian painted maps that were commissioned during a period better known for its printed maps and atlases. Challenging the belief that maps are strictly neutral or technical markers of geographic progress, this well-illustrated study investigates the symbolic and propagandistic dimensions of these painted maps as products of the competitive and ambitious European court culture that produced them.Trade Review'Mark Rosen's The Mapping of Power in Renaissance Italy: Painted Cartographic Cycles in Social and Intellectual Context struck us as the most original, most thoughtfully grounded in theory, best researched, and most beautifully written of the manuscripts.' Sixteenth Century Society and Conference Prize CommitteeTable of Contents1. A lost world: maps as decoration before the sixteenth century; 2. Wonders unknown to the ancients: maps as decoration in the early to mid sixteenth century; 3. The Medici Guardaroba and its role in the Florentine cosmos; 4. 'All the things of heaven and earth together': the Guardaroba program; 5. Manufacturing a universe: the Medici Guardaroba and its cosmographers; 6. The maps of the Medici Guardaroba; 7. The Guardaroba and the late cinquecento map-cycle competition; Appendix: the curriculum of Don Stefano Buonsignori.
£999.99
Cambridge University Press The Afterlife of the Roman City
Book SynopsisThis book offers a new and surprising perspective on the evolution of cities across the Roman Empire in late antiquity and the early Middle Ages (third to ninth centuries AD). It suggests that the tenacious persistence of leading cities across most of the Roman world is due, far more than previously thought, to the persistent inclination of kings, emperors, caliphs, bishops, and their leading subordinates to manifest the glory of their offices on an urban stage, before crowds of city dwellers. Long after the dissolution of the Roman Empire in the fifth century, these communal leaders continued to maintain and embellish monumental architectural corridors established in late antiquity, the narrow but grandiose urban itineraries, essentially processional ways, in which their parades and solemn public appearances consistently unfolded. Hendrik W. Dey''s approach selectively integrates urban topography with the actors who unceasingly strove to animate it for many centuries.Trade Review'This is an outstanding work of scholarship that follows a bright and lustrous thread of urban life – the celebration of rulership - with some remarkably fresh insights. … Written in a style that is clear, animated and enjoyable, his argument is everywhere brought to life with the archaeology of city spaces and with literary and documentary sources that describe the processional habit. Finally, the rich variety of cities and communities surveyed across five centuries makes this a fascinating and lasting contribution to scholarship in a range of fields: urban archaeology and architecture, political and religious history, and the cultural history of late-antique and early-medieval cities.' Bryn Mawr Classical Review'This well-written yet nuanced and critical study makes an important contribution to this debate and to the integration of small finds into the wider narrative.' Lucy Grig, AntiquityTable of Contents1. Introduction: urban living and the 'fall' of the Roman Empire; 2. New urban forms for a new empire: the third century and the genesis of the late antique city; 3. Ceremonial armatures: porticated streets and their architectural appendages; 4. 'Dark ages' and the afterlife of the classical city; 5. Postscript: architecture, ceremony, and monastic cities in Carolingian Francia.
£91.19
Cambridge University Press Artists and Artistic Production in Ancient Greece
Book SynopsisGreek artists and architects were important social agents who played significant roles in the social, cultural, and economic life of the ancient Greek world. In Artists and Artistic Production in Ancient Greece, art historians, archaeologists, and historians explore the roles and impacts of artists and craftsmen in ancient Greek society. The contributing authors draw upon artistic, architectural, literary, epigraphical, and historical evidence to discuss a range of artists, architects, artistic media, and regions. They refer to historiography and modern theory, taking stock of the past while offering some new directions for future research. Incorporating a variety of methodological approaches and making use of often-neglected evidence, Artists and Artistic Production in Ancient Greece re-examines many long-held ideas and provides a deeper understanding of particular artists and architects, their works, and their social agency.Trade Review'It is a reassertion of the importance of the individual in the creation of the material culture of ancient Greece.' Janet Burnett Grossman, Bryn Mawr Classical ReviewTable of ContentsPreface Peter Schultz and Kristen Seaman; 1. Introduction: Greek artists, yesterday and today Kristen Seaman; 2. The social and educational background of elite Greek artists Kristen Seaman; 3. Portrait of an artist: Euthymides, son of Pollias Jenifer Neils; 4. Kritios and Nesiotes: two revolutionaries in context Andrew Stewart; 5. Craft identity: mosaics in the Hellenistic East S. Rebecca Martin; 6. Artistic choice and constraint on coins Isabelle A. Pafford; 7. Constructing architects: the so-called 'Theseum architect' Margaret M. Miles; 8. Euphranor Olga Palagia; 9. Politics and personality?: the case of Kephisodotos the Younger Peter Schultz; 10. Artists' signatures on archaic Greek vases from Athens Sarah Bolmarcich and Georgina Muskett; 11. Response: reflections on identity, personality, and originality Jeffrey M. Hurwit.
£90.24
Cambridge University Press Comic Acting and Portraiture in LateGeorgian and Regency England
Book SynopsisThe popularity of the comic performers of late-Georgian and Regency England and their frequent depiction in portraits, caricatures and prints is beyond dispute, yet until now little has been written on the subject. In this unique study Jim Davis considers the representation of English low comic actors, such as Joseph Munden, John Liston, Charles Mathews and John Emery, in the visual arts of the period, the ways in which such representations became part of the visual culture of their time, and the impact of visual representation and art theory on prose descriptions of comic actors. Davis reveals how many of the actors discussed also exhibited or collected paintings and used painterly techniques to evoke the world around them. Drawing particularly on the influence of Hogarth and Wilkie, he goes on to examine portraiture as critique and what the actors themselves represented in terms of notions of national and regional identity.Table of ContentsPart I. English Comic Actors and their Representation: 1. The low comic actor; 2. Artists and comic actors; 3. Perspectives on comedy and comic acting; Part II. Humorous as a Sketch by Hogarth: 4. Comedy and caricature: Joseph Munden and Isabella Mattocks; 5. John Liston: caricaturing preachers and cockneys; 6. The low comedian as material object; 7. Caricature, degradation, persona and portraiture; 8. Paintings by George Clint; Part III. Chaste as a Picture by Wilkie: 9. Wilkie, everyday life and the theatre; 10. Acting from nature and observation; 11. John Bannister: 'the best kind of Englishman'; 12. John Emery: 'this Wilkie of Actors'; 13. Actors as artists and connoisseurs; Part IV. Alone I Did It! The Case of Charles Mathews: 14. Charles Mathews 'at home'; 15. Charles Mathews: paintings, portraits and prints; 16. The Harlow portrait of Charles Mathews.
£85.50
Cambridge University Press The Creation of Eve and Renaissance Naturalism
Book SynopsisDepicting the Creation of Woman presented a special problem for Renaissance artists. The medieval iconography of Eve rising half-formed from Adam''s side was hardly compatible with their commitment to the naturalistic representation of the human figure. At the same time, the story of God constructing the first woman from a rib did not offer the kind of dignified, affective pictorial narrative that artists, patrons, and the public prized. Jack M. Greenstein takes this artistic problem as the point of departure for an iconographic study of this central theme of Christian culture. His book shows how the meaning changed along with the form when Lorenzo Ghiberti, Andrea Pisano, and other Italian sculptors of the fourteenth and fifteenth centuries revised the traditional composition to accommodate a naturalistically depicted Eve. At stake, Greenstein argues, is the role of the artist and the power of image-making in reshaping Renaissance culture and religious thought.Trade Review'This is an original and insightful addition to our understanding of iconography, as sensitive to theology in specific historic contexts as it is to theories of art history and interpretation.' Chloe Reddaway, The Journal of Ecclesiastical HistoryTable of ContentsIntroduction: rethinking iconography; 1. 'In the beginning': Genesis cycles and the iconographies of the Creation of Eve; 2. The rib and the side: synthetic artistry at Orvieto Cathedral; 3. The body of Eve in Andrea Pisano's Creation relief for the campanile of Florence Cathedral; 4. A visual invention: the angels at Eve's Side in Lorenzo Ghiberti's Genesis panel; 5. Jacopo della Quercia's Creation of Eve and the dignity of woman.
£89.29
Cambridge University Press British Art and the First World War 19141924 43 Studies in the Social and Cultural History of Modern Warfare Series Number 43
Book SynopsisThe First World War is usually believed to have had a catastrophic effect on British art, killing artists and movements, and creating a mood of belligerent philistinism around the nation. In this book, however, James Fox paints a very different picture of artistic life in wartime Britain. Drawing on a wide range of sources, he examines the cultural activities of largely forgotten individuals and institutions, as well as the press and the government, in order to shed new light on art's unusual role in a nation at war. He argues that the conflict's artistic consequences, though initially disruptive, were ultimately and enduringly productive. He reveals how the war effort helped forge a much closer relationship between the British public and their art - a relationship that informed the country's cultural agenda well into the 1920s.Trade Review'James Fox has written an impeccably researched, original and stimulating account of British art and the First World War. This important study will change our understanding of the War's impact on the relationship between British art and British society and will open up significant new avenues of interpretation and research.' David Peters Corbett, editor of A Companion to British Art: 1600 to the Present'Fox takes a new and original approach to the study of art in the First World War. This fascinating book is not about art in the narrow sense of the word, but about the art world and the conditions under which art was produced and consumed. British Art and the First World War, 1914–1924 is a must-read for historians of war and art alike.' Stefan Goebel, author of The Great War and Medieval Memory: War, Remembrance and Medievalism in Britain and Germany, 1914–1940'In British Art and the First World War, 1914–1924, James Fox provides a first comprehensive analysis of the impact of global conflict on the British art world - the entire sphere of visual production and consumption. Based on significant archival research, this urbanely written study drastically reconfigures our understanding of a pivotal period in the history of British culture. Rather than recycling a tired narrative of a handful of heroic modernist artists beaten down by the realities of mechanized warfare, Fox places before us a panorama of the army of academicians and satirists, illustrators and art critics, collectors and curators, upon whose practices and productions the 'war to end all wars' exerted a decisive influence.' Tim Barringer, editor of Art and the British Empire'Going far beyond the most familiar artists and paintings, this book reveals the pervasiveness of all forms of visual representation in the contemporary understandings of the conflict and the way in which images ultimately became fundamental to the functioning of wartime society. The author shows the War to have been a watershed in the social history of British art.' Adrian Gregory, author of The Last Great War: British Society and the First World War'This outstanding book offers a refreshing re-examination of how the art world continued to function at a time of unprecedented carnage, and how it was ultimately transformed for the better. James Fox has considered a vast mass of evidence, analysed every twist and turn, and written a lucid and entertaining masterpiece.' Robin Simon, author of Hogarth, France and British Art'This is a timely addition to our understanding of art and the Great War. So many writers fail to fully comprehend how the war fired imaginations and sharpened sensibilities. Grappling with uncomfortable truths, James Fox is rigorous in his thinking and penetrating in his conclusions. An essential antidote to the 'overworked grimness' of so much recent writing about 'the war to end all wars'.' Paul Gough, author of 'A Terrible Beauty': British Artists in the First World War'Rigorous and persuasive, British Art and the First World War, 1914–1924 tackles a much contested period in art history, showing that it was anything but an era of decline. Rather, British art blossomed in new directions, as its artists became more central to public life, its products more popular and its impacts more lasting than we previously knew.' Chloe Ward, Twentieth Century British History'Fox provides a detailed, elegant account of the art world at war and emphasizes that the conflict's reach was far more encompassing and engaging than the current proliferation of commemorative activities might indicate.' Ross Wilson, The Journal of Modern HistoryTable of ContentsIntroduction; 1. The outbreak of war and the business of art; 2. Perceptions of art; 3. The arts mobilize; 4. War pictures: truth, fiction, function; 5. Peace pictures: escapism, consolation, catharsis; 6. Art and society after the war; Conclusion; Bibliography; Index.
£37.99
Cambridge University Press Fountains and Water Culture in Byzantium
Book SynopsisThis book restores the fountains of Roman Byzantium, Byzantine Constantinople and Ottoman Istanbul, reviving the sounds, shapes, smells and sights of past water cultures. Constantinople, the capital of the Byzantine and Ottoman Empires, is surrounded on three sides by sea, and has no major river to deliver clean, potable water. However, the cultures that thrived in this remarkable waterscape through millennia have developed and sustained diverse water cultures and a water delivery system that has supported countless fountains, some of which survive today. Scholars address the delivery system that conveyed and stored water, and the fountains, large and small, from which it gushed. Papers consider spring water, rainwater and seawater; water suitable for drinking, bathing and baptism; and fountains real, imagined and symbolic. Experts in the history of art and culture, archaeology and theology, and poetry and prose, offer reflections on water and fountains across two millennia in one locaTable of ContentsIntroduction Brooke Shilling and Paul Stephenson; 1. Where do we go now? The archaeology of monumental fountains in the Roman and early Byzantine East Julian Richard; 2. Monumental waterworks in Late Antique Constantinople Paul Stephenson and Ragnar Hedlund; 3. Fistulae and water fraud in Late Antique Constantinople Gerda de Kleijn; 4. The Silahtarağa statues in context Brenda Longfellow; 5. The bronze goose from the hippodrome Rowena Loverance; 6. The serpent column fountain Paul Stephenson; 7. The culture of water in the 'Macedonian Renaissance' Paul Magdalino; 8. When bath became church: spatial fusion in Late Antique Constantinople and beyond Jesper Blid Kullberg; 9. Zoomorphic rainwater spouts Philipp Niewöhner; 10. Spouts and finials defining fountains by giving water shape and sound Eunice Dauterman Maguire; 11. Fountains of paradise in early Byzantine art, homilies, and hymns Brooke Shilling; 12. Where did the waters of paradise go after iconoclasm? Henry Maguire; 13. 'Rejoice, Spring.' The Theotokos as a fountain in the liturgical practice of Byzantine hymnography Helena Bodin; 14. Words, water, and power: literary fountains and metaphors of patronage in eleventh- and twelfth-century Byzantium Ingela Nilsson; 15. Ancient water in fictional fountains: waterworks in Byzantine novels and romances Terése Nilsson; 16. The shrine of the Theotokos at the Pege Isabel Kimmelfield; 17. A dome for the water: canopied fountains and cypress trees in Byzantine and early Ottoman Constantinople Federica Broilo; 18. Sinan's ablution fountains Johan Mårtelius.
£99.75
Cambridge University Press Stage and Picture in the English Renaissance
Book SynopsisThis book presents a new approach to the relationship between traditional pictorial arts and the theatre in Renaissance England. Demonstrating the range of visual culture in evidence from the mid-sixteenth to mid-seventeenth century, from the grandeur of court murals to the cheap amusement of woodcut prints, John H. Astington shows how English drama drew heavily on this imagery to stimulate the imagination of the audience. He analyses the intersection of the theatrical and the visual through such topics as Shakespeare''s Roman plays and the contemporary interest in Roman architecture and sculpture; the central myth of Troy and its widely recognised iconography; scriptural drama and biblical illustration; and the emblem of the theatre itself. The book demonstrates how the art that surrounded Shakespeare and his contemporaries had a profound influence on the ways in which theatre was produced and received.Trade Review'Concentrating on patterns of pictorial meaning as they are produced by drama as well as art, Astington examines the wide contexts of visual meaning within this period. From fine art, woodcuts, illustrations, design, tapestries and emblems to the ways in which images of theatres were reproduced and circulated, he establishes the extraordinary range and depth of Tudor and Stuart visual culture. … This is a wonderful book which brings together many of the most fruitful and important currents in literary criticism of the period.' Charlotte Scott, Shakespeare Survey'Astington's book is beautifully illustrated and will give students and scholars new to this field a good sense of the richness of the available evidence … Astington succeeds in presenting a detailed range of evidence that will inform such debate as it occurs in future studies.' Chloe Porter, The Review of English StudiesTable of ContentsIntroduction; 1. Antique Romans; 2. Aeneas' tale to Dido; 3. Corn and camels; 4. The picture of we three; 5. Excellent morals; 6. A Mirror for Magistrates; 7. The theatre pictured; 8. Conclusion.
£999.99
Cambridge University Press Architectural Invention in Renaissance Rome
Book SynopsisVilla Madama, Raphael''s late masterwork of architecture, landscape, and decoration for the Medici popes, is a paradigm of the Renaissance villa. The creation of this important, unfinished complex provides a remarkable case study for the nature of architectural invention. Drawing on little known poetry describing the villa while it was on the drawing board, as well as ground plans, letters, and antiquities once installed there, Yvonne Elet reveals the design process to have been a dynamic, collaborative effort involving humanists as well as architects. She explores design as a self-reflexive process, and the dialectic of text and architectural form, illuminating the relation of word and image in Renaissance architectural practice. Her revisionist account of architectural design as a process engaging different systems of knowledge, visual and verbal, has important implications for the relation of architecture and language, meaning in architecture, and the translation of idea into form.Trade Review'… what this book does splendidly is focus our attention on the roles of people other than patrons and architects - the advisers, many unnamed - in the production of architecture. In addition, it makes a fundamental contribution by asserting that the poetry associated with villas deserves to be considered as a key part of the process of those villas' designs.' Paul Davies, Journal of the Society of Architectural Historians'This substantial, original book makes significant contributions to our understanding of the architectural design process in early modern Rome … [Elet] moves effortlessly across traditional disciplinary boundaries, deftly interweaving different modes of analysis and a profound familiarity with myriad sources, primary and secondary … The book's production value matches the quality of its concept and writing, with many well-chosen illustrations that evoke both the villa and the ideas in circulation around it quite nicely.' Jessica Maier, Renaissance QuarterlyTable of ContentsPreface and acknowledgements; Note on translations and abbreviations; Introduction. The nature of invention, in word and image; 1. Reviving the corpse; 2. Writing architecture; 3. Sperulo's vision; 4. Encomia of the unbuilt; 5. Metastructures of word and image; 6. Dynamic design; Conclusion. Building with mortar and verse; Appendices; Bibliography; Index.
£100.70
Cambridge University Press Material Culture Power and Identity in Ancient China
Book SynopsisIn this book, Xiaolong Wu offers a comprehensive and in-depth study of the Zhongshan state during China''s Warring States Period (476221 BCE). Analyzing artefacts, inscriptions, and grandiose funerary structures within a broad archaeological context, he illuminates the connections between power and identity, and the role of material culture in asserting and communicating both. The author brings an interdisciplinary approach to this study. He combines and cross-examines all available categories of evidence, including archaeological, textual, art historical, and epigraphical, enabling innovative interpretations and conclusions that challenge conventional views regarding Zhongshan and ethnicity in ancient China. Wu reveals the complex relationship between material culture, cultural identity, and statecraft intended by the royal patrons. He demonstrates that the Zhongshan king Cuo constructed a hybrid cultural identity, consolidated his power, and aimed to maintain political order at courtTable of ContentsList of figures; List of maps; List of tables; Acknowledgements; Introduction; 1. Historical setting and approaches to the study of an ancient state in Warring States China; 2. Life, death, and identity in Zhongshan: sorting out the archaeological evidence; 3. Royal mortuary practice and artifacts: hybridity, identity, and power; 4. Inter-state politics and artistic innovation during the reign of King Cuo; 5. Statecraft and Zhongshan bronze inscriptions; 6. Funerary architecture, kingly power, and court politics; Conclusion; Appendixes; Bibliography; Index.
£99.75
Cambridge University Press Public Painting and Visual Culture in Early Republican Florence
Book SynopsisStreet corners, guild halls, government offices, and confraternity centers contained paintings that made the city of Florence a visual jewel at precisely the time of its emergence as an international cultural leader. This book considers the paintings that were made specifically for consideration by lay viewers, as well as the way they could have been interpreted by audiences who approached them with specific perspectives. Their belief in the power of images, their understanding of the persuasiveness of pictures, and their acceptance of the utterly vital role that art could play as a propagator of civic, corporate, and individual identity made lay viewers keenly aware of the paintings in their midst. Those pictures affirmed the piety of the people for whom they were made in an age of social and political upheaval, as the city experimented with an imperfect form of republicanism that often failed to adhere to its declared aspirations.Trade Review'We learn, here, not only of works of art, but of the people of the Florentine Republic - of condemned criminals, prostitutes, merchants, government officials, guild members from the Arte della Lana and the Arte dei Giudici e Notai, laudesi, plague victims, the bishop and his entourage, the families of the newly baptized, and the would-be tyrant - and of how these and others lived lives shaped by images in an urban environment before the era of art.' Jonathan Kline, Renaissance QuarterlyTable of ContentsIntroduction: public painting for common people in early republican Florence, 1282–1434; 1. Paintings in the streets: tabernacles, public devotion, and control; 2. Images of charity: confraternities, hospitals, and pictures for the destitute; 3. Art and the commune: politics, propaganda, and the bureaucratic state; 4. Pictures for merchants: the guilds, their paintings, and the struggle for power; 5. Public painting in sacred spaces: piers and pilasters in Florentine churches; 6. Murals for the masses: paintings on nave walls; 7. Masaccio's Trinity and the triumph of public painting for common people in early republican Florence.
£105.45
Cambridge University Press The Venetian Discovery of America
Book SynopsisFew Renaissance Venetians saw the New World with their own eyes. As the print capital of early modern Europe, however, Venice developed a unique relationship to the Americas. Venetian editors, mapmakers, translators, writers, and cosmographers represented the New World at times as a place that the city''s mariners had discovered before the Spanish, a world linked to Marco Polo''s China, or another version of Venice, especially in the case of Tenochtitlan. Elizabeth Horodowich explores these various and distinctive modes of imagining the New World, including Venetian rhetorics of ''firstness'', similitude, othering, comparison, and simultaneity generated through forms of textual and visual pastiche that linked the wider world to the Venetian lagoon. These wide-ranging stances allowed Venetians to argue for their different but equivalent participation in the Age of Encounters. Whereas historians have traditionally focused on the Spanish conquest and colonization of the New World, and the Dutch and English mapping of it, they have ignored the wide circulation of Venetian Americana. Horodowich demonstrates how with their printed texts and maps, Venetian newsmongers embraced a fertile tension between the distant and the close. In doing so, they played a crucial yet heretofore unrecognized role in the invention of America.Trade Review'[a] richly illustrated and fascinating and convincing work in its argument.' Felicitas Schmieder, Quellen und Forschungen aus italienischen Archiven und BibliothekenTable of Contents1. Introduction: printing the new world in early modern Venice; 2. Compiled geographies: the Venetian travelogue and the Americas; 3. Giovanni Battista Ramusio's Venetian new world; 4. The Venetian mapping of the Americas; 5. Venetians in America: Nicolo Zen and the virtual exploration of the New World; 6. Venice as Tenochtitlan: the correspondence of the old world and the new; Conclusion.
£85.50
Cambridge University Press Creative Lives in Classical Antiquity
Book SynopsisWhat happened when creative biographers took on especially creative subjects (poets, artists and others) in Greek and Roman antiquity? Creative Lives in Classical Antiquity examines how the biographical traditions of ancient poets and artists parallel the creative processes of biographers themselves, both within antiquity and beyond. Each chapter explores a range of biographical material that highlights the complexity of how readers and viewers imagine the lives of ancient creator-figures. Work in the last decades has emphasized the likely fictionality of nearly all of the ancient evidence about the lives of poets, as well as of other artists and intellectuals; this book now sets out to show what we might nevertheless still do with the rich surviving testimony for ''creative lives'' - and the evidence that those traditions still shape how we narrate modern lives too.Trade Review'Overall it is a study in receptions, and frequently the reception of receptions as audiences of one period or culture layer impressions upon those of their predecessors.' Eleanor Winsor Leach, Bryn Mawr Classical ReviewTable of ContentsList of illustrations; Part I. Opening Remarks: 1. Orientation: what we mean by 'creative lives' Johanna Hanink and Richard Fletcher; 2. 'Lives' as parameter: the privileging of ancient lives as a category of research c.1900 Constanze Güthenke; Part II. Dead Poets Societies: 3. Close encounters with the ancient poets Barbara Graziosi; 4. Recognizing Virgil Andrew Laird; Part III. Lives in Unexpected Places: 5. A poetic possession: Pindar's Lives of the poets Anna Uhlig; 6. What's in a Life? Some forgotten faces of Euripides Johanna Hanink; 7. Lives from stone: epigraphy and biography in Classical and Hellenistic Greece Polly Low; Part IV. Laughing Matters and Lives of the Mind: 8. On bees, poets and Plato: ancient biographers' representations of the creative process Mary Lefkowitz; 9. The life and philosophy of Aristippus in the Socratic epistles Kurt Lampe; 10. Imagination dead imagine: Diogenes Laertius' work of mourning Richard Fletcher; Part V. Portraits of the Artist: 11. 'It is Orpheus when there is singing': the mythical fabric of musical lives Pauline A. LeVen; 12. The artists as anecdote: creating creators in ancient texts and modern art history Verity Platt; 13. Freud and the biography of antiquity Miriam Leonard; Envoi John Henderson; Works cited.
£94.50
Cambridge University Press Democratising Beauty in NineteenthCentury Britain
Book SynopsisCould the self-interested pursuit of beauty actually help to establish the moral and political norms that enable democratic society to flourish? In this book, Lucy Hartley identifies a new language for speaking about beauty, which begins to be articulated from the 1830s in a climate of political reform and becomes linked to emerging ideals of equality, liberty, and individuality. Examining British art and art writing by Charles Lock Eastlake, John Ruskin, Walter Pater, Edward Poynter, William Morris, and John Addington Symonds, Hartley traces a debate about what it means to be interested in beauty and whether this preoccupation is necessary to public political life. Drawing together political history, art history, and theories of society, and supplemented by numerous illustrations, Democratising Beauty in Nineteenth-Century Britain offers a fresh interdisciplinary understanding of the relation of art to its publics.Trade Review'… this is a very interesting and timely book …' Simon Grimble, Notes and QueriesTable of Contents1. 'Of universal or national interest': Charles Eastlake, the Fine Arts Commission, and the Reform of Taste; 2. Reconstituting publics for art: John Ruskin and the Appeal to Enlightened Interest; 3. The pleasures and perils of self-interest: calculating the passions in Walter Pater's essays; 4. Figuring the individual in the collective: the 'art-politics' of Edward Poynter and William Morris; 5. The humanist interest old and new: John Addington Symonds and the nature of liberty.
£999.99
Cambridge University Press Shakespeare Seen
Book SynopsisThis wide-ranging study traces the forces that drove the production and interpretation of visual images of Shakespeare''s plays. Covering a rich chronological terrain, from the beginning of the eighteenth century to the midpoint of the nineteenth, Stuart Sillars offers a multidisciplinary, nuanced approach to reading Shakespeare in relation to image, history, text, book history, print culture and performance. The volume begins by relating the production imagery of Shakespeare''s plays to other visual forms and their social frames, before discussing the design and operation of illustrated editions and the ''performance readings'' they offer, and analysing the practical and theoretical foundations of easel paintings. Close readings of The Comedy of Errors, King Lear, the Roman plays, The Merchant of Venice and Othello provide detailed insight into how the plays have been represented visually, and are accompanied by numerous illustrations and a beautiful colour plate section.Trade Review'This is a remarkable and important study of the visual dimension of Shakespeare and has implications far beyond the historical period addressed. The scholarship is impeccable and while the argument of the book is magnificently lucid, it is prosecuted with admirable subtlety.' Dympna C. Callahan, Syracuse University, New York'Stuart Sillars offers a model of careful interpretation, of these images' idiom and taste, their devices, in constant reference to the plays themselves and contemporaneous performance … both his methods and terms will prove valuable to those wishing to understand the relationship between Shakespeare as performed and as seen.' The Times Literary SupplementTable of Contents1. Frames and circumstances; Part I. Structures and Concepts in Shakespeare Imaging: 2. Mechanism and meaning in illustrated editions; 3. Performance reading in practice; 4. Shakespeare painting and aesthetic identity; Part II. Image, Stage and Beyond: Instances and Movement: 5. The visual identities of The Comedy of Errors; 6. Text, image and temper in King Lear; 7. Rhythms of action and feeling: the Roman plays; 8. Rank and race in imaging Othello; 9. The Merchant of Venice and English visual culture; 10. Shakespeare painting 1800–1848; 11. Conclusions and departures.
£999.99
Cambridge University Press Visual Culture in Contemporary China
Book SynopsisExploring a wealth of images ranging from woodblock prints to oil paintings, this beautifully illustrated full-color study takes up key elements of the visual culture produced in the People''s Republic of China from its founding in 1949 to the present day. In a challenge to prevailing perceptions, Xiaobing Tang argues that contemporary Chinese visual culture is too complex to be understood in terms of a simple binary of government propaganda and dissident art, and that new ways must be sought to explain as well as appreciate its multiple sources and enduring visions. Drawing on rich artistic, literary, and sociopolitical backgrounds, Tang presents a series of insightful readings of paradigmatic works in contemporary Chinese visual arts and cinema. Lucidly written and organized to address provocative questions, this compelling study underscores the global and historical context of Chinese visual culture and offers a timely new perspective on our understanding of China today.Trade Review'This is a must-read for anyone interested in China's post-socialist and socialist eras and the continuing, lively interaction between the two. In putting visual culture at the centre of contemporary Chinese historical developments, Tang challenges our assumptions about what China is and is not.' Paul A. Clark, University of Auckland'A thought-provoking and outstanding contribution to the field. Xiaobing Tang urges Western viewers and reviewers to set aside constrictive paradigms and consider China's socialist and contemporary culture in its complexity and uniqueness.' Richard King, University of Victoria'This is an indispensable volume for understanding the development of Chinese modernity.' Chang Tsong-Zung, curator and co-founder of the Asia Art Archive in Hong Kong, co-founder of the Hong Kong chapter of AICA, and guest professor, China Art Academy'In this gorgeously illustrated, richly produced book, Xiaobing Tang introduces visual culture studies to several cultural sectors in the People's Republic of China … Tang's book is a timely and forcefully argued study that points the way for future research of visual culture in China.' Sean Macdonald, Frontiers of Literary Studies in China'… in this very readable history of the development of visual culture in contemporary China, Tang has succeeded in bringing together a number of vastly different topics and artistic styles and developments.' Stefan Landsberger, Pacific AffairsTable of ContentsAcknowledgements; A brief timeline of relevant events; Introduction: toward a short history of visual culture in contemporary China; 1. How was socialist visual culture created? Part I. Revelations of an Art Form: 2. How was socialist visual culture created? Part II. Revelations of a History Painting: 3. What do we see in New China cinema?; 4. What does socialist visual experience mean to contemporary art?; 5. How (not) to watch a Chinese blockbuster; 6. Where to look for art in contemporary China?; Conclusion: seeing China from afar; Glossary; Filmography; Select bibliography; Index.
£999.99
Cambridge University Press Art in Athens During the Peloponnesian War
Book SynopsisThis book examines the effects of the Peloponnesian War on the arts of Athens and the historical and artistic contexts in which this art was produced. During this period, battle scenes dominated much of the monumental art, while large numbers of memorials to the war dead were erected. The temple of Athena Nike, built to celebrate Athenian victories in the first part of the war, carries a rich sculptural program illustrating military victories. For the first time, the arts in Athens expressed an interest in the afterlife, with many sculptured dedications to Demeter and Kore, who promised initiates special privileges in the underworld. After the Sicilian disaster, a retrospective tendency can be noted in both art and politics, which provided reassurance in a time of crisis. This is the first book to focus on the new themes and new kinds of art introduced in Athens as a result of the thirty-year war.Trade Review'Anyone who wants to know the state of current scholarship on this topic should consult this volume.' Bryn Mawr Classical Review'Each of these essays provides a useful, thoughtful and up-to-date analysis of different aspects of Athens during the Peloponnesian War. But it is in their interaction … that this book is at its strongest. As a result, this book … offers a strong insight into the multiplicity and complexity of opinion and reaction to the Peloponnesian War within Athens.' Polis: The Journal for Ancient Greek Political Thought'Palagia's book represents some of the latest ideas in understanding art in its political and cultural context.' American Journal of ArchaeologyTable of Contents1. Athenian religion and the Peloponnesian War Michael A. Flower; 2. Archaism and the quest for immortality in Attic sculpture during the Peloponnesian War Olga Palagia; 3. The Eleusinian sanctuary during the Peloponnesian War Kevin Clinton; 4. Attic votive reliefs and the Peloponnesian War Carol L. Lawton; 5. War, plague, and politics in Athens in the 420s Lisa Kallet; 6. The north frieze of the temple of Athena Nike Peter Schultz; 7. Thucydides and the unheroic dead Brian Bosworth; 8. Images in the Athenian demosion sema Hans Rupprecht Goette; 9. Children in Athenian funerary art during the Peloponnesian War John H. Oakley; 10. Alcibiades: the politics of personal style H. A. Shapiro.
£999.99
Cambridge University Press Sienese Painting after the Black Death Artistic Pluralism Politics and the New Art Market
Book SynopsisThis book provides a new perspective on Sienese painting after the Black Death, asking how social, religious, and cultural change affect visual imagery and style. Judith Steinhoff demonstrates that Siena's artistic culture of the mid and late fourteenth century was intentionally pluralistic, and not conservative as is often claimed. She shows that Sienese art both before and after the Black Death was the material expression of an artistically sophisticated population that consciously and carefully integrated tradition and change. Promoting both iconographic and stylistic pluralism, Sienese patrons furthered their own goals as well as addressed the culture's changing needs. Steinhoff presents both detailed case studies as well as a broader view of trends in artistic practice and patronage. She offers a new approach to interpreting artistic style in the Trecento, arguing that artists and patrons alike understood the potential of style as a vehicle that conveys specific meanings.Trade Review"This is a provocative book that devotes sustained attention to a period that is still from many points of view enigmatic. It does achieve its main purpose of illustrating the multiple stylistic strands that characterized late-trecento Sienese painting." -Julian Gardner, University of Warwick, Journal of Medieval Studies“Solid scholarship on an understudied Sienese painter, Bartolommeo Bulgarini, active from 1338 to 1373.” –Renaissance QuarterlyTable of ContentsPart I. Trecento Art History and Historiography: 1. General introduction; 2. Meiss and method: historiography of scholarship on mid-Trecento Sienese painting; Part II. Artists and Patrons: Working Relationship in Transition: 3. Patrons and artists; 4. Economic, social and political conditions and the art market after 1348; 5. Artists' working relationships in the early Trecento; 6. A Sienese 'compagnia', c.1348–63; Part III. Transmission and Transformation of Civic-Religious Imagery; 7. The crafting and consolidation of Sienese civic-religious imagery; 8. Sienese civic-religious imagery at the mid Trecento; Part IV. Artistic Style: Tradition and Transition: 9. Stylistic pluralism in the 1330s and 1340s; 10. The politics of style in the 1350s and 1360s: the case of Santa Maria della Scala; 11. Style as iconography: general reflections; Part V. Conclusion.
£999.99
Cambridge University Press Donor Portraits in Byzantine Art
Book SynopsisThis book explores the range of images in Byzantine art known as donor portraits. It concentrates on the distinctive, supplicatory contact shown between ordinary, mortal figures and their holy, supernatural interlocutors. The topic is approached from a range of perspectives, including art history, theology, structuralist and post-structuralist anthropological theory, and contemporary symbol and metaphor theory. Rico Franses argues that the term ''donor portraits'' is inappropriate for the category of images to which it conventionally refers and proposes an alternative title for the category, contact portraits. He contends that the most important feature of the scenes consists in the active role that they play within the belief systems of the supplicants. They are best conceived of not simply as passive expressions of stable, pre-existing ideas and concepts, but as dynamic proponents in a fraught, constantly shifting landscape. The book is important for all scholars and students of Byzantine art and religion.Trade Review'This is a book that takes a broadly synchronic look across the Byzantine world, a view that different works of art in different media from different times and places nonetheless speak to the same broad Christian world-view, to similar structures … This is a perspective that makes us think and it makes us question, and that is what the best scholarship should do.' Liz James, The English Historical ReviewTable of ContentsIntroduction: methodologies for the study of donor portraits; 1. The history and problematic of the donor portrait; 2. On meaning in portraits. The knot of intention and the question of the patron's share; 3. Awaiting the end after the end. Sin, absolution, and the afterlife; 4. Exchange and non-exchange. The gift between human and divine; 5. The literal, the symbolic, and the contact portrait. On belief in the interaction between human and divine; Postscript: the problem of terminology again. Donor portraits and contact portraits.
£999.99
Cambridge University Press Automatism and Creative Acts in the Age of New Psychology
Book SynopsisThe late nineteenth century saw a re-examination of artistic creativity in response to questions surrounding the relation between human beings and automata. These questions arose from findings in the ''new psychology'', physiological research that diminished the primacy of mind and viewed human action as neurological and systemic. Concentrating on British and continental culture from 1870 to 1911, this unique study explores ways in which the idea of automatism helped shape ballet, art photography, literature, and professional writing. Drawing on documents including novels and travel essays, Linda M. Austin finds a link between efforts to establish standards of artistic practice and challenges to the idea of human exceptionalism. Austin presents each artistic discipline as an example of the same process: creation that should be intended, but involving actions that evade mental control. This study considers how late nineteenth-century literature and arts tackled the scientific question, ''Are we automata?''Table of ContentsIntroduction: the nineteenth-century debate over human automatisms; Part I. Automata-Phobia: 1. J. S. Mill: genius-automaton; 2. Automatic aesthetics and the shame of tourism; Part II. Technologies of the Automatic: Process and Movement: 3. Photography's automatisms; 4. Automatic writing and physiologies of creativity; 5. The automata ballets.
£85.50
Cambridge University Press Aegean Bronze Age Art
Book SynopsisHow do we interpret ancient art created before written texts? Scholars usually put ancient art into conversation with ancient texts in order to interpret its meaning. But for earlier periods without texts, such as in the Bronze Age Aegean, this method is redundant. Using cutting-edge theory from art history, archaeology, and anthropology, Carl Knappett offers a new approach to this problem by identifying distinct actions - such as modelling, combining, and imprinting - whereby meaning is scaffolded through the materials themselves. By showing how these actions work in the context of specific bodies of material, Knappett brings to life the fascinating art of Minoan Crete and surrounding areas in novel ways. With a special focus on how creativity manifests itself in these processes, he makes an argument for not just how creativity emerges through specific material engagements but also why creativity might be especially valued at particular moments.Table of Contents1. Theorising 'meaning in the making'; 2. Modeling; 3. Imprinting; 4. Combining; 5. Containing; 6. Fragmenting; 7. Meaning on the move? Mobility and creativity.
£37.99
