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Richard Wagner and the Art of the Avant-Garde, 1860-1910
This book explores the responses of leading European avant-garde painters to the operas of Richard Wagner, the most influential composer of the late nineteenth century. The term avant-garde represents a twenty-first century evaluation of certain nineteenth-century artists working in a variety of advanced styles, rather than a phrase the artists applied to themselves. Chapters are on individual artists or groups, rather than an attempt to survey all of nineteenth-century Wagnerian visual art. They deal with paintings and drawings inspired by Wagner and his operas, not with the composer’s larger cultural influence through his writings and personal example. Thus artists such as Vincent Van Go...
Medievalism and the Academy
The first of a two-volume examination of medievalism and academic scholarship, this collection is divided into four sections: Canonizing Chaucer, Antiquarian loomings, Medievalism, medieval studies, and Medieval studies at the millennium. Medievalism, the "continuing process of creating the middle ages", engenders formal medieval studies from a wide variety of popular interests in the middle ages. This volume accordingly explores the common ground between artisticand popular constructions of the middle ages and the study of the middle ages within the academy. Essays treat the genesis of medieval studies in early modern antiquarianism; the erection of academic medievalism through persistent, indeed perverse, appeals to heroic medieval manliness and attenuated female spirituality; the current jeopardy of the book (a medieval invention) in the face of technological assau Contributors: DAVID O. MATTHEWS, STEVE ELLIS, ANTONIA WARD, GRAHAM PARRY, MARGARET CLUNIES ROSS, ANNA SMOL, DAVID ALLAN, MATILDE MATEO, MARYA DEVOTO, ULRIKE WIETHAUS, STEPHEN STEELE, JAMES KENNEDY, WILLIAM CALIN, JESSE D. HURLBUT, JOAN GRENIER-WINTHER, WILLIAM PADEN
Banished
This book aims to study the departure and reception of refugees in 19th-century Europe, from the Congress of Vienna to the 1870-1880s. Through eight chapters, it draws on a transnational approach to analyze migratory movements across European borders. The book reviews the chronology of exile and shows how European states welcomed, selected, and expelled refugees. In addition to presenting the point of view of nation-states, it reflects the experience of those migrating. The book addresses departure into exile, captured through the material circumstances of crossing borders in the 19th century, and examines the emergence of new ways to pursue political commitments from abroad. The outcasts ar...
Luis Meléndez
Luis Meléndez (1715-1780) is today recognized as the premier still-life painter in eighteenth-century Spain, indeed one of the greatest in all of Europe. He is widely heralded for his virtuoso paintings of everyday objects rendered with exacting detail, marvelous effects of color and light, and subtle variations in texture. Featuring paintings from collections worldwide, this lavishly illustrated book showcases thirty-one still lifes by Meléndez, among them several previously unpublished works. Individual painting entries incorporate fascinating technical images along with close-up reproductions. Essays provide an overview of the artist's life and work, a discussion of period objects depicted in Meléndez's still lifes, and an explanation of technical discoveries. The book as a whole illuminates both the art history and technique behind an ingenious body of work. -- From publisher's description.
The Spanish Portrait
Presents a survey of the development of this genre in Spanish art from the 15th century to the early decades of the 20th, through a selection of 87 works.
Diego Velázquez
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Turner and the Masters
"J.M.W. Turner (1775-1851) is widely regarded as the greatest painter Britain has ever produced. Despite the many books and exhibitions that have been devoted to him, there is one aspect of his extraordinary oeuvre that has never been thoroughly examined. Uniquely in the history of European art, he took on all comers, past and present, that he considered worthy of a challenge, creating his own images in their styles. These works were both acts of homage and a sophisticated form of art criticism, demonstrating his understanding of great art and his ability to equal or better the most celebrated exponents of the landscape tradition. No artist, however revered, was considered beyond challenge. ...
