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The Barber Institute of Fine Arts
A fascinating guide to a magnificent collection of paintings, sculptures and objets d'artClear and concise text written from the expert perspective of the Institute's DirectorsFull color photography allows the works to be appreciated in detailThe Barber Institute of Fine Arts in Birmingham, UK, is one of the finest small picture galleries in the world. It is home to a magnificent collection of paintings, drawings, sculptures, objets d'art and coins, and may justly claim to be the most representative collection of Western artwork formed in Britain over the past 100 years. This stunning book, fully revised and updated, presents 120 of the finest works in the collection, with extended captions alongside glorious full-colour illustrations. Bellini, Rubens, Gainsborough and all the major Impressionist painters are represented. The story of each work is described in fascinating detail, placing it in a wider art-historical context.
Gainsborough
An introduction to the work of Thomas Gainsborough
Return to Life
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The Portrait Bust and French Cultural Politics in the Eighteenth Century
In The Portrait Bust and French Cultural Politics in the Eighteenth Century, Ronit Milano probes the rich and complex aesthetic and intellectual charge of a remarkably concise art form, and explores its role as a powerful agent of epistemological change during one of the most seismic moments in French history. The pre-Revolutionary portrait bust was inextricably tied to the formation of modern selfhood and to the construction of individual identity during the Enlightenment, while positioning both sitters and viewers as part of a collective of individuals who together formed French society. In analyzing the contribution of the portrait bust to the construction of interiority and the formulation of new gender roles and political ideals, this book touches upon a set of concerns that constitute the very core of our modernity.
Prologues, Epilogues, Curtain-raisers, and Afterpieces
Prologues, Epilogues, Curtain-Raisers, and Afterpieces: The Rest of the Eighteenth-Century London Stage presents a fresh analysis of the complete theater evening that was available to playhouse audiences from the Restoration to the early nineteenth century. The contributing scholars focus not on the mainpiece, the advertised play itself, but on what surrounded the mainpiece for the total theater experience of the day. Various critical essays address artistic disciplines such as dance and theatrical portraits, while others concentrate on peripheral performance texts, including prologues, epilogues, pantomimes, and afterpieces, that merged to define the overall theatrical event.
The Stuarts in Italy, 1719-1766
This book reassesses the lives of the exiled Stuart Court in Italy which provided an important British presence in Rome.
The Woman in White
A fascinating look at the partnership of artist James McNeill Whistler and his chief model, Joanna Hiffernan, and the iconic works of art resulting from their life together “[A] lavish volume. . . . Illuminating. . . . MacDonald’s deep research has . . . unearthed important new facts.”—Gioia Diliberto, Wall Street Journal In 1860 James McNeill Whistler (1834–1903) and Joanna Hiffernan (1839–1886) met and began a significant professional and personal relationship. Hiffernan posed as a model for many of Whistler’s works, including his controversial Symphony in White paintings, a trilogy that fascinated and challenged viewers with its complex associations with sex and morality, cl...
Swiftly Sterneward
These thirteen essays have been collected to honor Melvyn New, professor emeritus (Florida), and are prefaced by a description of his scholarly career of more than forty years. Suggesting the wide range of that career, the first eight essays offer various critical perspectives on a diverse group of eighteenth-century authors. These include a reading of Eliot in the shadow of Pope; a comparison of Gainsborough’s final paintings and Sterne’s Sentimental Journey; a study of Johnson and casuistry; a discussion of Smollett’s view of slavery in Roderick Random; a bibliographical study of a Lyttelton poem; a comparison of Swift and Nietzsche; and two essays about Fielding’s Joseph Andrews. Laurence Sterne, the primary focus of Professor New’s scholarship, is also the focus of the final five essays, which treat Sterne in contexts as disparate as the kabbalah, abolitionist discourse, local English church politics, the use of the fragment, and, finally, the culture of modernity.
The Museum Age in Austria-Hungary
This important critical study of the history of public art museums in Austria-Hungary explores their place in the wider history of European museums and collecting, their role as public institutions, and their involvement in the complex cultural politics of the Habsburg Empire. Focusing on institutions in Vienna, Cracow, Prague, Zagreb, and Budapest, The Museum Age in Austria-Hungary traces the evolution of museum culture over the long nineteenth century, from the 1784 installation of imperial art collections in the Belvedere Palace (as a gallery open to the public) to the dissolution of Austria-Hungary after the First World War. Drawing on source materials from across the empire, the authors...
Alfred Gilbert's Aestheticism
Alfred Gilbert's Aestheticism presents the first sustained re-evaluation of the life and work of one of the most acclaimed sculptors of the late-Victorian period. Drawing on important new archival sources, this ground-breaking study challenges the customary assumption that Aestheticism was primarily a literary, painterly or architectural phenomena. Jason Edwards reveals both the diverse ways in which Gilbert's sculptures operated within the context of Aestheticism and also how these works provided a unique and provocative commentary on the history of masculine friendship and eroticism in the period leading up to and beyond the Wilde trials in 1895. Detailed readings are offered of the relationship of Gilbert's work to essays by Pater and Swinburne, poems, plays, and novels by Wilde and W. S. Gilbert, and paintings by Burne-Jones, Leighton, Rossetti, Solomon, Whistler, and Watts. With over 90 illustrations, including key contemporary photographs showing Gilbert's works in their original contexts, this book makes a major contribution to the field of Victorian sculpture studies.
