Providing a comprehensive interdisciplinary assessment, and with a particular focus on expressions of tension and anxiety about modernity, this collection examines visual culture in nineteenth-century Europe as it attempted to redefine itself in the face of social change and new technologies. Contributing scholars from the fields of history, art, literature and the history of science investigate the role of visual representation and the dominance of the image by looking at changing ideas expressed in representations of science, technology, politics, and culture in advertising, art, periodicals, and novels. They investigate how, during the period, new emphasis was placed on the visual with emerging forms of mass communication?photography, lithography, newspapers, advertising, and cinema?while older forms as varied as poetry, the novel, painting, interior decoration, and architecture became transformed. The volume includes investigations into new innovations and scientific development such as the steam engine, transportation and engineering, the microscope, "spirit photography," and the orrery, as well as how this new technology is reproduced in illustrated periodicals. The essays also look at more traditional forms of creative expression to show that the same concerns and anxieties about science, technology and the changing perceptions of the natural world can be seen in the art of Armand Guillaumin, Auguste Rodin, Gustave Caillebotte, and Camille Pissarro, in colonial nineteenth-century novels, in design manuals, in museums, and in the decorations of domestic interior spaces. Visions of the Industrial Age, 1830-1914 offers a thorough exploration of both the nature of modernity, and the nature of the visual.
Blue Book of Art Values: Artists & Their Works from Around the World
Peter Jennings and Todd Brewster, The Century (New York: Doubleday, 1998), 154. 8. Time-Life Editors, This Fabulous Century, Vol. IV, 23. 9.
Offers a selection of eighty-seven full-color reproductions of Timberlake's paintings, with an introduction by the painter
THE FERRELL BROTHERS, WILBUR AND WARREN , in their own words "were not known as singular artists but a duo." Wilbur began his career as a motion picture ...
Adelson, Warren, “John Singer Sargent and the 'New Painting,'” in Stanley Olson, Warren Adelson, and Richard Ormond, Sargent at Broadway: The Impressionist ...
This is a rich undiscovered history—a history replete with competing art departments, dynastic scenic families, and origins stretching back to the films of Méliès, Edison, Sennett, Chaplin, and Fairbanks.
Through careful research, Carol Gibson-Wood exposes the mythology surrounding the Morellian method, especially the mythology of the coherence and primacy of his method of attribution. She argues that it “could also be said that Berenson ...
Gibson translates from the Phoenician: “Beware! Behold, there is disaster for you ... !” (SSI 3, no. 5=KAI nr. 2). Examples from Cyprus include SSI 3, no. 12=KAI nr. 30. Gibson's translation of the Phoenician reads (SSI 3, ...
Examines the emergence of abstract organic forms and their assimilation into the popular arts and culture of American life from 1940-1960, covering advertising, decorative arts, commercial design, and the fine arts.
... S. Newman ACCOUNTING Christopher Nobes ADAM SMITH Christopher J. Berry ADOLESCENCE Peter K. Smith ADVERTISING ... ALGEBRA Peter M. Higgins AMERICAN CULTURAL HISTORY Eric Avila AMERICAN HISTORY Paul S. Boyer AMERICAN IMMIGRATION ...