Pictures and Popery investigates the reception of great Renaissance works of art and wider cultural activities. It also reintroduces the accepted nature of English identity and religious attitudes into the broad historical narrative. In so doing, this book offers a genuinely new and stimulating insight into the cultural, religious and social development of late-Stuart and early-Hanoverian England.
Visual and material sources are central to historical practice and this is a much-needed introduction to using artefacts as evidence.
The Red and the Black covers the major stages in the history of Greek pottery production, both figured and plain, as they are understood today. It provides an up-to-date evaluation of ways of studying Greek pottery and encourages new approaches. There is a detailed analysis of the subject matter of figured scenes covering some of the main preoccupations of ancient Greece: myth, fantasy and everyday life. Furthermore, it sets the artefacts in the context of the societies that produced them, highlighting the social, art historical, mythological and economic information that can be revealed from their study. This volume also covers a hitherto neglected area: the history of the collecting of Greek pottery through the Renaissance and up to the present day. It shows how market values have gradually increased to the high prices of today and goes on to take a closer look at the enthusiasm of the collectors.
Providing a lively critical survey of methods for historical research at all levels, this textbook covers well-established sources and methods together with those that are less widely known. It reflects current theoretical and technical approaches to hist
Les Lieux de memoire is perhaps one of the most profound historical documents on the history and culture of the French nation. Assembled by Pierre Nora during the Mitterand years, this multivolume series has been hailed as "a magnificent achievement" (The New Republic) and "the grandest, most ambitious effort to dissect, interpret and celebrate the French fascination with their own past" (The Los Angeles Times). Written during a time when French national identity was undergoing a pivotal change and the nation was struggling to define itself, this unprecedented series consists of essays by prominent historians and cultural commentators which take, as their points of departure, a lieu de memoire: a site of memory used to order, concentrate, and secure notions of France's past. The first volume in the Chicago translation, Rethinking France, brings together works addressing the omnipresent role of the state in French life. As in the other volumes, the lieux de memoire serve as entries into the French past, whether they are actual sites, political traditions, rituals, or even national pastimes and textbooks. Volume I: The State offers a sophisticated and engaging view of the French and their past through widely diverse essays on, for example, the château of Versailles and the French history of absolutism; the Code civil and its ordering of French life; memoirs written by French statesmen; and Charlemagne and his place in French history. Nora's authors constitute a who's who of French academia, yet they wear their erudition lightly. Taken as a whole, this extraordinary series documents how the French have come to see themselves and why. Contributors: Alain Guery, Maurice Agulhon, Bernard Guenee, Daniel Nordman. Robert Morrissey, Alain Boureau, Anne-Marie Lecoq, Helene Himelfarb, Jean Carbonnier, Herve Le Bras, Pierre Nora.--Publisher description.
"I have often wondered for what good end the sensations of Grief could be intended." -- Thomas Jefferson Thomas Jefferson suffered during his life from periodic bouts of dejection and despair, shadowed intervals during which he was full of "gloomy forebodings" about what lay ahead. Not long before he composed the Declaration of Independence, the young Jefferson lay for six weeks in idleness and ill health at Monticello, paralyzed by a mysterious "malady." Similar lapses were to recur during anxious periods in his life, often accompanied by violent headaches. In Jefferson's Demons, Michael Knox Beran illuminates an optimistic man's darker side -- Jefferson as we have rarely seen him before. The worst of these moments came after his wife died in 1782. But two years later, after being dispatched to Europe, Jefferson recovered nerve and spirit in the salons of Paris, where he fell in love with a beautiful young artist, Maria Cosway. When their affair ended, Jefferson's health again broke down. He set out for the palms and temples of southern Europe, and though he did not know where the therapeutic journey would take him or where it would end, his encounter with the old civilizations of the Mediterranean was transformative. The Greeks and Romans taught him that a man could make productive use of his demons. Jefferson's immersion in the mystic truths of the Old World gave him insights into mysteries of life and art that Enlightenment philosophy had failed to supply. Beran skillfully shows how Jefferson drew on the esoteric lore he encountered to transform anxiety into action. On his return to America, Jefferson entered the most productive period of his life: He created a new political party, was elected president, and doubled the size of the country. His private labors were no less momentous...among them, the artistry of Monticello and the University of Virginia. Jefferson's Demons is an elegantly composed account of the strangeness and originality of one Founder's genius. Michael Knox Beran uncovers the maps Jefferson used to find his way out of dejection and to forge a new democratic culture for America. Here is a Jefferson who, with all his failings, remains one of his country's greatest teachers and prophets.
A unique look at America s quest to carve out an artistic identity during the Depression era "
From Holbein to Hockney, from Norman Rockwell to Pablo Picasso, from sixteenth-century Rome to 1980s SoHo, Robert Hughes looks with love, loathing, warmth, wit and authority at a wide range of art and artists, good, bad, past and present. As art critic for Time magazine, internationally acclaimed for his study of modern art, The Shock of the New, he is perhaps America’s most widely read and admired writer on art. In this book: nearly a hundred of his finest essays on the subject. For the realism of Thomas Eakins to the Soviet satirists Komar and Melamid, from Watteau to Willem de Kooning to Susan Rothenberg, here is Hughes—astute, vivid and uninhibited—on dozens of famous and not-so-famous artists. He observes that Caravaggio was “one of the hinges of art history; there was art before him and art after him, and they were not the same”; he remarks that Julian Schnabel’s “work is to painting what Stallone’s is to acting”; he calls John Constable’s Wivenhoe Park “almost the last word on Eden-as-Property”; he notes how “distorted traces of [Jackson] Pollock lie like genes in art-world careers that, one might have thought, had nothing to do with his.” He knows how Norman Rockwell made a chicken stand still long enough to be painted, and what Degas said about success (some kinds are indistinguishable from panic). Phrasemaker par excellence, Hughes is at the same time an incisive and profound critic, not only of particular artists, but also of the social context in which art exists and is traded. His fresh perceptions of such figures as Andy Warhol and the French writer Jean Baudrillard are matched in brilliance by his pungent discussions of the art market—its inflated prices and reputations, its damage to the public domain of culture. There is a superb essay on Bernard Berenson, and another on the strange, tangled case of the Mark Rothko estate. And as a finale, Hughes gives us “The SoHoiad,” the mock-epic satire that so amused and annoyed the art world in the mid-1980s. A meteor of a book that enlightens, startles, stimulates and entertains.
This Collection of fourteen essays by eleven different authors demonstrates the increasing breadth of enquiry that has taken place in art and design education history over the past two decades, and the expanding range of research models applied to the subject. The essays are grouped into six sections that propose the emergence of genres of research in the field - Drawing from examples, Motives and rationales for public art and design education in Britain, Features of institutional art and design education, Towards art and design education as a profession, Pivotal figures in the history of art and design education, and British/European influence in art and design education abroad. The rich diversity of subject matter covered by the essays is contained broadly within the period 1800 to the middle decades of the twentieth century. The book sets out to fill a gap in the current international literature on the subject by bringing together recent research on predominantly British art and design education and its influence abroad. It will be of specific interest to all those involved in art, design, and art and design education, but will equally find an audience in the wider field of social history. Contents include: • Drawing from examples • Motives and rationales for public art and design education in Britain • Features of institutional art and design education • Towards art education as a profession • Pivotal figures in the history of art and design education • British/European influence in art and design education abroad
Includes, beginning Sept. 15, 1954 (and on the 15th of each month, Sept.-May) a special section: School library journal, ISSN 0000-0035, (called Junior libraries, 1954-May 1961). Also issued separately.
In the early 20th century, Roger Fry defined what made art modern in America and Britain.
Over the last four centuries, historians have turned to images in their attempts to understand and visualize the past. In this book, an art historian surveys the various ways that they have adopted for making use of this material and examines the objects that became available to them.
Includes no. 53a: British wartime books for young people.

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