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Books by Faculty

Image Picker for Section 0



Iconoclasm in New York: Revolution to ReenactmentIconoclasm in New York: Revolution to ReenactmentBellion, WendyPenn State University PressUniversity Park, PA2019<p>King George III will not stay on the ground. Ever since a crowd in New York City toppled his equestrian statue in 1776, burying some of the parts and melting the rest into bullets, the king has been riding back into American culture, raising his gilded head in visual representations and reappearing as fragments. In this book, Wendy Bellion asks why Americans destroyed the statue of George III—and why they keep bringing it back.</p><p>Locating the statue’s destruction in a transatlantic space of radical protest and material violence—and tracing its resurrection through pictures and performances—Bellion advances a history of American art that looks beyond familiar narratives of paintings and polite spectators to encompass a riotous cast of public sculptures and liberty poles, impassioned crowds and street protests, performative smashings and yearning re-creations. Bellion argues that iconoclasm mobilized a central paradox of the national imaginary: it was at once a destructive phenomenon through which Americans enacted their independence and a creative phenomenon through which they continued to enact British cultural identities.</p><p>Persuasive and engaging, <em>Iconoclasm in New York</em> demonstrates how British monuments gave rise to an American creation story. This fascinating cultural history will captivate art historians, specialists in iconoclasm, and general readers interested in American history and New York City. </p>
Connoisseurship and the Knowledge of Art / Kennerschap en kunstConnoisseurship and the Knowledge of Art / Kennerschap en kunstChapman, H. PerryThijs Weststeijn, and Dulcia Myers, eds.BrillLeiden2019<p>​Connoisseurship – once foundational, then controversial, and currently critically reconsidered – is fundamentally about knowledge. Focusing on the distinctive history of the connoisseurship of Netherlandish art, this volume investigates early modern connoisseurship as revealed through pictorial practice, texts, and pictures featuring art lovers. An interplay between possessing and knowing about art emerges in the collecting of Chinese porcelain in the eighteenth century. With the professionalization of art criticism in the nineteenth century, Rembrandt's art becomes a locus of scrutiny. In the twentieth century, the introduction of scientific data complicates the art historian's expertise, whereas the case of Mondrian shows how modernist criticism and connoisseurship are intricately interwoven. Finally, persisting tensions between connoisseurship, authorship, and the market are brought to the fore. </p>
Artist as Reporter: Weegee, Ad Reinhardt, and the PM News PictureArtist as Reporter: Weegee, Ad Reinhardt, and the PM News PictureHill, JasonUniversity of California PressBerkeley2018<p>Active from 1940 to 1948, <em>PM</em> was a progressive New York City daily tabloid newspaper committed to the politics of labor, social justice, and antifascism—and it prioritized the intelligent and critical deployment of pictures and their perception as paramount in these campaigns. With <em>PM</em> as its main focus, <em>Artist as Reporter</em> offers a substantial intervention in the literature on American journalism, photography, and modern art. The book considers the journalistic contributions to <em>PM</em> of such signal American modernists as the curator Holger Cahill, the abstract painter Ad Reinhardt, the photographers Weegee and Lisette Model, and the filmmaker, photographer, and editor Ralph Steiner. Each of its five chapters explores one dimension of the tabloid’s complex journalistic activation of modernism’s potential, showing how <em>PM</em> inserted into daily print journalism the most innovative critical thinking in the fields of painting, illustration, cartooning, and the lens-based arts. <em>Artist as Reporter</em> promises to revise our own understanding of midcentury American modernism and the nature of its relationship to the wider media and public culture.<br></p>
Electric Light: An Architectural HistoryElectric Light: An Architectural HistoryIsenstadt, SandyMIT PressCambridge, MA2018<p>In this book, Sandy Isenstadt examines electric light as a form of architecture—as a new, uniquely modern kind of building material. Electric light was more than just a novel way of brightening a room or illuminating a streetscape; it brought with it new ways of perceiving and experiencing space itself. If modernity can be characterized by rapid, incessant change, and modernism as the creative response to such change, Isenstadt argues, then electricity—instantaneous, malleable, ubiquitous, evanescent—is modernity's medium. Isenstadt shows how the introduction of electric lighting at the end of the nineteenth century created new architectural spaces that altered and sometimes eclipsed previously existing spaces. He constructs an architectural history of these new spaces through five examples, ranging from the tangible miracle of the light switch to the immaterial and borderless gloom of the wartime blackout. He describes what it means when an ordinary person can play God by flipping a switch; when the roving cone of automobile headlights places driver and passenger at the vertex of a luminous cavity; when lighting in factories is seen to enhance productivity; when Times Square became an emblem of illuminated commercial speech; and when the absence of electric light in a blackout produced a new type of space. In this book, the first sustained examination of the spatial effects of electric lighting, Isenstadt reconceives modernism in architecture to account for the new perceptual conditions and visual habits that followed widespread electrification.<br></p>
Marble Halls: Beaux-Arts Classicism and Civic Architecture in the Gilded AgeMarble Halls: Beaux-Arts Classicism and Civic Architecture in the Gilded AgeCraven, WayneUniversity of Delaware PressNewark2017<p><em>Marble Halls</em> is about the great civic buildings that were designed in the style of Beaux-Arts classicism during the Gilded Age (1865–1918) and about the City Beautiful movement that was intended to improve the setting for the buildings and the urban environment for the people. The Industrial Revolution, which arrived belatedly in the United States, provided the wealth required for grand architecture, and the classical Beaux-style was imported from Paris to serve as a veneer to a society that saw itself as brash and culturally unrefined. Major buildings, from New York City to San Francisco and from St. Paul, MN, to Jacksonville, FL, are discussed as the creations of architects such as McKim, Mead & White, Richard Morris Hunt, and Cass Gilbert with exteriors enhanced by the sculptures of Daniel Chester French and Augustus Saint-Gaudens. But the interiors, too, received rich ornamentation as America saw the rise of its first real school of mural painters whose work was often complemented by the art of the mosaic-maker and the stained-glass window-maker; the Gilded Age was the era that saw the formation of a national association of mural painters and a national sculpture society, as well as national, state and local agencies and commissions to oversee the quality of work in civic buildings. All collaborated to produce the glorious grandeur that Americans believed reflected their proper place as a new power that arose on the world stage, in politics, economics, and military adventurism. Federal buildings, state houses, court houses, train stations, libraries and art museums are discussed as contributors to the City Beautiful movement and to the assertive personality of the new American.<br></p>
Art for an Undivided Earth: The American Indian Movement GenerationArt for an Undivided Earth: The American Indian Movement GenerationHorton, Jessica L.Duke University PressDurham2017<p>In <em>Art for an Undivided Earth</em> Jessica L. Horton reveals how the spatial philosophies underlying the American Indian Movement (AIM) were refigured by a generation of artists searching for new places to stand. Upending the assumption that Jimmie Durham, James Luna, Kay WalkingStick, Robert Houle, and others were primarily concerned with identity politics, she joins them in remapping the coordinates of a widely shared yet deeply contested modernity that is defined in great part by the colonization of the Americas. She follows their installations, performances, and paintings across the ocean and back in time, as they retrace the paths of Native diplomats, scholars, performers, and objects in Europe after 1492. Along the way, Horton intervenes in a range of theories about global modernisms, Native American sovereignty, racial difference, archival logic, artistic itinerancy, and new materialisms. Writing in creative dialogue with contemporary artists, she builds a picture of a spatially, temporally, and materially interconnected world—an undivided earth.<br></p>
The Power of Objects in Eighteenth-Century British AmericaThe Power of Objects in Eighteenth-Century British AmericaVan Horn, JenniferUniversity of North Carolina PressChapel Hill2017<p>Over the course of the eighteenth century, Anglo-Americans purchased an unprecedented number and array of goods. <em>The Power of Objects in Eighteenth-Century British America</em> investigates these diverse artifacts—from portraits and city views to gravestones, dressing furniture, and prosthetic devices—to explore how elite American consumers assembled objects to form a new civil society on the margins of the British Empire. In this interdisciplinary transatlantic study, artifacts emerge as key players in the formation of Anglo-American communities and eventually of American citizenship. Deftly interweaving analysis of images with furniture, architecture, clothing, and literary works, Van Horn reconstructs the networks of goods that bound together consumers in Boston, New York, Philadelphia, and Charleston.<br></p><p>Moving beyond emulation and the desire for social status as the primary motivators for consumption, Van Horn shows that Anglo-Americans’ material choices were intimately bound up with their efforts to distance themselves from Native Americans and African Americans. She also traces women’s contested place in forging provincial culture. As encountered through a woman’s application of makeup at her dressing table or an amputee’s donning of a wooden leg after the Revolutionary War, material artifacts were far from passive markers of rank or political identification. They made Anglo-American society.<br></p>
Perspectives on Early Islamic Art in JerusalemPerspectives on Early Islamic Art in JerusalemNees, LawrenceBrillLeiden2016<p>Through its material remains, <em>Perspectives on Early Islamic Art in Jerusalem</em> analyzes several overlooked aspects of the earliest decades of Islamic presence in Jerusalem, during the seventh century CE. Focusing on the <em>Haram al-Sharif</em>, also known as the Temple Mount, Lawrence Nees provides the first sustained study of the Dome of the Chain, a remarkable eleven-sided building standing beside the slightly later Dome of the Rock, and the first study of the meaning of the columns and column capitals with figures of eagles in the Dome of the Rock. He also provides a new interpretation of the earliest mosque in Jerusalem, the <em>Haram</em> as a whole, with the sacred Rock at its center.<br></p>
Arts of Display/Het vertoon van de kunstArts of Display/Het vertoon van de kunstChapman, H. PerryFrits Scholten, and Joanna Woodall, eds.BrillLeiden2015<p>The recent wave of renovations of Netherlandish museums inspired this volume of the <em>Nederlands Kunsthistorisch Jaarboek</em>, which focuses on display as a key approach to the visual culture of the Netherlands from the early modern period to the present. The volume opens with a critical discussion of the newly reinstalled Rijksmuseum. It includes analyses of the depiction of aggressive interactions with artworks, the ways in which meaning is mobilised by changing displays of paintings by Rubens, and the politics of display in a seventeenth-century palace and in Fascist and De Stijl exhibitions. Display in domestic spaces, including Rembrandt’s house and a museum of Asiatic art, is considered, as are the implications of plinths and curtains. Display emerges as a complex praxis that determines interpretation and implicates the beholder.<br></p>
Getting the Picture: The Visual Culture of NewsGetting the Picture: The Visual Culture of NewsHill, Jasonand Vanessa R. Schwartz, eds.BloomsburyLondon2015<p>Powerful and often controversial, news pictures promise to make the world at once immediate and knowable. For the first time, this volume defines what counts as a news picture, how pictures are selected and distributed, where they are seen and how we critique and value them. Presenting the best new thinking on this fascinating topic, this book considers the news picture from the dawn of the illustrated press in the nineteenth century, through to today's digital platforms. It examines the many kinds of images: sport, fashion, society, celebrity, war, catastrophe and exoticism; and many mediums, including photography, painting, wood engraving, film and video. Packed with the best research and full colour-illustrations throughout, this book will appeal to students and readers interested in how news and history are key sources of our rich visual culture.<br></p>
Cities of Light: Two Centuries of Urban IlluminationCities of Light: Two Centuries of Urban IlluminationIsenstadt, SandyMargaret Maile Petty, and Dietrich Neumann, eds.RoutledgeNew York2015<p> <em>Cities of Light</em> is the first global overview of modern urban illumination, a development that allows human wakefulness to colonize the night, doubling the hours available for purposeful and industrious activities. Urban lighting is undergoing a revolution due to recent developments in lighting technology, and increased focus on sustainability and human-scaled environments. <em>Cities of Light </em>is expansive in coverage, spanning two centuries and touching on developments on six continents, without diluting its central focus on architectural and urban lighting. Covering history, geography, theory, and speculation in urban lighting, readers will have numerous points of entry into the book, finding it easy to navigate for a quick reference and or a coherent narrative if read straight through. With chapters written by respected scholars and highly-regarded contemporary practitioners, this book will delight students and practitioners of architectural and urban history, area and cultural studies, and lighting design professionals and the institutional and municipal authorities they serve.<br></p>
Liang Sicheng and the Temple of Buddha's LightLiang Sicheng and the Temple of Buddha's LightRujivacharakul, Vimalinand Luo Deyin, eds. and trans.Gale AsiaAndover2015<p>In July 1937, Liang Sicheng (1901-1972) led a small team of architectural historians to Mount Wutai in Shanxi. There, in the land known as the dwelling of Mañjusri, they encountered the ninth-century Buddha hall dating from the Tang period. In Chinese architectural history, this finding was a watershed moment. At the time of its discovery, this extant architecture was the sole Tang timber structure ever found on the mainland.<br></p><p>This book presents the history and historiography of the discovery of the Temple of Buddha's Light. It also delivers, for the first time, both Liang's complete account of the trip translated into English and his detailed analyses of the temple's architecture and decorative art. Also included are Liang's original photographs and drawings of the temple complex.<br></p>
The Modern American House: Spaciousness and Middle-Class IdentityThe Modern American House: Spaciousness and Middle-Class IdentityIsenstadt, SandyCambridge University PressCambridge2014<p>Sandy Isenstadt examines how architects, interior designers, and landscape designers worked to enhance spatial perception in middle class houses visually. The desire for spaciousness reached its highest pitch where it was most lacking, in the small, single-family houses that came to be the cornerstone of middle class life in the nineteenth century. In direct conflict with actual dimensions, spaciousness was linked to a tension unique to the middle class - between spatial aspirations and financial limitations. Although rarely addressed in a sustained fashion by theorists, practitioners, or the inhabitants of houses themselves, Isenstadt argues that spaciousness was central to the development of modern American domestic architecture, with explicit strategies for perceiving space being pivotal to modern house design. Through professional endorsement, concern for visual space found its way into discussion of real estate and law.<br></p>
The Material Life of Roman SlavesThe Material Life of Roman SlavesPetersen, Lauren Hackworthand Sandra R. JoshelCambridge University PressCambridge2014<p> <em>The Material Life of Roman Slaves</em> is a major contribution to scholarly debates on the archaeology of Roman slavery. Rather than regarding slaves as irretrievable in archaeological remains, the book takes the archaeological record as a key form of evidence for reconstructing slaves' lives and experiences. Interweaving literature, law, and material evidence, the book searches for ways to see slaves in the various contexts - to make them visible where evidence tells us they were in fact present. Part of this project involves understanding how slaves seem irretrievable in the archaeological record and how they are often actively, if unwittingly, left out of guidebooks and scholarly literature. Individual chapters explore the dichotomy between visibility and invisibility and between appearance and disappearance in four physical and social locations - urban houses, city streets and neighborhoods, workshops, and villas.<br></p>
Caravaggio: Reflections and RefractionsCaravaggio: Reflections and RefractionsStone, David M.and Lorenzo Pericolo, eds.AshgateFarnham, Surrey2014<p>As this collection of essays makes clear, the paths to grasping the complexity of Caravaggio’s art are multiple and variable. Art historians from the UK and North America offer new or recently updated interpretations of the works of seventeenth-century Italian painter Michelangelo Merisi da Caravaggio and of his many followers known as the Caravaggisti. The volume deals with all the major aspects of Caravaggio’s paintings: technique, creative process, religious context, innovations in pictorial genre and narrative, market strategies, biography, patronage, reception, and new hermeneutical trends. The concluding section tackles the essential question of Caravaggio’s legacy and the production of his followers-not only in terms of style but from some highly innovative strategies: concettismo; art marketing and the price of pictures; self-fashioning and biography; and the concept of emulation.<br></p>
Military Ethos and Visual Culture in Post-Conquest MexicoMilitary Ethos and Visual Culture in Post-Conquest MexicoDomínguez Torres, MónicaAshgateFarnham, Surrey2013<p>Bringing to bear her extensive knowledge of the cultures of Renaissance Europe and sixteenth-century Mexico, Mónica Domínguez Torres here investigates the significance of military images and symbols in post-Conquest Mexico. She shows how the 'conquest' in fact involved dynamic exchanges between cultures; and that certain interconnections between martial, social and religious elements resonated with similar intensity among Mesoamericans and Europeans, creating indeed cultural bridges between these diverse communities.<br></p><p>Multidisciplinary in approach, this study builds on scholarship in the fields of visual, literary and cultural studies to analyse the European and Mesoamerican content of the martial imagery fostered within the indigenous settlements of central Mexico, as well as the ways in which local communities and leaders appropriated, manipulated, modified and reinterpreted foreign visual codes. <em>Military Ethos and Visual Culture in Post-Conquest Mexico</em> draws on post-structuralist and post-colonial approaches to analyse the complex dynamics of identity formation in colonial communities.<br></p>
Architecturalized Asia: Mapping a Continent through HistoryArchitecturalized Asia: Mapping a Continent through HistoryRujivacharakul, VimalinH. Hazel Hahn, Ken Tadashi Oshima, and Peter Christensen, eds.University of Hawai'i PressHonolulu2013<p>This collection explores built environments and visual narratives in Asia via cartography, icons and symbols in different historical settings. It grows out of a three-year project focusing on cultural exchange in the making of Asia’s boundaries as well as its architectural styles and achievements. The editors -- architectural scholars at University of Delaware, Seattle University, University of Washington and Harvard University, respectively – attracted contributions from Asia, Europe, and North America. </p><p>The manuscript consists of three sections – in Mapping Asia: Architectural Symbols from Medieval to Early Modern Periods, authors examine icons and symbols in maps and textual descriptions and other early evidence about Asian architecture. Incorporating archival materials from Asia and Europe, the essays present views of Asian architecture seen from those who lived on the continent, those who saw themselves residing along the margins, and those who identified themselves as outsiders. The second section, Conjugating Asia: The Long-Nineteenth Century and its Impetus, explores the construction of the field of Asian architecture and the political imagination of Asian built environments in the nineteenth century. It discusses the parallel narratives of colonialism and Orientalism in the construction of Asia and its architectural environment, mapping how empire-expanding influences from Europe and North America have defined “Asia” and its regions through new vocabularies and concepts, which include, among others, “Eurasia,” “Jap-Alaska,” “Asie coloniale,” “the Orient,” and “Further India.” The third section, Manifesting Asia: Building the Continent with Architecture, addresses the physical realization of “Asian” geographic ideas within a set of specific local and regional contexts in the twentieth century. It examines tangible constructions as legible documents of these notional constructions of Asia, and discusses their construction processes, materials and critical receptions as evidence of the physical's reciprocal relationship to the conceptual. Regions and conditions covered include French Indochina, Iran, post-Soviet Central Asia, Japanese landscape, and the construction of the Afro-Asian built environment.<br></p>
Mothering and Motherhood in Ancient Greece and RomeMothering and Motherhood in Ancient Greece and RomePetersen, Lauren Hackworthand Patricia Salzman-Mitchell, eds.University of Texas PressAustin2012<p>Motherhood played a central role in ancient Greece and Rome, despite the virtual absence of female participation in the public spheres of life. Mothers could wield enormous influence as the reproductive bodies of society and, in many cases, of culture. Yet motherhood and acts of mothering have received relatively little focused and sustained attention by modern scholars, who have concentrated almost exclusively on analyzing depictions of ancient women more generally.<br></p><p>In this volume, experts from across the humanities present a wealth of evidence from legal, literary, and medical texts, as well as art, architecture, ritual, and material culture, to reveal the multilayered dimensions of motherhood in both Greece and Rome and to confront the fact that not all mothers and acts of mothering can be easily categorized. The authors consider a variety of mothers—from the mythical to the real, from empress to prostitute, and from citizen to foreigner—to expose both the mundane and the ideologically charged lives of mothers in the Classical world. Some essays focus on motherhood as a largely private (emotional, intimate) experience, while others explore the ramifications of public, oftentimes politicized, displays of motherhood. This state-of-the art look at mothers and mothering in the ancient world also takes on a contemporary relevance as the authors join current debates on motherhood and suggest links between the lives of ancient mothers and the diverse, often conflicting roles of women in modern Western society.<br></p>
Citizen Spectator: Art, Illusion, and Visual Perception in Early National AmericaCitizen Spectator: Art, Illusion, and Visual Perception in Early National AmericaBellion, WendyUniversity of North Carolina PressChapel Hill2011<p>In this richly illustrated study, the first book-length exploration of illusionistic art in the early United States, Wendy Bellion investigates Americans' experiences with material forms of visual deception and argues that encounters with illusory art shaped their understanding of knowledge, representation, and subjectivity between 1790 and 1825. Focusing on the work of the well-known Peale family and their Philadelphia Museum, as well as other Philadelphians, Bellion explores the range of illusions encountered in public spaces, from trompe l'oeil paintings and drawings at art exhibitions to ephemeral displays of phantasmagoria, "Invisible Ladies," and other spectacles of deception.<br></p><p>Bellion reconstructs the elite and vernacular sites where such art and objects appeared and argues that early national exhibitions doubled as spaces of citizen formation. Within a post-Revolutionary culture troubled by the social and political consequences of deception, keen perception signified able citizenship. Setting illusions into dialogue with Enlightenment cultures of science, print, politics, and the senses, <em>Citizen Spectator</em> demonstrates that pictorial and optical illusions functioned to cultivate but also to confound discernment. Bellion reveals the equivocal nature of illusion during the early republic, mapping its changing forms and functions, and uncovers surprising links between early American art, culture, and citizenship.<br></p>
Collecting China: The World, China, and a History of CollectingCollecting China: The World, China, and a History of CollectingRujivacharakul, Vimalined.University of Delaware PressNewark2011<p>This is a unique book that brings together theories of materiality and the history of collecting. It grew out of a simple question: how does a thing become Chinese? Fifteen essays explore the question from different angles, ranging from close examination of world-renowned private collections (the Rockefellers, the Goncourts, the Walters, the du Ponts, the Yeh family, and the Getty Research Institute, among others) to critical reinterpretation of historical writings that continue from records of Emperor Wu Di of the Han Dynasty to the story of Robinson Crusoe and the first international exhibition of Chinese art. With accounts that incorporate records normally unavailable to the public, the authors map the vast network of collection practices in different periods, and demonstrate the ways in which material things produced in China acquire new cultural identities through collecting practices.<br></p>
Théodore GéricaultThéodore GéricaultAthanassoglou-Kallmyer, Nina M.PhaidonLondon2010<p>This monograph explores the life and works of Théodore Géricault (1791–1824), whose compelling career and legacy continue to captivate audiences, artists and critics alike. In her comprehensive survey, Nina Athanassoglou-Kallmyer pays tribute to established Géricault scholarship, but also reassesses the career of an artist too easily miscast as the archetypal ‘tortured soul’ of art-historical Romantic mythology. She examines Géricault’s career in the context of Restoration France, a society under the controversial rule of Louis XVIII, in which civic structures, political process and even aesthetic categories were the subject of vigorous popular debate. Géricault immersed himself in these polemics, taking an intense interest in the fait divers, or ‘daily happenings’, of his time. Athanassoglou-Kallmyer explores his interest in medical and psychiatric science (as exemplified by a series of portraits of monomaniacs), his empathy for the poor and dispossessed (the subject of numerous lithographs) and the entrepreneurial spirit that led him to exhibit his epic canvas, the <em>Raft of the Medusa</em>, in London as a commercial venture. Géricault is presented as an artist committed to capturing contemporary life with creative integrity and dramatic verve.<br></p>
Gilded Mansions: Grand Architecture and High SocietyGilded Mansions: Grand Architecture and High SocietyCraven, WayneW. W. NortonNew York2009<p>The Gilded Age (1865–1918) saw the sudden rise of America's first High Society, including such prominent families as the Astors, Whitneys, and Vanderbilts. As an aristocracy based on fortunes recently acquired, these families endeavored to live like Europe's blue-blooded nobility, shedding Puritan restraint as they joyously flaunted their new wealth—especially where their homes were concerned.</p><p>They erected French chateaus and Italian palazzos on New York's Fifth Avenue, at Newport, and elsewhere, often taking inspiration from Parisian styles of the Second Empire. They rejected more modest American styles just as they rejected middle-class society, and for interior decoration they turned to such artisans as Tiffany, Herter Brothers, and Allard's of Paris.<br></p>
Modernism and the Middle East: Architecture and Politics in the Twentieth CenturyModernism and the Middle East: Architecture and Politics in the Twentieth CenturyIsenstadt, Sandyand Kishwar Rizvi, eds.University of Washington PressSeattle2008<p>This provocative collection of essays is the first book-length treatment of the development of modern architecture in the Middle East. Ranging from Jerusalem at the turn of the twentieth century to Libya under Italian colonial rule, postwar Turkey, and on to present-day Iraq, the essays cohere around the historical encounter between the politics of nation-building and architectural modernism's new materials, methods, and motives.<br></p><p>Architecture, as physical infrastructure and as symbolic expression, provides an exceptional window onto the powerful forces that shaped the modern Middle East and that continue to dominate it today. Experts in this volume demonstrate the political dimensions of both creating the built environment and, subsequently, inhabiting it. In revealing the tensions between achieving both international relevance and regional meaning, Modernism in the Middle East affords a dynamic view of the ongoing confrontations of deep traditions with rapid modernization. Political and cultural historians, as well as architects and urban planners, will find fresh material here on a range of diverse practices.<br></p>
The Freedman in Roman Art and Art HistoryThe Freedman in Roman Art and Art HistoryPetersen, Lauren HackworthCambridge University PressCambridge2006<p>From monumental tombs and domestic decoration, to acts of benefaction and portraits of ancestors, Roman freed slaves, or freedmen, were prodigious patrons of art and architecture. Traditionally, however, the history of Roman art has been told primarily through the monumental remains of the emperors and ancient writers who worked in their circles. In this study, Lauren Petersen critically investigates the notion of 'freedman art' in scholarship, dependent as it is on elite-authored texts that are filled with hyperbole and stereotype of freedmen, such as the memorable fictional character Trimalchio, a boorish ex-slave in Petronius' Satyricon. She emphasizes integrated visual ensembles within defined historical and social contexts and aims to show how material culture can reflect preoccupations that were prevalent throughout Roman society. Interdisciplinary in scope, this book explores the many ways that monuments and artistic commissions by freedmen spoke to a much more complex reality than that presented in literature.<br></p>
Caravaggio: Art, Knighthood, and MaltaCaravaggio: Art, Knighthood, and MaltaStone, David M.and Keith SciberrasMidseaValletta2006<p>Caravaggio’s sojourn on the island of Malta in 1607-1608 is one of the most fascinating episodes in Baroque art. The chance to obtain a knighthood and redeem himself for a crime he committed in Rome brought him to Malta. This book tells the story of Caravaggio’s voyage to Malta, his interactions with the Knights and their Grand Master Alof de Wignacourt, and the magnificent paintings he made for them. The book presents new iconographic, technical, and stylistic analyses of all of the Maltese pictures as well as two chapters devoted to discussion of Caravaggio’s importance in the history of art and the chronological problems in his late works. This study which is based on original archival research, also includes an account of Caravaggio’s crime in Malta, his imprisonment, and daring escape to Sicily.<br></p>
Stanford White: Decorator in Opulence and Dealer in AntiquitiesStanford White: Decorator in Opulence and Dealer in AntiquitiesCraven, WayneColumbia University PressNew York2005<p>​The designer of such landmarks as the Washington Square Arch, the New York Herald and Tiffany Buildings, and the homes of captains of American industry, Stanford White is a legendary figure in the history of American architecture. Yet while the exteriors and floor plans of his designs have been extensively studied and written about, no book has fully examined the other aspect of his career, which claimed at least half of his time and creativity. Wayne Craven's work offers the first study of Stanford White as an interior decorator and a dealer in antiques and the fine arts.</p><p>Craven also offers a vivid portrait of the sweeping social and cultural changes taking place in the United States in the late nineteenth and early twentieth centuries. He places White's work as an interior decorator within the context of the lives and society of the nouveaux riches who built unprecedented fortunes during the Industrial Revolution. Rejecting the dominant middle-class tastes and values of the United States, the Whitneys, Vanderbilts, Astors, Paynes, Mackays, and other wealthy New York families saw themselves as the new aristocracy and desired the prestige and trappings accorded to Old World nobility. Stanford White fulfilled their hunger for aristocratic recognition by adorning their glamorous Fifth Avenue mansions and Long Island estates with the sculptures, stained-glass windows, coats of arms, and carved fireplaces of the European past. Interior decorators such as White did more than just buy single pieces for these families. They purchased entire rooms from palazzos, chateaux, villas, nunneries, and country houses; had them dismantled; and shipped—both furnishings and architectural elements—to their American clients. Through Stanford White's activities, Craven uncovers the mostly, but not always, legal business of dealing in antiquities, as American money entered and changed the European art market.</p><p>Based on the archives of the Avery Architectural Library of Columbia University and the New-York Historical Society, this book recovers a neglected yet significant part of White's career, which lasted from the 1870s to his murder in 1906. White not only set the bar for twentieth-century architecture but also defined the newly emerging profession of interior design.<br></p>
Town House: Architecture and Material Life in the Early American City, 1780-1830Town House: Architecture and Material Life in the Early American City, 1780-1830Herman, Bernard L.University of North Carolina PressChapel Hill2005<p>In this abundantly illustrated volume, Bernard Herman provides a history of urban dwellings and the people who built and lived in them in early America. In the eighteenth century, cities were constant objects of idealization, often viewed as the outward manifestations of an organized, civil society. As the physical objects that composed the largest portion of urban settings, town houses contained and signified different aspects of city life, argues Herman.</p><p>Taking a material culture approach, Herman examines urban domestic buildings from Charleston, South Carolina, to Portsmouth, New Hampshire, as well as those in English cities and towns, to better understand why people built the houses they did and how their homes informed everyday city life. Working with buildings and documentary sources as diverse as court cases and recipes, Herman interprets town houses as lived experience. Chapters consider an array of domestic spaces, including the merchant family's house, the servant's quarter, and the widow's dower. Herman demonstrates that city houses served as sites of power as well as complex and often conflicted artifacts mapping the everyday negotiations of social identity and the display of sociability.</p>
American Art: History and Culture (rev. 1st ed.)American Art: History and Culture (rev. 1st ed.)Craven, WayneMcGraw-HillBoston2003<p>​Wayne Craven presents art and artists within the context of their times, including insights into the intellectual, spiritual, and political environment.<br></p>
Cézanne and Provence: The Painter in His CultureCézanne and Provence: The Painter in His CultureAthanassoglou-Kallmyer, Nina M.University of Chicago PressChicago2003<p>In 1886 Paul Cézanne left Paris permanently to settle in his native Aix-en-Provence. Nina M. Athanassoglou-Kallmyer argues that, far from an escapist venture like Gauguin’s stay in Brittany or Monet’s visits to Normandy, Cézanne’s departure from Paris was a deliberate abandonment intimately connected with late-nineteenth-century French regionalist politics.<br></p>
Early Medieval ArtEarly Medieval ArtNees, LawrenceOxford University PressOxford2002<p>In the first millennium, a rich and distinctive artistic tradition emerged in Europe. <em>Early Medieval Art</em> explores this tradition and tracks its development from c. 300 AD through c. 1000 AD, revealing forms of artistic expression ranging from brilliant illuminated manuscripts to decorative chairs, rich embroidery, and precious metalwork.<br></p><p>Nees explores issues of artist patronage, craftsmanship, holy men and women, monasteries, secular courts, and the expressive and educational roles of artistic creation. Instead of treating early Christian art in the late Roman tradition and the arts of the newly established kingdoms of northern Europe as opposites, he adopts a more holistic view, treating them as different aspects of a larger historical situation. This approach reveals the onset of an exciting new visual relationship between the church and the populace throughout medieval Europe. Moreover, it restores a previously marginalized subject to a central status in our artistic and cultural heritage.<br></p>
The Joy of Life: The Idyllic in French Art, circa 1900The Joy of Life: The Idyllic in French Art, circa 1900Werth, MargaretUniversity of California PressBerkeley2002<p> <em>The Joy of Life</em> investigates the significance of the idyllic in French painting from the early 1890s to World War I, considering a fascinating series of pastoral, mythic, and utopian landscapes. Responding to rapid artistic and social shifts in this period, French artists shaped a dreamlike imagery of mythic community, individual fantasy, and sensual joie de vivre in the midst of mass society. This beautifully illustrated study focuses on three exemplary imaginings of idyll: Puvis de Chavannes's decoration for the Paris Hôtel de Ville, <em>L'été</em>, of 1891, Paul Signac's anarchist <em>Au temps d'harmonie</em> of 1895, and Henri Matisse's fauve <em>Bonheur de vivre</em> of 1905-6, each a monumental and ambitious work exhibited publicly in Paris.<br></p><p>Werth weaves together complex analyses of these paintings and others by Manet, Gauguin, Seurat, Cézanne, and less well known artists with a consideration of their critical reception, literary parallels, and the social and cultural milieu. She moves deftly from artistic concerns with tradition and avant-gardism, decoration and social art, composition and figuration to contemporary debates over human origins and social organization, collective consciousness and individual subjectivity, the fragmentation of history and anticipations of the future. Exploring the preoccupation of the turn-of-the-century imagination with time and memory, nationalism and colonialism, and competing constructions of national, racial, and gender identity, Werth analyzes the contributions of writers as diverse as Baudelaire, Durkheim, Bergson, Kropotkin, Morris, Nietzsche, Mallarmé, and Freud.</p><p>Successfully integrating art history and close visual analysis with literary and social history and psychoanalytic interpretation, <em>The Joy of Life</em> is a rich interdisciplinary work that makes a remarkable contribution to our understanding of modernism one hundred years ago.<br></p>
Approaches to Early-Medieval ArtApproaches to Early-Medieval ArtNees, Lawrenceed.Medieval Academy of AmericaCambridge, MA1998<p><em>Approaches to Early-Medieval Art</em>, edited by Lawrence Nees, was first published as a special issue of <em>Speculum: A Journal of Medieval Studies</em> (October 1997 issue).<br></p>
Abstract Expressionism: Other PoliticsAbstract Expressionism: Other PoliticsGibson, Ann E.Yale University PressNew Haven, CT1997<p>The Abstract Expressionist movement has long been bound up in the careers and lifestyles of about twelve white male artists who exhibited in New York in the 1940s. In this book Ann Eden Gibson reconsiders the history of the movement by investigating other artists—people of color, women, and gays and lesbians—whose versions of abstraction have been largely ignored until now.</p><p>Gibson argues that the origins and promotion of Abstract Expressionism were influenced by sexual and racial biases, and she shows how both the themes and physical appearance of Abstract Expressionism were gradually defined and refined by the white male artists who became its spokesmen, by critics, and by private and institutional supporters. She offers a justification for rethinking the definition of Abstract Expressionism through the work of such well-known contemporaries as Romare Bearden, Louise Bourgeois, Lee Krasner, Norman Lewis, Alfonso Ossorio, Aaron Siskind, Leon Polk Smith, Anne Ryan, and Hale Woodruff, as well as such lesser known artists as Ruth Abrams, Ronald Joseph, and Thelma Johnson Streat. Gibson contends that the current description of Abstract Expressionism has not only deprived it of such themes as masking, maternity, domesticity, and the experience of African American and Native American culture but has also limited it formally by excluding smaller, representational, and more personal work by canonical as well as noncanonical artists. She demonstrates that exposing the movement's true diversity makes this important heritage even more valuable than it was before.<br></p>
Everyday Architecture of the Mid-Atlantic: Looking at Buildings and LandscapesEveryday Architecture of the Mid-Atlantic: Looking at Buildings and LandscapesHerman, Bernard L.and Gabrielle M. LanierJohns Hopkins University PressBaltimore1997<p>From the eighteenth-century single-room "mansions" of Delaware's Cypress Swamp district to the early twentieth-century suburban housing around Philadelphia and Wilmington, the architectural landscape of the mid-Atlantic region is both rich and varied. In this pioneering field guide to the region's historic vernacular architecture, Gabrielle Lanier and Bernard Herman describe the remarkably diverse building traditions that have overlapped and influenced one another for generations.<br></p>
Jan Steen: Painter and StorytellerJan Steen: Painter and StorytellerChapman, H. PerryWouter Th. Kloek, and Arthur K. Wheelock, Jr.National Gallery of ArtWashington, DC1996<p> Jan Steen, one of the most admired and engaging of Dutch artists, stands apart for his wry and humorous view of the world. He is best known as a comic painter of dissolute households, quack doctors tending lovesick women, boisterous holiday gatherings, and rowdy tavern scenes. Yet Steen also produced genre paintings with a serious side, highly original portraits, and biblical and mythological histories that vary remarkably, from the quiet and intimate to the grand and melodramatic. The careful selection of paintings presented here surveys the breadth of this artist’s achievement and provides an overview of his career, from his early works painting in The Hague around 1650 to those executed in the mid-1670s in Leiden. These paintings also provide evidence of Steen’s genius as a compelling storyteller. The catalog includes essays by noted scholars in the field.<br></p>
American Art: History and CultureAmerican Art: History and CultureCraven, WayneBrown and BenchmarkMadison, WI1994<p>Wayne Craven presents art and artists within the context of their times, including insights into the intellectual, spiritual, and political environment.<br></p>
Eugène Delacroix: Prints, Politics and Satire, 1814-1822Eugène Delacroix: Prints, Politics and Satire, 1814-1822Athanassoglou-Kallmyer, Nina M.Yale University PressNew Haven, CT1991<p>In the years before Delacroix established his reputation as a major painter, he produced some political cartoons and caricatures unlike anything he was to create for the rest of his life. Until now these works have been dismissed as purely commercial undertakings unworthy of the great artist. This book by Nina Athanassoglou-Kallmyer demonstrates that Delacroix's interest in political cartooning was far more significant than has hitherto been assumed.<br></p>
A Tainted Mantle: Hercules and the Classical Tradition at the Carolingian CourtA Tainted Mantle: Hercules and the Classical Tradition at the Carolingian CourtNees, LawrenceUniversity of Pennsylvania PressPhiladelphia1991<p><em>A Tainted Mantle</em> focuses on two important works of Carolingian literature and art, Theodulf of Orléans's poem <em>Contra iudices</em> (<em>To Judges</em>) and the ivory throne identified as the <em>Cathedra Petri</em> (the throne of St. Peter). Both works prominently feature the pagan hero Hercules, showing him not as a positive model for Carolingian rulers, as has often been suggested, but in fact as an embodiment of traditions of ancient paganism that were antithetical to early medieval Christianity.<br></p>
Issues in Abstract Expressionism: The Artist-Run PeriodicalsIssues in Abstract Expressionism: The Artist-Run PeriodicalsGibson, Ann E.UMIAnn Arbor, MI1990<p> <em>Issues in Abstract Expressionism: The Artist-Run Periodicals</em> is a tripartite exploration and documentation of the history of the New York School as represented in five interdisciplinary periodicals that appeared in the late 1940s and early 1950s: <em>Iconograph</em>, <em>The Tiger's Eye</em>, <em>Possibilities</em>, <em>Instead</em>, and <em>Modern Artists in America</em>.<br></p>
French Images from the Greek War of Independence, 1821-1830French Images from the Greek War of Independence, 1821-1830Athanassoglou-Kallmyer, Nina M.Yale University PressNew Haven, CT1989<p>The Greek struggle against Ottoman rule was a crucial event in the history and politics of nineteenth-century Europe. In particular it had a strong impact on the political and cultural life of France during the Bourbon Restoration, where it was appropriated and promoted as the symbolic spearhead of liberal ideas and of the growing Romantic rebellion. This book by Nina Athanassoglou-Kallmyer examines the French paintings, prints, and sculptures inspired by the Greek War of Independence.<br></p>
After Ratification: Material Life in Delaware, 1789-1820After Ratification: Material Life in Delaware, 1789-1820Herman, Bernard L.J. Ritchie Garrison, and Barbara McLean Ward, eds.University of DelawareNewark1988<p><em>After Ratification: Material Life in Delaware, 1789-1820</em>, is a collection of nine essays on Delaware history and material culture during the Constitutional era. It draws upon the fields of archaeology, art history, folklore, and history to illuminate the rich and complex texture of Delaware's cultural landscape during the three decades following the ratification of the Federal Constitution.<br></p>
A Land and Life Remembered: Americo-Liberian Folk ArchitectureA Land and Life Remembered: Americo-Liberian Folk ArchitectureHerman, Bernard L.and Svend E. HolsoeUniversity of Georgia PressAthens1988<p>Catalogue of an exhibition (at the Brockton Art Museum/Fuller Memorial) of Max Belcher's photographs of domestic architecture in Liberia and the southern United States.<br></p>
English Neo-classical ArchitectureEnglish Neo-classical ArchitectureStillman, DamieZwemmerLondon1988<p>​Damie Stillman explores the origins of the Neo-classical movement in the experiences of young British architects visiting Rome, its early flowering around 1755-65 and later development as the fashionable new style swept the country, and the impact of fresh ideas that heralded the nineteenth century. An examination of the work of such architects as Robert Adam, William Chambers, 'Athenian' Stuart, George Dance, James Wyatt, John Soane, and many others both well-known and less well-known, is interwoven with analyses of plans, exteriors and interiors of an enormous range of building types.<br></p>
The Gundohinus GospelsThe Gundohinus GospelsNees, LawrenceMedieval Academy of AmericaCambridge, MA1987<p>The manuscript now preserved as MS 3 in the Bibliothèque Municipale at Autun, commonly known as the Gundohinus Gospels, is a moderately large parchment codex containing the Four Gospels in Latin, various accessory texts, decorated canon tables, a <em>Maiestas Domini</em> illustration, and four Evangelist portraits. The colophon gives the name of the scribe, Gundohinus, states that the book was written in the third year of King Pepin, that is, ca. A.D. 754, and places its origin in a monastery at Vosevio, an unidentified location.<br></p>
Colonial American Portraiture: The Economic, Religious, Social, Cultural, Philosophical, Scientific, and Aesthetic FoundationsColonial American Portraiture: The Economic, Religious, Social, Cultural, Philosophical, Scientific, and Aesthetic FoundationsCraven, WayneCambridge University PressCambridge1986<p>In this book, art has been removed from the confines of a single discipline in order to study colonial American portraiture as a complex expression of society and the individual, as well as of artistic genius. Professor Wayne Craven shows that portraiture was a manifestation of the goals, ambitions, and characters of the persons represented. It is, therefore, necessary to establish a methodology for the analysis of images that incorporates the factors of economics, religion, socio-cultural heritage, and philosophical and scientific inquiry into the study of artistic style and aesthetics.<br></p>
From Justinian to Charlemagne: European Art, 565-787; An Annotated BibliographyFrom Justinian to Charlemagne: European Art, 565-787; An Annotated BibliographyNees, LawrenceG. K. HallBoston1985<p>This volume from the Reference Publications in Art History series is an annotated bibliography devoted to the Christian art of the period from approximately A.D. 565 to A.D. 787.<br></p>
Architecture and Ornament in Late 19th-Century AmericaArchitecture and Ornament in Late 19th-Century AmericaStillman, Damieed.University of DelawareNewark1981<p>Catalogue of an exhibition at the University Gallery, organized and edited by Damie Stillman and students in the Department of Art History at the University of Delaware.<br></p>
English Painting: The Great Masters, 1730-1860English Painting: The Great Masters, 1730-1860Stillman, DamieMcGraw-HillNew York1966<p>The one hundred and thirty years from 1730 to 1860 were characterized in England by a magnificent efflorescence of painting. During this period English painting came into its own for the first time since the Age of Elizabeth I. For the first time, too, native painters replaced foreigners as both the principal artists and the most influential ones. And English painting began to play an important role in the development of European art. It is an age of great names and exciting developments, of figures who bulk large in the history of Western art: Hogarth, Reynolds, Gainsborough, Constable, and Turner.<br></p>
The Decorative Work of Robert AdamThe Decorative Work of Robert AdamStillman, DamieAlec TirantiLondon1966<p>Robert Adam (1728-1792) was an architect whose concern was not only with the exterior of houses and their planning, but also with the decoration of interiors, often down to the most minute element. Walls and chimney-pieces, ceilings and carpets, fire grates and candelabra, curtain cornices and ink wells, door knobs and escutcheons were all within his interest and responsibility. It is, indeed, his decorative work that is the core of his career and the most significant and influential aspect of his work.<br></p>

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