"The Artist and the State, 1777?855 "


Book Description

The Artist and the State, 1777-1855: The Politics of Universal History in British & French Painting is the first book-length study to examine political uses of 'universal history', or the philosophy of history, in European art from 1777 to 1855. Daniel R. Guernsey discusses a range of mural paintings and sculptural works produced in England and France between the American Revolution and the Universal Exposition of 1855, comparing the ways artists such as James Barry, Eug? Delacroix, Paul Chenavard, David d'Angers, and Gustave Courbet expressed linear or cyclical histories of progress and decline. By considering the work of these important European artists together, he reveals not only the rich artistic interaction that took place between England and France - as well as Germany - at this time, but also how the notion of 'universal history' was to become a major preoccupation in the work of these individual artists, each one participating in shaping a highly significant mode of eighteenth- and nineteenth-century political art.







The Political Economy of Art


Book Description

"Political economy is defined in this volume as collective state or corporate support for art and architecture in the public sphere intended to be accessible to the widest possible public, raising questions about the relationship of the state to cultural production and consumption. This collection of essays explores the political economy of art from the perspective of the artist or from analysis of art's production and consumption, emphasizing the art side of the relationship between art and state. This volume explores art as public good, a central issue in political economy. Essays examine specific cultural spaces as points of struggle between economic and cultural processes. Essays focus on three areas of conflict: theories of political economy put into practices of state cultural production, sculptural and architectural monuments commissioned by state and corporate entities, and conflicts and critiques of state investments in culture by artists and the public."--amazon.com edit. desc.




The British Are Coming


Book Description

Winner of the George Washington Prize Winner of the Barbara and David Zalaznick Book Prize in American History Winner of the Excellence in American History Book Award Winner of the Fraunces Tavern Museum Book Award From the bestselling author of the Liberation Trilogy comes the extraordinary first volume of his new trilogy about the American Revolution Rick Atkinson, author of the Pulitzer Prize-winning An Army at Dawn and two other superb books about World War II, has long been admired for his deeply researched, stunningly vivid narrative histories. Now he turns his attention to a new war, and in the initial volume of the Revolution Trilogy he recounts the first twenty-one months of America’s violent war for independence. From the battles at Lexington and Concord in spring 1775 to those at Trenton and Princeton in winter 1777, American militiamen and then the ragged Continental Army take on the world’s most formidable fighting force. It is a gripping saga alive with astonishing characters: Henry Knox, the former bookseller with an uncanny understanding of artillery; Nathanael Greene, the blue-eyed bumpkin who becomes a brilliant battle captain; Benjamin Franklin, the self-made man who proves to be the wiliest of diplomats; George Washington, the commander in chief who learns the difficult art of leadership when the war seems all but lost. The story is also told from the British perspective, making the mortal conflict between the redcoats and the rebels all the more compelling. Full of riveting details and untold stories, The British Are Coming is a tale of heroes and knaves, of sacrifice and blunder, of redemption and profound suffering. Rick Atkinson has given stirring new life to the first act of our country’s creation drama.




The Writings of James Barry and the Genre of History Painting, 1775–1809


Book Description

Examining the literary career of the eighteenth-century Irish painter James Barry, 1741-1806 through an interdisciplinary methodology, The Writings of James Barry and the Genre of History Painting, 1775-1809 is the first full-length study of the artist’s writings. Liam Lenihan critically assesses the artist’s own aesthetic philosophy about painting and printmaking, and reveals the extent to which Barry wrestles with the significant stylistic transformations of the pre-eminent artistic genre of his age: history painting. Lenihan’s book delves into the connections between Barry’s writings and art, and the cultural and political issues that dominated the public sphere in London during the American and French Revolutions.




Historical Dictionary of Romantic Art and Architecture


Book Description

The Historical Dictionary of Romantic Art and Architecture provides an overview of Romanticism, focusing on its major artists, architects, stylistic subcategories, ideas, and historical framework of the late 18th century style. This is done through a chronology, an introductory essay, an extensive bibliography, and over 200 cross-referenced dictionary entries on famous artists, sculptors, architects, patrons, and other historical figures and events. This book is an excellent access point for students, researchers, and anyone wanting to know more about Romanticism.




Epic Landscapes


Book Description

Epic Landscapes is the first study devoted to architect Benjamin Henry Latrobe’s substantial artistic oeuvre from 1795, when he set sail from Britain to Virginia, to late 1798, when he relocated to Pennsylvania. Thus, this book offers the only extended consideration of Latrobe’s Virginian watercolors, including a series of complex trompe l’oeil studies and three significant illustrated manuscripts. Though Latrobe’s architecture is well known, his watercolors have received little critical attention. Epic Landscapes rediscovers Latrobe’s watercolors as an ambitious body of work and reconsiders the close relationship between the visual and spatial sensibility of these images and his architectural designs. It also offers a fresh analysis of Latrobe within the context of creative practice in the Atlantic world at the end of the eighteenth century as he explored contemporary ideas concerning the form of art for Republican society and the social impacts of revolution. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.




"James Barry, 1741?806: History Painter "


Book Description

Bringing into relief the singularity of Barry's unswerving commitment to his vision for history painting despite adverse cultural, political and commercial currents, these essays on Barry and his contemporaries offer new perspectives on the painter's life and career. Contributors, including some of the best known experts in the field of British eighteenth-century studies, set Barry's works and writings into a rich political and social context, particularly in Britain. Among other notable achievements, the essays shed new light on the influence which Barry's radical ideology and his Catholicism had on his art; they explore his relationship with Reynolds and Blake, and discuss his aesthetics in the context of Burke and Wollstonecraft as well as Fuseli and Payne Knight. The volume is an indispensable resource for scholars of eighteenth-century British painting, patronage, aesthetics, and political history.







The Efflorescence of Caricature, 1759-1838


Book Description

Searing disputes over caricature have recently sparked flames across the world?the culmination, not the beginning, of the story of one of modernity's definitive artistic practices. Modern visual satire erupts during a period marked by reform and revolution, by cohering nationalisms and expanding empires, and by the emerging discipline of art history. This has long been recognized as its Golden Age. It is time to look anew. In The Efflorescence of Caricature, 1759-1838, an international, interdisciplinary, and intergenerational team of scholars reconfigures the geography of modern visual satire, as the expansive narrative reaches from North America to Europe, to China and the Ottoman Empire. Caricature's specific visual cultures are also laid bare, its iconographic means and material support, as well as the diverse milieu of its making?the military, the art academy, diplomacy, politics, art criticism, and popular entertainment. Some of its greatest practitioners?James Gillray and Honor?aumier?are seen in a new light, alongside some of their far flung and opportunistic pastichers. Most trenchantly, assumptions about the consequences of caricature's rise come under intense scrutiny, interrogated for its cherished and long-vaunted civilizational claims on individual character, artistic supremacy, political liberty, and global domination.