Subject Area: Art

American Movies and Their Cultural Antecedents in Literary Text
2001 0-7734-7342-4
Six wide-ranging essays which track the evolving representation and understanding of stories and themes, an exercise in seeing where a particular idea, image, or sequence of events will lead. For example, Chapter One traces the evolution of the black/white masculine friendship pair from James Fenimore Cooper through Die Hard to The Green Mile. Chapter four discusses Thelma and Louise and Leaving Normal as complementary cultural texts which serve to extend gender definitions found in earlier American literature and which continue actively to engage men and women in American culture today. “There’s nothing ordinary about Davidson’s always interesting insights throughout these six essays. . . . An engrossing, original look at film, energetic and lively. As a cultural observer, Davidson is sensitive and conscientious, and she reveals the American myths that both imprison and liberate.” – Book Reader

American Photographic Aesthetics in the Twentieth Century
2003 0-7734-6760-2
This study takes the theories of postmodernists such as Allan Sekula and John Tagg one step further by using their criticisms depicting modernism as contradictory as a starting point to generate a definition of modernism and formalism as a system of paradoxes. The book presents a history of modernism in America as a means of describing the evolution and multiplication of these paradoxes through the 1970s, and shows that the museum and gallery systems still rely on these aesthetics to perpetuate themselves as the authority on photography. The theory provided by this study collates and organizes chronologically the vast array of modernist and formalist writings throughout the 20th century.

American Symbolist Art: Nineteenth-Century “poets in Paint” Washington Allston, John La Farge, William Rimmer, George Inness, and Albert Pinkham Ryder
2004 0-7734-6410-7
This work describes the concepts of Symbolist art used for this study and presents a sequence of the works and writings of five artists – Washington Allston at the beginning of the century, John La Farge and William Rimmer at mid-century, and George Inness and Albert Pinkham Ryder at the end. These five were selected after a lengthy survey of 19th and early 20th century American art. Although a broader selection might have been made, these particular artists successfully developed, at one point or another in their careers and with more or less clearly defined objectives, highly articulate visual art in the Symbolist mode, as well as writings about their Symbolist intentions (without using the term itself). In many instances, their words, as well as their art, recall those of artists like Paul Gauguin and Vincent Van Gogh, although predating the Europeans by several decades. The Symbolist works of these five Americans are analyzed along side their writings about art, as well as writings by the few major critics who understood their aesthetic intentions at the time, such as James Jackson Jarves, Charles de Kay, and Roger Fry. Not a survey, but rather a highly selective and suggestive study, this book was written with the intent of refining the historical concept of Symbolist Art in general, by extending the view further into American art.

Ancient and Classic Art of China
2004 0-7734-6573-1
This study discusses ancient and classic Chinese art in interdisciplinary perspective, from the pre-historical age to the end of the Tang dynasty, including historical, cultural, philosophical, and political facts and how they impacted development. Also includes biographies of the artists, critics and scholars. It is richly illustrated with 40 full-color plates, in 8½ x 11 format, the majority of these plates introduced for the first time to Western readers.

Andy Warhol's Religious and Ethnic Roots the Carpatho- Rusyn Influence on His Art
1997 0-7734-8542-2
This study first examines ethnographical studies of Carpatho-Rusyns here and abroad with respect to religious and folk art familiar to Warhol; then examines the biographies of Warhol prepared by his close friends and co-workers in regard to his ethnic beliefs, customs, and practices in relation to his art; next it examines the autobiographical and diary evidence by Warhol himself on his ethnic identity concealments and disclosures; finally, it examines nearly four decades of his art.

Anglo-Saxon Propaganda in the Bayeux Tapestry
2004 0-7734-6385-2
This study details the secret, subversive and sustaining Anglo-Saxon messages encoded in a work of art that purportedly celebrates the Norman French conquest of England. This is a pioneering perspective that no other scholar has brought to the Tapestry.

Animals in Medieval French Manuscript Illumination
1995 0-7734-8991-6
Medieval manuscript painting offers a rich storehouse of material for literary scholars. This volume concentrates on domestic and wild mammals, rather than on the birds and monsters which have been treated elsewhere. Eighteen sections deal concisely with bears, camels, cats, dogs, elephants, etc., in what sorts of manuscripts they are found, and how they are presented. In addition, there are an introduction, conclusion, bibliography, and seventeen black and white illustrations from the Bibliothèque Nationale in Paris, and a color frontispiece.

Argentinean Cultural Production During the Neoliberal Years (1989-2001)
2007 0-7734-5348-2
This groundbreaking collection of essays examines Argentine cultural production during the 1989-2001 period, which coincided with the implementation of neoliberalism under President Carlos Saúl Menem (1989-1999) and his successor, Fernando de la Rúa (1999-2001), thereby providing an overview of the way Argentine writers, filmmakers, musicians and media reacted to this centrality of the market forces. This collection will be of interest to scholars of Latin American Cultural Studies, Hispanic Studies, Film Studies as well as those of Comparative Literature.

Art and Artists of Chinese Modern Painting, 1890-1949
2006 0-7734-6116-7
This book is richly illustrated with 50 photos and is in an oversize 8½ x 11 format.

The authors have collaborated to produce a valuable resource guide that lists the most significant Chinese artists to emerge during the period of time from the 1890 to 1949. It examines these Chinese artists both in relation to the historical period in which they worked as well as in relation to the specific genre they were working in. At the end of the book, there is a listing of the most important Chinese modern painters, along with a concise biography of each, followed by a discussion of the various centers of Chinese modern painting. The bibliography has been broken down into works in English and works in Chinese.

Art of Painting of Yuan, Ming, and Qing Dynasties
2011 0-7734-3927-7
The art of Chinese paintings developed rapidly during the Yuan, Ming, and Qing Dynasties from 1271-1911. This book offers a survey of the development of Chinese painting during these three dynasties. The book is an interdisciplinary historical aesthetic study of Chinese painting and art. It examines how social, political, philosophic, and religious factors impacted Chinese painting. The authors have collaborated to produce a valuable resource guide that lists the most significant Chinese painters to emerge during a span of 600 years. There are over 40 illustrations throughout the text of this book.

Art, Culture and Tourism on an Indian Ocean Island: An Ethnographic Study of Jua Kali Artists in Lamu, Kenya
2010 0-7734-3874-2
This book employs an ethnographic approach to understand the evolution of jua kali (Swahili for “hot sun”) art forms, especially in response to the international tourism industry. The importance of ethnicity to Lamu’s jua kali artists and the ways that ethnic identity is expressed visually in their artwork offers a unique approach to analyzing processes of cultural commoditization.

Artistic Ideals of Graphic Design Artists in the Television Industry
2007 0-7734-5316-4
This work analyzes the aesthetics of television design in the broader context of art history and theory while examining the motivations, work practices, and creative ambitions of contemporary design practitioners. Based on interviews of the graphic artists who produce such works, this book offers, for the first time, first-hand information about how these individuals understand their own work. The underlying question studied was: do these individuals fulfill an artistic objective in how they approach their craft? The result is a highly detailed qualitative insight into how television graphic designers work and view their craft that can provide the basis for later research.

Artistic Matronage of Queen Charlotte (1744-1818): How a Queen Promoted Both Art and Female Artists in English Society
2011 0-7734-1579-3
This book focuses on the artistic patronage of Queen Charlotte of England, whose artistic support has been traditionally overshadowed by that of her husband, King George III. Although Charlotte and her husband jointly patronized artists during the first decade of their marriage, she eventually became a substantial patron in her own right, supporting both the fine and decorative arts.

Artists' Images and the Self-Descriptions of Elisabeth Charlotte, Duchess of Orleans (1652-1722), the Second Madame
2007 0-7734-5420-9
Elisabeth Charlotte, Duchess of Orleans, (1652-1722), the Palatine princess who became the second wife of Monsieur and the mother of the Regent, is well known for the thousands of letters she wrote about her life at the court of Louis XIV and during the Regency, many of which have been anthologized. She if further defined for many by Rigaud’s sumptuous court portrait of her in old age. Many other portraits of her were made by both painters and engravers, and in the course of her letters she penned many self-descriptions and wrote about some of the paintings and engravings. This is the first ever comprehensive study of her physical image and her self-image, using all available evidence, both visual and verbal.

Bibliographical History of the Study and Use of Color From Aristotle to Kandinsky
2005 0-7734-6041-1
This book has three parts. Part One outlines historical trends in the study and use of color from antiquity to the present, with emphasis on color harmony and color in art. The history of color harmony meaning is traced from Aristotle through Kandinsky, to Modern and Postmodern ideas. Discussed are the important contributions to color theory of Alberti, da Vinci, Rubens, Descartes, LeBlon, Hogarth, and Delacoioix, to name a few. Chapters are included on the systematic color analyses of Newton, Goethe, and Chevreul, as well as those of Schopenhauer, Young, Brewster, and Runge; the groundbreaking color-vision research of Helmholtz and the notable scientific studies of Fechner and Rood; the influence of scientific color on such artists as Seurat; and the color organization theories of Moses Harris, Munsell, and Ostwald. Coverage is given to the psychology of affective response, including, among others, Wundt, Allesch, Kirschman, Birkoff, Katz, Arnheim, and Ehrenzweig. Color education is explored through such 20th century teachers as Itten, Katz, Albers, Pope, Sargent, Henri, and many more. Histories, anthologies, and bibliographies introduce Gage, Indergrand, Birren, and other late 20th century literary resources on color. Described is the role that color handbooks and quick-study references play in color harmony. An overview of the inconsistencies in the language of color is presented, and some of the current research attitudes toward the enigmatic subject of color harmony today are sampled.

Part Two covers the landmark color publications of Goethe, Chevreul, Helmholtz, Kandinsky, Katz, Judd, Albers, Wright, Itten, Arnheim, Munsell, and Pope. Bibliographic summaries are provided of the various editions of their books. Included are biographies and bibliographies of each author.

Part Three includes a bibliography of 100 books on color ranked in order of importance in the study and use of color through time. Contributors to the list include Rudolf Arnheim, Faber Birren, Frans Gerritsen, David Lewis MacAdam, and Siegfried Rösch, and others. The method used to construct the bibliography is described. The text includes references, general bibliography, a special retrospective bibliography on color harmony and color use in art, subject lists arranged by dates of publication for cross-referencing, and indexes.

Bibliography of Sources in Christianity and the Arts
1995 0-7734-9094-9
This work offers lists of bibliographies, key works in the arts and works treating Christianity and the arts. Works have been selected primarily for their utility to those conducting research in the fine arts relating to Christianity and religion. General categories covered include bibliographies of bibliographies, aesthetics, architecture, cinema, dance and mime, drama and rhetoric, electronic communications (radio, TV, and video), fabric arts, literature, music, photography, visual arts (calligraphy to sculpture), wit and humor. Each major section and many smaller sections begin with brief reviews of scholarship in the subject, including references to the best works for beginners and specialists. Overviews also contain cross-references to related works in other sections.

Biography of Catalan- American Artist Pierre Daura 1896-1976 the Man and His Art
2001 0-7734-7430-7
This is the first definitive biography of Pierre Daura, covering his life and prolific creative output. Daura was born in Catalan Spain, educated at the Academy of Fine Arts in Barcelona, where he studied with Jose Ruiz Blasco, Picasso’s father. He lived in France during the 1920s and 30s, where, along with Torres-Garcia, Seuphor, Mondrian, and others, he was a founding member of the group Cercle et Carré. He became an American citizen in 1943, and lived and taught in Virginia. His work is represented in the collections of major museums in the US and abroad. Includes color and black-and-white reproductions. “Professor Davis’s biography provides a long-overdue assessment of Pierre Daura’s place in modern art and of his expanding reputation in its history. That she herself knew Daura well in the last two years of his life has greatly enhanced her authority in this undertaking, as has her ongoing and open relationship with the Daura family. . . . This biography’s inclusion of reproductions of many of Daura’s works is a particular strength . . . . From my perspective, both as a scholar and militarist, the influence of the Spanish Civil War on the arts cannot be overstated. Its role in the personal and artistic development of Pierre Daura is of particular biographical interest, of course, but it also has broader cultural implications that should expand the potential audience for Professor Davis’s study. . . .The author has a readable and inviting style that is delightfully uncharacteristic of too many scholarly biographies. It is a smart read but also a good read.” – William A. McIntosh “I was impressed by the quality of the research and by the clarity and engaging style of the writing. Further I am sure that the samples of Daura’s art chosen to illustrate the book will enhance its value for all readers. Altogether this will make a volume to be treasured by all who appreciate its subject, and it will expand the knowledge, understanding, and appreciation of readers at all levels.” – James A. Huston

Chinese Painting Collection and Correspondence of Sir James Stewart Lockhart (1858-1937)
2008 0-7734-5079-3
This work examines the surviving letters and acquisitions of Sir James Stewart Lockhart, a colonial civil servant in the late nineteenth century. The book also provides insight into the life of Tse Ts’an Tai, the agent and revolutionary who facilitated the expansion of Lockhart’s impressive Chinese art collection. This book contains twenty-two black and white photographs and eleven color photographs.

Cinema and National Identity in a Divided Germany 1979-1989 the Split Screen
2000 0-7734-7640-7
This study provides a comparative analysis of the political, economic and ideological determinants shaping East and West German Feature films during the so-called established phase of the two states between 1979 and 1989. I the first part the author provides a theoretical framework for comparing the two film cultures on an abstract ideological level. The second part analyses the extent to which the political systems of the FRG and GDR shaped production, distribution and exhibition in order to establish a particular type of film culture. Finally, it investigates in greater detail how political, economic and cultural debates surrounding the question of an East and West German identity were translated into filmic discourse.

Coloured Political Lithographs as Irish Propaganda
2007 0-7734-5671-6
This comprehensive study of late nineteenth century Irish political cartoons published in nationalist newspapers and periodicals examines how popular art in the service of propaganda became a primary means of shaping public opinion during the first seven years of Charles Stewart Parnell’s struggle to lead the Irish peasantry into Home Rule (ca. 1879-1886). This period, which was marked by intense political upheaval characterized by coercion and conciliation, raised such issues as landownership, censorship of the press, and legislative relations between Ireland and England. The complimentary emblematic Irish “types” – Pat Murphy and Erin – whose features affirmed the patriotic desires of the masses, embodied the heroicized ideals of the tenant class and stood in remarkable contrast to the vulgar hyperbole of James Gillray’s earlier physiognomic models and to the siminaized Fenians appearing in contemporary English satirical journals such as Punch. Other visual also approaches appeared in the Irish nationalist political cartoons with great frequency, including: pantomime and farce; the convergence of “high” art and popular art; the fantastic; the cult of Shakespeare; Faustian allusions; Swiftian appropriations; nursery rhymes; and anthropomorphic narratives. Moreover, these Irish nationalist images are not what we at the turn of the twenty-first century think of as political cartoons today: small, black-and-white inserts set alongside editorials. Instead, they were large-format and color, suitable for framing, and placed gratis in the Saturday editions of large-run periodicals that reached an expanding, literate audience.

Concept of the Relationship Between Painting and Poetry
1999 0-7734-8043-9
This is an interdisciplinary study of art history and theory, developing a new concept of East-West art study. It examines the concept of relationship between painting poetry as seen in analysis of selected writings and art works of Leonardo da Vinci and Su Dong-po (Su Shi) of the Song Dynasty of China.

Depiction of Angels and Devils in Medieval French Manuscript Illumination
2004 0-7734-6423-9
This book examines the paintings of angels and devils by medieval French illuminators and discusses the manner in which they were depicted. With Illustrations.

Depiction of Clothing in French Medieval Manuscripts
2008 0-7734-5014-9
This work presents an overall picture of French medieval clothing. The illustrations contained in the volume are invaluable in providing a striking view of this apparel, and all that it demonstrated and connoted by the wearer to its observer. This book contains one color photograph and twenty-five black and white photographs.

Depiction of Irish Masculinity in Neo-Expressionist Painting
2011 0-7734-3733-9
This study examines Irish artistic production and generates a debate on how the painters' collective artistic intentions transcend national borders to engage with the wider debate concerning male subjectivity and masculine representation within a sexual political arena where patriarchal attitudes and assumptions are questioned.

Includes 40 color reproductions of paintings by Brian Maguire, Patrick Graham, and Michael Mulcahy.

Descent to the Underworld in Literature, Painting, and Film, 1895-1950
2001 0-7734-7492-7
The study presents the most comprehensive analysis of the descent to the underworld in Modernism. The work shows that the nekyia was the single most important myth for the Modernists writing between 1895 and 1946. It focuses on ‘necrotypes’, symbolic images typically found in association with descent to the underworld. It also takes an interdisciplinary approach to the subject, with chapters on the nekyia in film, science, psychology, and painting. It pays careful attention to the multicultural sources for the myth – Egyptian, Mesopotamian, Greco-Roman, Judeo-Christian, Celtic, Norse, and Native American. “This is a courageous and broadly-sweeping study of many key literary and artistic figures of a crucial half century of creativity in Europe, England, Ireland and the United States . . . . Smith’s study is not simply a survey, but a study in depth, in descent, and in a kind of scholarship that is remarkably free of the current horizontal jargon of literary theory. . . . The book’s interdisciplinary flavor makes such a study an excellent resource not only I showing the confluence of various disciplines but a model for how interdisciplinary studies can be used to see the larger whole of work rather than the narrow confines of a particular agenda.” – Dennis Patrick Slattery

Development of the Study of Anatomy From the Renaissance to Cartesianism: Da Carpi, Vesalius, Estienne, Bidloo
2009 0-7734-4657-5
This book is the first to focus on a paradox of anatomical images from the Renaissance to the 18th century: the representation of skeletons and flayed figures in a state of animation, i. e. apparently endowed with life despite the logical impossibility of this being so. The exploration of this phenomenon—a paradox in modern eyes only—entails careful study of the deep coherence between artistic and anatomical theory, a coherence that developed within the same framework of thinking (humanist rhetoric), and was determined by a dominant philosophical concept (teleology). Scientific and aesthetic teleology went hand in hand, and both were involved in the conception of anatomical images, in which they merged with a symbolic teleology of a moral, eschatological, and erotic nature. This book contains thirty black and white photographs and ten color photographs.

Diary of English Art Critic Eric Newton on a North American Lecture Tour in 1937
1997 0-7734-8550-3
Eric Newton was a virtual Renaissance man: author of European Painting and Sculpture and Tintoretto, painter and mosaicist, art critic for the Manchester Guardian from 1930-1947, and then for the Sunday Times, Slade Professor of Fine Arts at Oxford, lecturer at home and abroad on art history, BBC broadcaster, and finally, CBE. This diary is the record of a lecture tour thorough Canada and the United States in 1937, arranged by the National Gallery of Canada. The diary presents a shrewd assessment of the arts in Canada, shows traces of the author's own development, and is a well-written and fascinating melange of responses to places and people, reflection, incident, humor, and a panorama of living voices and snapshots from the past

Dora Stock, Portrait Painter of the KÖrner Circle in Dresden (1785-1815)
1993 0-7734-9551-7
This book examines Dora Stock, member of a group of lesser-known German women artists who brought about the transition from the idealized portrait to the realistic likeness. A prolific portraitist, she consistently labored to achieve her vision, reaching at the end of her life a degree of realism akin to the most outstanding portrait painters. This book assembles thirty-six portraits, numerous letters in English translation, and extensive biographical material.

Drawings and Watercolors of Lewis Mumford
2004 0-7734-6299-6
For more than half a century the distinguished critic, humanist, and historian Lewis Mumford accumulated sketches and watercolors that he executed while engaged in exploratory rambles through cities and landscapes. He also sketched notable people associated with his early education and career as a nationally recognized writer, which resulted in the National Medal of Freedom and The National Medal of Art. His hundreds of drawings lay buried in folders in Amenia, New York until the 1980' s. Now they can be sampled and enjoyed as a hitherto unknown extension of a literary career that lasted more than 70 years. The authors are uniquely qualified to assemble this volume. They spent many hours with Mumford and his wife, Sophia, until his death in 1990, and secured custody of all the drawings and watercolors for their institution, Monmouth University. Dr. Stunkel is a historian and has written on Mumford's thought. Professor DiMattio is an exhibiting artist and curator of the Mumford collection.

This volume is focused on Mumford as a gifted but unintentional artist. The Preface was supplied by Sophia Mumford before her death in 1997. The authors provide short essays that explain how the drawings and watercolors came to light, Mumford's strengths as an untrained amateur with pencil, pen and ink, and watercolor, and his intimate connections with art as a critic. The volume features 38 of the drawings and watercolors reproduced from the original works, with two photographs of Mumford in the 1920' s and 1970' s. Cross-referenced pages containing commentary on each piece and apt quotations from Mumford's books accompany the images. Following the images and commentary is a catalogue raisonne of 321 drawings and 16 rare photographs. The volume concludes with works cited and a bibliographical essay.

Egyptian Album of John Elliot Woolford: Original Watercolors by John Elliot Woolford and with Maps by the 9th Earl of Dalhousie
2010 0-7734-3880-7
This is the first publication of the only pictorial record of the British Expedition to Egypt in 1800, in which Napoleon was defeated by Nelson and the British Army. The aim of this expedition was to remove the French Army which had gone to Egypt in 1798 under Napoleon as Commander in Chief of the Army of the Orient.

Emil Nolde and German Expressionism a Prophet in His Own Land
1986 0-7734-2018-5
By exploring the development of Nolde's art and the intellectual sources which influenced it, this book examines the popular notions of nature mysticism and cultural chauvinism known as Volkish ideology which were prevalent in Germany from 1870 - 1933. The nature of Nolde's unique contribution to German Expressionism is clarified when viewed against this historical background.

Essays in Aesthetic Education
1991 0-7734-9900-8
Conceived in the tradition of expansive discourse on the arts, this collection speaks to the situation of the arts in Western, and specifically, American, culture. The book's main purpose is to explain and, in part, remedy the anomalous position of the arts in our culture and consequently, in our educational system. Examines the relationship between art and ideology, epistemology, and education; wrestles with the problem of morality and art, and discusses new ways to approach the arts in education. Incorporates close readings of Plato, Coleridge, Dewey, and Read on the arts.

Essays on Modern Women Artists
2003 0-7734-6820-X
This two-volume collection of essays celebrates the diversity of artistic style and thematic contributions of female artists from the Renaissance period to the present day. The essays specifically address three main topics: descriptions of their careers, iconographical analysis of subject matter, and theoretical considerations about the visual arts. The essays are organized historically and classified as Pre-Modernism, Modernism, and Post-Modernism. With many illustrations.

Essays on Modern Women Artists
2003 0-7734-6818-8
This two-volume collection of essays celebrates the diversity of artistic style and thematic contributions of female artists from the Renaissance period to the present day. The essays specifically address three main topics: descriptions of their careers, iconographical analysis of subject matter, and theoretical considerations about the visual arts. The essays are organized historically and classified as Pre-Modernism, Modernism, and Post-Modernism. With many illustrations.

Exploring the Work of Leonardo Da Vinci Within the Context of Contemporary Philosphical Thought and Art
2003 0-7734-6564-2
This study explores the work of Leonardo da Vinci with the aim of developing a concept of creative production, It argues that the conditions of a truly creative practice require an imaginative re-working of the real so that new and unforeseen realities can emerge. Studying Leonardo’s notebooks and sketches, where a cross-pollination of theory and practice abounds, it shows that creativity is critical power that operates in between the real and ideal, confounding the clear-cut distinction between them. This understanding of power in terms of an enabling and productive capacity is taken from Deleuze and Nietzsche’s work in this area. Leonardo, although he was interested in mimesis and the principles of one point perspective, actively brought the real and ideal into relations with one another in innovative ways. Although it focuses on the work of one Renaissance artist, the conclusions are not historically restricted.

Fine-arts Etchings of James David Smillie, 1833-1909 a Catalogue Raisonné
1992 0-7734-9520-7
This volume contains a biography of James D. Smillie emphasizing events relevant to Smillie's career as a printmaker. The content and methodology of the catalogue is explained in an introduction. The catalogue consists of 119 entries: 109 numbered prints corresponding to the artist's own list, and ten interpolated works, extant or known to have existed.

Flamenco Tradition in the Works of Federico Lorca and Carlos Saura: The Wounded Throat
2004 0-7734-6429-8
This study explores the meaning and importance of flamenco in the works of two of the most important and influential figures in twentieth-century Spanish culture, the poet and playwright Federico García Lorca and the film-maker Carlos Saura. Lorca and Saura shared a fascination for flamenco as a medium for the existential ideology of the marginalized and disenfranchised and this work evaluates the development of these themes through a close, contextual study of their works, which are linked explicitly by Saura’s film adaptation of Lorca’s Bodas de sangre and, more profoundly, by their use of flamenco to express ideas of sexual and political marginalization in pre- and post-Francoist Spain respectively. The study demonstrates that an understanding of the symbolism, visual style, characters, themes and performance system of flamenco is key to a greater understanding of the social, sexual, political and existential themes in the works of Lorca and Saura, and that this in turn allows for an original and revealing analysis of the evolution of flamenco and the development of modern Spain.

Flight of Icarus Through Western Art
2002 0-7734-7052-2


Formal and Historical Sociology of Western Picture-Making with Special Reference to J. M. W. Turner Power, Space and Light
1998 0-7734-8483-3
This study of innovation in the Western European practice of picture-making using framed pictorial space offers a fresh approach to the sociology of the arts. It integrates Wollheim's substantive aesthetics with Durkheimian and Pragmatic social theory to theorise arts as embodied and fully sociable practices, while avoiding sociological reductionism. It examines the emergence of framed picture-making itself, showing the framed picture-space emerging in 13th century Italy, before accounting for the changing output of Turner.

Francisco Goya (1746-1828) - Letters of Love and Friendship in Translation
1997 0-7734-8664-X
Francisco Goya's Letters of Love and Friendship to Martin Zapater establish a connection between Goya's private life and his work. The correspondence reflects the painter's daily life in Madrid during the period from 1775 to 1800; he refers to friends and colleagues, entertainers, bullfighters, and work in progress. The letters are translated within the context of their time, and the translator provides biographical data and notes explaining difficult, archaic, or dialectal words and expressions. An extensive bibliography makes this text relevant not only to interdisciplinary scholars of Goya, but also to those who specialize in eighteenth-century studies.

Handbook of Chinese Art, Crafts, and Culture
2009 0-7734-4897-7
This work is an interdisciplinary study that examines not only the relationship between types of art forms, but also the relationship between visual arts and other humanities. This three-dimensional approach incorporates the historical and cultural background and the philosophic and aesthetic ideas with the development of artistic styles. This book contains fifty-two color photographs.

Hilla Rebay, Art Patroness and Founder of the Guggenheim Museum of Art
2005 0-7734-6255-4
There are few museums more famous today than the Guggenheim. While most people would recognize the name or the sight of the building very few know the events that led to its founding, its original purpose for being, or that its very existence is due to a woman named Hilla Rebay. At a time when abstract art held the least favor for American audiences and when the Societe Anonyme and Stieglitz associations were collapsing, Hilla Rebay fought passionately for the survival of what she termed "non-objective" art. Now almost three and a half decades later she is virtually forgotten. Rebay offered much to American Art of the twentieth century not only as patron, educator, museum director, and artist, but also as a bridge figure between European and American abstraction. With the exception of Joan Lukach's excellent and thorough biographic work on Rebay, the literature on Rebay is scant.

This book examines Rebay's contribution to American visual culture as artist and museum director from an art historical and critical perspective. This will demonstrate her importance as supporter of American abstraction through her position as founder of the Guggenheim Museum, as well as reveal her own accomplishments as an artist and identify some issues for later investigation. By re-examining Rebay this book renders a fuller sense of American Modernism's complexities in the period between the wars. This study is not intended as another laudatory narrative nor deconstructive critique, but rather a series of considerations and interpretations of the issues that pertain to Rebay's practices. In so doing, the authors hope to flesh out a fuller, more complete picture of the events and characteristics that composed the complex personality of this woman. They examine and explore the mutual impact that Rebay had on her era and vice versa. This study also offers the first comprehensive exploration of Rebay as an artist. It examines Rebay’s personal concept of philanthropy as well as her innovative role as museum founder, theorist and director while examining its repercussions on museology to this day. This book also shows for the first time Rebay's importance not only as founder-director of the Guggenheim but also as one of the earliest female Dadaist and "non-objective" artists who should have been recognized along with Jean Arp, Kurt Schwitters, and other early pioneers.

Home Setting in Early Netherlandish Paintings: A Statistical and Iconographical Analysis of Fifteenth- and Early Sixteenth-Century Domestic Imagery
2008 0-7734-5093-9
This volume contains a statistical study of 287 Early Netherlandish paintings with domestic settings. The results of the statistical study are compared to information culled from fifteenth and early sixteenth century household inventories to suggest that painters and their workshops manipulated depictions of domestic settings and the objects contained within them to signify workshop or civic identity within accepted iconographical frameworks.

How the Materiality of Paint is Intrinsic to the Work of Art: Explanation of the Meaningful Placement of the Medium of Painting in Contemporary Art Theory
2013 0-7734-4463-7
With the invention and ascendance of photography, film and telematics art, has the art of painting become redundant? This book centers on the argument that oil painting, as art-making, remains viable and necessary as a contemporary medium. It does so by examining the materiality present in paint and how it contributes to a viewer’s engagement with a painting. Materiality is, literally, the embodiment of the painting’s ontology, distilled from the characteristics of the paint, the painter’s experience with the paint, and its presentation to the viewer in such a way as to evoke a visceral response.

How to Respond to Strangeness in Art
2006 0-7734-5779-8
Working through four case studies, this book focuses on conceptual issues involved in coming to terms with works of art that bear significant marks of more than one culture. The introduction identifies the conceptual problems of ‘joining’ elements from two cultures that are strange to one another. It distinguishes between joining these elements, and merely juxtaposing, blending or mixing them. When the joining is genuine, it leads to a concord that does not erase the otherness of the joined elements to one another; instead, it continues each of the joined traditions.

The case studies examine Mahler’s Das Lied von der Erde, Ming landscape paintings, Iranian rugs, and Guatemalan architecture, textiles and folk tales. The first analysis focuses on the difference between the cyclical time of the neo-Daoist poetry in Mahler’s text and the end-directedness of European music. The next chapter describes the Ming period struggle to join Yuan period elements with the very Song period elements that the Yuan painters had rejected. Thinking about Iranian rugs in European interiors opens up a contradictory valuation of the exotic when the far-away has become familiar. The last chapter brings to the surface the possibility of invisible strangeness when differences are too deep to be seen, and the even greater strangeness when the differences are surpassed.

Iconography and Iconology of Georges De La Tour’s Religious Paintings (1624-1650)
2003 0-7734-6798-X
This is a semiotic study of the artist’s twenty-one religious paintings. Like the art historians Panofsky and Gombrich, the author is particularly interested in establishing La Tour’s intentions and meaning in his work by examining his personal use of symbols. The study interprets the paintings in terms of the artist’s religious, political, artistic, and geographical background. Its cross-disciplinary methodology identifies and synthesizes a wide range of elements that must have influenced the painter, elements which have not previously been seen in light of each other. It is also the most thorough recent analysis of his paintings. With color illustrations.

Idea of the Museum Philosophical, Artistic, and Political Questions
1989 0-88946-334-4
A collection of fifteen essays addressing the nature and purpose in today's society of the museum: "one of the few cultural institutions with an indisputable future," a cultural force in itself that exhibits general characteristics of human understanding and values.

Images of Humanist Ideals in Italian Renaissance Art
2000 0-7734-7804-3
This is a study about the ideals of humanism as they are manifest in the visual arts. Using, in particular, the notion of dignity as set forth by the well-known humanist Giannozzo Manetti in his book On the Dignity of Man, the author has subjected a number of art works to iconographical analysis. He examines works by Masaccio, Brunelleschi, Leonardo da Vinci, Michelangelo, and Raphael, among others. The volume offers new iconographical interpretations of ‘old’ images as well as new insights into the interrelationships between artist and humanist. The text suggest that the artist assumed much of the intellectual responsibility of humanism by developing the means of effectively translating its ideals into visually legible terms. What was less accessible through Latin texts and oratory became more accessible through the proliferation of images in painting, sculpture and architecture. With many illustrations.

Images of the Self as Female the Achievement of Women Artists in Re-Envisioning Feminine Identity
1991 0-88946-122-8
Essays include: "`Restored to Their Rightful Owners': Correcting Distortions in Women's Literary and Art History" by Lauren P. De La Vars; "`It Is the Very Air I Breathe': The Practice of Art in the Life of Clara Schumann" by Gordon J. De La Vars; "Woman as Poet in Elizabeth Barrett Browning's Aurora Leigh" by Linda M. Lewis; "A Whirlwind on the Hard Red Clay: The Black Woman Artist as Theologian" by Martha J. Reineke; "Willa Cather's Visions and Revisions of Female Lives" by Susan Rosowski; "The Eternal Eve and the Newly Born Woman: Marianne Moore's `Marriage'" by Bruce Henderson; "Sign and Self in Mary Cassatt's Little Girl in a Blue Armchair" by Rosemary Welsh; and "Alice Neel: The Cinderella of Spanish Harlem" by Marilynn Lincoln Board.

Imagining of Community in the Arts of Guatemala: Weaving, Folk Tales, Marimba Performance, and Contemporary Painting
2010 0-7734-1311-1
This book studies three types of Guatemalan art that represent imagines of community. The particular techniques and structure of each set of works project an imagining of community that is unique to those pieces. Studying the pieces together lays the groundwork for re-imagining the relation of arts and society. This book contains nineteen color photographs.

Influence of Charles-FranÇois Daubigny (1817-1878) on French Plein-air Landscape Painting: Rustic Portrayals of Everyday Life in the Work
2011 0-7734-4648-6


Influence of John Ruskin on the Teaching of Drawing in Brazil
2012 0-7734-1573-4
This text is the first to examine Ruskin’s architecture as but one product, along with his political and philosophical views, of his internal logic. The text further examines the influence of that logic on Brazil’s industrialization efforts in the late 19th and early 20th centuries.

La Convergence Des Styles En Art Et Litterature Dans La Legende D’ulenspiegel : Pieter Bruegel Et Charles De Coster
2009 0-7734-4910-8
This study analyzes certain paintings by Bruegel and texts from the Légende d’Ulenspiegel to establish the thematic convergence of the two artists’ works in their perception of sixteenth-century Flanders. De Coster and Bruegel equally celebrate the wonder of nature depicting Flemish scenes of customs and habits. In addition, the two artists illustrate and denounce the cruelty of the seven capital sins and counterbalance them with a series of virtues. This book contains twelve color photographs and twenty-eight black and white photographs.

La Otra Cara De La Vanguardia
2006 0-7734-5721-6
This book presents an extensive study of the common thematic and stylistic features present in the artistic production of the avant-garde painters Maruja Mallo, Ángeles Santos and Remedios Varo. Dr. Zanetta comparatively analyses the visual manifestations of these women painters that result from the competing theories of gender and sexuality central to the various ideological struggles of their period. The author studies the ways in which these women artists reflected in their works the new relationships and dilemmas of social change and feminist activity in Spain. Using as theoretical background many of the feminist theories of their time such as Joan Riviere’s notion of “Masquerade” or Simone De Beauvoir’s concept of woman as “the other” as well as contemporary feminist psychodynamic theories of gender and representation, the author demonstrates how these artists not only reacted against the misogynist conception of women that permeated the avant-garde movement but how they also proposed a new version of womanhood based on their own realities and experiences. The study of their work from this perspective clearly demonstrates that these three artists are outstanding pioneers in the field of feminist art, anticipating in their work many of the artistic trends that nowadays are considered by feminist art historians and critics as truly representative of the female experience. In Spanish

Landscape of Nature in Medieval French Manuscript Illumination
1997 0-7734-8539-2
This volume shows in more detail than ever before the fascinating portrayals of the landscape of nature on French codices from the Middle Ages. The illuminations, the text, and the folio borders often constitute a work of high quality. From an early stylized portrayal of natural phenomena, this work moves on to a more realistic portrayal as reality rather than tradition and authority prevail, showing the gradual development of early landscape painting. As well as benefiting the medieval scholar, this volume will also delight those who love the outdoors, and may serve in addition as a guide for the visitor to museums and galleries. It will be of interest to historians for its representation of the background for historical events, and to the literary scholar. It discusses subjects such as the painting of trees, mountains, flowers, seas, etc. The Arthurian manuscripts disclose a distinct beauty of scenery in their pictorial representations. Calendars associated with prayer books are especially valuable. With many photographs.

Language of French Orientalist Painting
2003 0-7734-6764-5
This study focuses on three characteristic proponents of the genre in French painting of the 19th and early 20th centuries: Horace Vernet, Eugène Fromentin, and Etienne Dinet. By confronting post-Saidian critique of orientalist cultural productions with the historical context of the target works, it raises fundamental questions: is there a ’right’ to represent the non-European Other, or is the Western gaze irretrievably reductive? What can be said about the gaps, ambiguities, lucid ‘moments’ which may be glimpsed in the work of certain artists of the colonial era? What do some in the formerly colonized East see in an output which has been so categorically deconstructed as the aesthetic arm of imperialism?

Large Vault at Taq-I Bustan: A Study in Late Sasanian Royal Art
2005 0-7734-6075-6
The large vault at Taq-i Bustan, Kermanshah, Iran, was built by the last great Sasanian king, Khusro II (590-628). It was a victory monument, a politicals statement of the power of the Sasanian king, and an expression of the three roles of a proper king: the head of the state religion, a great warrior, and a great hunter. It functioned as a summer retreat within a paradeisos for the Sasanian court and a reviewing stand for courtly and religious festivals including the great hunts of spring (No Ruz) and fall (Mihragan). As an example of late Sasanian royal art it shows the influence of ancient Mesopotamian, Hellenistic, Seleucid, Iranian (Achaemenid through Sasanian), Roman, Byzantine, and Eastern Turkish elements on the royal art of the late Sasanian period. These elements would provide much of the basis for Islamic art.

Life and Art of Albert Pinkham Ryder (1847-1917): The Achievement of an American Artist
2011 0-7734-1564-5
This monograph is one of the few studies of Ryder's work. It offers an overview of Ryder's painting that recovers his roots in romantic theory and practice while making it clear how his version of romanticism required a particular kind of abstraction that makes him a pioneer of modernism. No other study offers so sustained an argument for Ryder's originality and importance.

Life and Career of Lippo Di Dalmasio, a Bolognese Painter of the Late Fourteenth Century: with Illustrations and a Catalogue of His Works
2010 0-7734-3684-7
This book provides an historical and critical framework for the paintings of Lippo di Dalmasio. The catalogue presents 37 items in total, including many new attributions and some previously unpublished works. This is accompanied by all known documents on the artist. This book contains eight color photographs and thirty-five black and white photographs.

Life Histories of Five Contemporary Welsh Women Artists. the Interweaving of Art Into Living and Living Into Art
2012 0-7734-2667-1
Collet examines how various women artists have contributed to the artistic and cultural identity of Wales. Often overlooked, these female artists have played an enormous role but have rarely been given credit for their achievements. She notes that there is a growing literature on the topic of women in art that claims women were not always excluded from artistic representation, but that this is a recent development. Also, the book discusses problems women face that impede or contribute to their artistic drive like motherhood and family responsibilities.

Manet, Baudelaire and Photography
2007 0-7734-5695-3


Manet, Baudelaire and Photography
2007 0-7734-5697-X


Margaret Gillies Rws, Unitarian Painter of Mind and Emotion (1803-1887)
1997 0-7734-8637-2
Gillies, a Scottish artist who worked in London first as a miniaturist and later as a specialist in larger subject pictures, is an unusual and undeservedly neglected figure in 19th-century art history. Unitarian in belief like many major writers and social reformers of the period, her highly-motivated work provides a unique example of this ethos in the fine arts. Her convictions owed much to health reformer Thomas Southwood Smith (with whom she lived for over twenty years) and to her association with William Johnson Fox's radical Unitarian coterie of the 1830s. Through these connections she met William Wordsworth, Charles Dickens, Leigh Hunt, Harriet Martineau, Richard Hengist Horne and many other celebrities of the time, a large number of whom she portrayed (reproduced here). Her popularity, prolific output, wide representation, membership in the Old Watercolour Society and contributions to the first illustrated Government report (on Children in the Mines) are evidence of her professional status. Her feminism and professionalism, the nature of her work, and her unconventional lifestyle were all grounded in Unitarianism, one of the most progressive and liberating ideologies of the 19th century. With 40 pages of illustrations and portraits.

Marie Bashkirtseff's Life in Self-Portraits (1858-1884): Woman as Artist in 19th Century France
2005 0-7734-6019-5
This scholarly monograph on the Ukranian-born Russian diarist, artist, and sculptor Marie Bashkirtseff (1858-1884) makes an important contribution to a better understanding of the life and art of this important figure as well as to the general fields of art history, social history, and also women’s studies through its depiction of how a woman attempted to chart her own course as an artist in the male-dominated world of French society. Bashkirtseff’s whole approach to life was that of an artist, with her very person itself being a work of art that was on exhibit for the world to see. The author’s fascinating work examines the many ways that Bashkirtseff used the techniques of what she terms “disguise and disclosure” as she experimented with a variety of constructions of herself as a number of different characters over her short life. The twenty-six illustrations that have been included in this book will add greatly to its value.

Metaphysics of Mass Art - Cultural Ontology Volume One: Mysticism, Mexico and English Literature
1999 0-7734-8182-6


Metaphysics of Mass Art - Cultural Ontology Volume Two: Indigenous Peoples of the Americas and the Psychology of the Observer in U. S. Film
1999 0-7734-8184-2


Middle Eastern Influence on Late Medieval Italian Dances
2001 0-7734-7428-5
This work focuses on eight of the dances, the ‘istampittas,’ linked etymologically to the ‘estampie,’ a French dance, whose origins are here examined with an eye toward Italian and French music and civilization, as well as the music and society of the Arabs.

Modernist Poetics and Experimental Film Practice of Maya Deren (1917-1961)
2002 0-7734-7147-2


Modernist-Utopian Art of Karl Momen, B. 1934
2007 0-7734-5503-5
This work is an analysis of the artistic trajectory of Karl Momen (b. 1934), a painter, sculptor, architect, and set designer, who studied with Max Ernest and Le Corbusier before embarking on an artistic career marked by adherence to certain avant-garde precepts formulated in early twentieth-century Europe. The documentation of Karl Momen’s work, from 1960 to the present, provides a unique insight into the mind, life history, and artistic output of one of the foremost exponents of constructivist thought in our day, while also contributing to our understanding of how avant-garde art movements continue to exert their influence on the production of non-objective contemporary art.

Monastic Art in Lorenzo Monaco's Florence
2006 0-7734-5968-5
Locked inside the walls of a severely cloistered monastery, monks from the Camaldolese house of Santa Maria degli Angeli had access to some of the most innovative paintings produced in Florence between 1350 and 1425. Leading painters of the day, like Nardo di Cione and Lorenzo Monaco, filled manuscripts and decorated altars with richly ornamented pictures that related directly to liturgical passages recited – and theological positions embraced – by members of the institution. In a city marked by wealthy and sophisticated ecclesiastical communities, the one at Santa Maria degli Angeli had few peers.

Dependent on the benefices of a powerful network of patronage, the monks in Santa Mara degli Angeli counted among their staunchest allies families associated with the most important political alliances in Florence, and by 1378 the monastery was considered by many to be closely linked to the city’s most potent families. Monks executed a variety of tasks and obligations which took place throughout the year. Among these was a lengthy and solemn procession, held on specific feast days, that took the community to every altar and altarpiece in the monastic complex. The route they took and the images they saw caused each participant to see his collection of images in sequence, and thus encouraged him to consider the altarpieces in his environment both individually and collectively. The culmination of this procession came to be the extraordinary high altarpiece produced by Lorenzo Monaco in 1413, the Coronation of the Virgin, which summarized both the entire program of monastic imagery in Santa Maria degli Angeli and the importance of individual patronage in Europe’s most progressive and potent city-state. This work examines and explains the appearance, function, and uses of painting in one of the day’s most important cultural centers.

Because of the size of the book and the large number of photographs, this book is priced at $179.95.

Motif of the Separating Sword in World Art and Literature: A Study of Its Origins and Development
2008 0-7734-4999-X
A re-examination “the Separating Sword” that demonstrates the complexity of intertextual influences across linguistic and cultural boundaries.

Museum, Gallery and Cultural Architecture in Australia, New Zealand and the Pacific Region
2007 0-7734-5393-8
In the years since the completion of Jørn Utzon’s Sydney Opera House countries throughout the South Pacific have displayed a particular fascination with the possibility that architecture may be able to embody regional cultural identity. This book examines a number of major museums, art galleries and cultural centers that have been constructed in Australia, New Zealand and the South Pacific regions. The majority of these buildings, landscapes or structures have been completed in the last few years and all have employed different architectural strategies to shape their designs. This collection of nine critical essays by leading scholars of contemporary architecture provides an important survey and assessment of Antipodean cultural architecture. Emphasizing common traits, the introduction to the text asks how this phenomenon might be understood and why it may be relevant in different regions around the world. Acknowledging the pluralistic nature of Antipodean architecture, the conclusion offers an alternative hermeneutical framework, one that accepts the fragmentary nature of the contemporary cultural landscape.

Neoplatonism and the Arts
2002 0-7734-6985-0
This collection of essays explores the scope of the important relationships between the philosophical system of Neoplatonism and the arts in Italy. It was a pervasive way of thinking from 300 A. D. to 1700 A. D., and while antithetical to Christianity in the beginning, its ideas were quickly adopted by Christian theology, and Neoplatonism became a philosophical tool of the Catholic Church. The art and architecture produced in the service of the church is infused with Neoplatonic ideas. Part one of this study addresses cosmological and theoretical notions on Platonism and Neoplatonism. Part two focuses on the spiritual impact of Neoplatonism in Christian imagery depicted in paintings and manifested in religious structures. Part three probes the assimilation of Neoplatonic allegories in art, literature, and music. With illustrations.

New Concept of Art and Popular Culture in Nicaragua Since the Revolution in 1979 an Analytical Essay and Compendium of 185 Illustrations
1989 0-88946-489-8
Provides the most definitive assessment so far of the arts in Nicaragua since 1979, with analyses of specific cultural policies and particular artworks associated with them. Demonstrates why the concept of art being advanced is innovative in relation to that of most earlier revolutions and how the ideological pluralism on which it is based is fundamentally at odds with the earlier doctrine of Socialist Realism.

New Theory in the Philosophy and History of Three Twentieth-Century Styles in Art
2006 0-7734-5816-6
This book provides the reader with the first comprehensive explanation of the much used distinction between modernist and postmodernist art. Where so many readers and appreciators of the arts find the distinction confronting them at every turn but are unable to understand its nature or comprehend its value, the book provides a conceptual map of the terrain in which the distinction functions. At the same time, the notion of a surrealist style often leaves the reader of history of the arts with sheer mystification where clarity would be most welcome. It provides a much needed corrective to this situation by indicating how to identify surrealist art from its opposing styles. The book provides many illustrations in explaining these three dominant artistic styles of the twentieth century.

This work will appeal to academic readers in history of the arts, cinema and art history; theorists and students of literature and film; and general readers in the history of the arts.

Nonaesthetic Issues in the Philosophy of Art Art as a Social Realm
1995 0-7734-8999-1
This study sets up a controversial position by arguing for a philosophy of art that is independent of aesthetic theory in any form. It reformulates the idea of art-world into the concept of a social realm, a philosophical structuring of the dimensions of significant subdivisions of our overall society. From this perspective it is possible to separate aesthetic from nonaesthetic elements of many issues (e.g., art forgery), to circumscribe the dimensions of certain social conflicts about art (e.g., whether it can be pornographic), to understand modern conflicts between artistic genius and social and moral standards, and to probe other arenas within the realm of art.

On Understanding Works of Art an Essay in Philosophical Aesthetics
1986 0-88946-326-3
Presents a theory of art according to which artworks represent kinds of experiences; also provides a philosophical understanding of the distinct peculiarities inherent in the experiencing of art.

Pedro De Mena, Seventeenth-Century Spanish Sculptor
1998 0-7734-8481-7
To Pedro de Mena, the revitalization of art forms in the Seventeenth Century Baroque style provided opportunity and stimulus to create an outstanding oeuvre of carved life-size sculptures in wood. Major cathedrals and museums throughout Spain house his effigies of royalty, saints and madonnas. They are highly realistic, profoundly Baroque, and vividly emotional. Retrieving much from limited resources in Spanish, this unique study retraces Mena's life and prolific production, complete with a catalogue raisonné and over a hundred rare photographs, many never previously published. At last, Mena's extraordinary contribution to sculpture is made available in this scholarly text. Illustrations, bibliography, documents, and index.

Perceptual Drawing: A Handbook for the Practitioner
2011 0-7734-1363-4
“Perceptual Drawing” presents a practicum of 10 plus drawings which lead the reader in a detailed explanation of various perceptual concepts considering line and tone.

Petrarch’s Influence on the Iconography of the Carrara Palace in Padua
2008 0-7734-5236-2
This book examines Petrarch’s relationship with Francesco il Vecchio da Carrara, lord of Padua, who was the poet’s host during his final years (1367-74), and for whom he started to rewrite his great work of Roman history, the De Viris Illustribus. The exemplary purpose of this text was extended in the form of a major fresco cycle in the Sala Virorum Illustrium of the Carrara palace in Padua, the Reggia. This book contains 10 black and white photographs.

Philosophical Account of the Nature of Art Appreciation
2000 0-7734-7495-1
An appropriate subtitle for this work would be Appreciation, Intention and Truth in the Arts. Its three aims are: a) to give a philosophical account of the nature of art appreciation as well as aesthetic appreciation outside the arts; b) to examine the ways in which the artist’s intention is relevant to interpreting, appreciating and evaluating works of art; and finally c) to explore some of the ways that certain works of art can provide a unique form of understanding human behavior, morality, and life.

Philosophy of Eros and European Art
1996 0-7734-8872-3
This interdisciplinary study deals with the interaction between philosophy and the visual arts. It presents the long tradition of the theory of love and its interpretation in European art. The special focus is on the Neoplatonic school and its influence on Renaissance art, but the book also provides a view of the whole history of European art. This study, based on the synthesis of history and theory, involves a critical approach to contemporary theories of love and sexuality, including Herbert Marcuse, Julia Kristeva, and Michel Foucault. The book contains a number of illustrations.

Photographic Impressionists of Spain a History of the Aesthetics and Technique of Pictorial Photography
1989 0-88946-564-9
The first study of the aesthetics and techniques of Spanish pictorial photography. Special emphasis is placed on work of the photographic impressionists, the critical stages in the evolution of photography's artistic status, and Spanish Pictorialism from 1900 through the post-war period.

Popular Art and Social Change in the Retablos of Nicario JimÉnez Quispe
2005 0-7734-6217-1
This volume traces in text and photographs the life and work of Peruvian folk artist Nicario Jiménez Quispe. One of Latin America's most renowned and original practitioners of this art form, Jiménez combines peasant traditions of his birthplace high in Peru's Central Andes with a keen eye and searching mind to create unique works of social and political as well as aesthetic impact. Jiménez expresses himself artistically through the creation of retablos, wooden boxes with colorful, complex and moving three-dimensional scenes portraying a variety of subjects that range from the daily lives and rituals of the Andean peasant to the political and social violence that has swept his home country of Peru over the past two decades. In some of his more recent work, Jiménez has also focused on social, political and cultural phenomena in North America with retablos that depict the human rights struggle in the United States and the plight of Hispanic immigrant who travel to El Norte. Examples of Jiménez's works may be found in the permanent collections of The Smithsonian Institution, the International Folklore Museum in Santa Fe, the Folk Art Museum in San Francisco and the Museum of Man in San Diego. In addition to illustrations of Jimenez's most important works, this volume contains interviews with the artist and essays by historians, art historians and anthropologists specializing in Latin America that describe his fascinating life's journey from Andean peasant to successful artist as well as evaluating the significance of his art.

Potential Role of Art in Kierkegaard’s Description of the Individual
2004 0-7734-6368-2
Kierkegaard scholarship has generally focused on either existential or religious issues, interpreting Kierkegaard’s understanding of the individual’s relationship to itself and to the Christian God. As a result of his description of the stages of development of the individual in the process of that relationship, such scholarship has consistently ignored the inherent potential to articulate an aesthetic system which would describe art as a means of facilitating the development in a positive direction.

This book offers the first thorough description of a Kierkegaardian aesthetic which does not demote art to a merely sensuous and negative influence; it is an explication of the specific feature of Kierkegaard’s description of the individual (such as communication, repetition, and the self) within the context of a positive notion of art, as well as an analysis of art itself, the artist, and the fundamental value of art as a profitable means of influencing the individuals. While this book is unique for placing art into a central role within Kierkegaard scholarship, it also remains critical of such a role, maintaining the importance of recognizing the limitations which art has. The final result is that art emerges as a means of communication which urges the individual on towards a better relationship with the actual, as represented by the Christian god, but which also finds its fullest value in its inadequacy in the confrontation with the ideal.

Practical Film Criticism - An Enlightened Approach to Moviegoing Volume One
1999 0-7734-7967-8
These two volumes are an attempt to grapple with the nature of film art through the evaluation of vital and representative instances of that art, created throughout the world, from 1993 to 1998. The essays contained herein are acts of analysis and interpretation, they are neither windy theoretical musings nor impenetrable scholarly tracts. In addition, there are two translations of visionary articles by prominent international directors; an extended interview with an esteemed American movie critic, a speculative piece on the relationships among theatre, fiction, and film; an overview of the careers of the Vittorio De Sica and Woody Allen; and a long, polemical introduction. Generously illustrated.

Practical Film Criticism - An Enlightened Approach to Moviegoing Volume Two
1999 0-7734-7820-5
These two volumes are an attempt to grapple with the nature of film art through the evaluation of vital and representative instances of that art, created throughout the world, from 1993 to 1998. The essays contained herein are acts of analysis and interpretation, they are neither windy theoretical musings nor impenetrable scholarly tracts. In addition, there are two translations of visionary articles by prominent international directors; an extended interview with an esteemed American movie critic, a speculative piece on the relationships among theatre, fiction, and film; an overview of the careers of the Vittorio De Sica and Woody Allen; and a long, polemical introduction. Generously illustrated.

Pre-Raphaelitism and Medievalism in the Arts
1993 0-7734-9491-X
This volume presents an interdisciplinary view of the interpretation of Pre-Raphaelite art and literature. The current intensifying interest in the relationship between the visual arts and narrative and their critical interpretation justifies a look at the earliest use of such orientation in the works of the Pre-Raphaelite Brotherhood and its followers. Particularly in the work of Rossetti, Hunt, Millais, and Burne-Jones one can see at work the Pre-Raphaelist invention of a personal symbolic language. The same holds true for their literary counterparts, particularly Tennyson, Francis Thompson, and Swinburne. The contributors' essays cover the various methodologies of art history and literature, as well as artistic and literary criticisms. The main focus is the assimilation of the medieval tradition as well as the interpretation of it. With many illustrations.

Private Papers of John Vanderlyn (1775-1852), American Portrait Painter
1990 0-88946-096-5
A comprehensive examination of the artist's papers which sheds light on Vanderlyn's works and their contribution to the cultural development of the United States, and on the man himself.

Reconstructing the Lost Frescoes of Santa Maria Sopra Minerva in Rome From the meditationes of Cardinal Juan De Torquemada: A Case Study in the History of Art
2009 0-7734-4815-2
This study reconstructs both the physical appearance and the spiritual experience of Torquemada’s Meditationes, through a careful analysis of primary documents, architectural fragments, and historical analysis. though no artist can be named with certainty, the lost fresco cycle of the Minerva provides a unique opportunity to examine the conception and reception of a monumental devotional cycle commissioned by one of the most erudite theologians of the fifteenth-century for one of the most popular churches in Rome. This book contains twelve color photographs and twenty-one black and white photographs.

Reframing the Theory of the Sublime: Pillars and Modes
2004 0-7734-6398-4
The discourse of the sublime, in this study, becomes positioned in new perspectives when an amalgamation is made between major classical theorists and contemporary theorists, leading to something like an anatomy of the sublime presented here as a theory of modes. This amalgamation blends the sublimicist concepts of Longinus, Burke, Kant, Nietzsche, Herbert Weiskel, Paul Crowther, Jean-Francois Lyotard, Frances Ferguson, Slavoj Zizek, Terry Eagleton, Harold Bloom, David Nye, Jeremy Gilbert-Rolfe, Sartre, and Jung. The treatment of Sartre and Jung shows that they generated major changes in the thought climate which established new modes of sublime experience recognized in modern art. This study seeks to elucidate not only the standard core concepts of the theorists, but also to bring to new prominence certain neglected religious concepts. Offering important innovative enlargements of the basic terminology for the discourse field, this study opens new doors to the analysis of sublime experiences and sublime objects, and thus new doors to the analysis of art works and artists’ programs, as well as new extensions of aesthetic theory.

Religious Art in the Nineteenth Century in Europe and America Volume One
2002 0-7734-7653-9


Religious Art in the Nineteenth Century in Europe and America Volume Two
2002 0-7734-6948-6


Religious Paintings of EugÈne Delacroix (1798-1863): The Initiator of the Style of Modern Religious Art
2008 0-7734-4973-6
The first study of the religious works by the French romantic painter Eugène Delacroix, an artist who created the style of modern religious art. The religious subjects in various media number over 220 works, and this study enlarges our appreciation of Delacroix’s artistic vision and achievement. This book contains twelve color photographs and twenty-nine black and white photographs.

Renaissance in China
2007 0-7734-5881-6
Oversize book

After the death of the Emperor of the Hou Zhou dynasty in 959 A.D., the Song Dynasty emerged with General Zhao Kuang-yin as emperor. This book explores the intellectual, artistic and technical innovations during that time in which painting, literature, and philosophy reached new heights. Chapters deal with the Song landscape painting, religious, flower-and-bird, and figure painting; calligraphy; architecture; sculpture; religious art; ceramics and crafts. There is a prodigious number of biographical sketches on artists, and a section on art literature and critics. Over fifty illustrations are included.

Representing the Catastrophic
2007 0-7734-5410-1
When attempting to represent a catastrophic event in history the tendency is to disavowal the event by referring to it as “unimaginable,” or otherwise such events are assigned to the domain of “fiction” or “fantasy.” For example, in response to 9/11 and the images of the planes flying into buildings, many responded “it was like I was watching a movie.” How then, when our knee-jerk response is to assign catastrophic events to the “incomprehensible” or the domain of utter fantasy, do we convey the reality of these events? What rhetorical strategies are at our disposal? How are catastrophic events, such as the Holocaust or Hiroshima represented, when we no longer have an immediate relationship to them? When the last survivors of these catastrophic events are gone, how will we relate to representations of these events? What rhetorical strategies will prove most useful in conveying the historical significance of these events, even when the physical traces are gone? This book addresses these questions.

Revisioning Film Traditions - The Pseudo-Documentary and the Neo-Western
2001 0-7734-7649-0
From the seeds planted by the Lumiere Brothers and Edwin S. Porter have sprung films like The Blair Witch Project and Lone Star, contemporary representations of what can be seen as outgrowths of documentary and Western film, now reconstituted as pseudo-documentary and Neo-Western. Author and filmmaker Del Jacobs traces the emergence of these styles in recent films. The pseudo-documentary’s component of reflexive truth affords a window on the present that traditional genres and forms are less likely to open. The Neo-Western looks both backward and forward, building on American traditions steeped in nostalgia and tradition. By re-visioning traditional genres, film scholars keep alive past methodologies while inspiring and improvising future hybrids, which provide tools of construction and interpretation for both storytellers and audiences. Films explored include David Holzman’s Diary, Bob Roberts, Zelig, The Straight Story, and Lone Star.

Role of Art in the Construction of Personal Identity: Toward a Phenomenology of Aesthetic Self-Consciousness
2012 0-7734-3929-3
Loewen looks at the ways art can preserve the self as an archived project. Does art reflect personal growth and can one’s view on it change over time? Why do people identify with particular works of art and not others? The pertinent question in this book is how art reflects the personal identity of its creator and how responses to works of art can divulge information about the audience as well. Art can also serve to memorialize the changes that the self goes through while living. He also argues that artistic expression provides a forum for our truest selves to become represented.

Role of Venetian Renaissance Painting in John Ruskin’s Utopian Theories: A Sociopolitical History of Art
2011 0-7734-1508-4
“The book explores the importance of Venetian Renaissance paintings in the writings and political theories of John Ruskin. While the city and the architecture of Renaissance Venice has been extensively examined by Ruskin scholars, to date there has been little discussion on the influence of Venetian art on Ruskin’s world view. Nevertheless, Ruskin clearly placed a great deal of political and personal significance in the artwork of Tintoretto, Titian, Carpaccio, and other Venetian painters as demonstrated by his repeated references to these artists in his social writings and art criticism. This book examines important Venetian paintings and how their iconography and pictorial components relate to themes in Ruskin’s writings. From these paintings, the book argues that Ruskin found inspiration for the conceptualization of his ideal society in which society exists harmoniously under the laws of justice, obedience, and cooperation.”

Rosa Chacel Y Las Artes PlÁsticas
2006 0-7734-5918-9
In this book, the author explores a variety of literary uses of the visual arts in La Escuela de Platón, an autobiographical trilogy where Rosa Chacel relates her coming of age as an artist while creating a vivid chronicle of the cultural and intellectual environment experienced by her generation. Chacel’s background in sculpture and painting gives this trilogy its unique perspective, while her experiences as a woman in the male dominated art world influence the structure of the novels.

The book gives an overview of the cultural context of the Generation of 1927, which illustrates the limitations confronted by a woman wishing to develop her artistic vocation. This is followed by a thorough review of the inter-relations between literature and the visual arts, as a preamble to the analysis of the uses of painting and sculpture in the novels.

The author studies the ways in which painting and sculpture become an integral part of the narrative at various levels, from the most superficial mention of a painting by Velázquez to the most complex coding of themes in the statue of Ariadne. There are some allusions to well-known paintings which are merely decorative in the narrative; but some iconographical elements become important tools in character development. The work of art can also introduce in the narrative encoded themes related to gender and vocation, becoming an important hermeneutic tool. This analysis of the various uses of visual arts in La Escuela de Platón reveals that the ekphrastic impulse is at the core of Chacel’s narrative.

Rousseau's Aesthetics of Feeling
2007 0-7734-5317-2
This study breaks new ground by focusing on the role of the arts in Rousseau’s novel, Julie ou la Nouvelle Héloïse, and through them demonstrates the underlying consistency of his thought. Although he never elaborated a formal aesthetic doctrine, Rousseau’s ideas on the arts provide the foundation for the novel and can be discerned therein. Moving between his theoretical and literary writings, this study reveals how Rousseau achieved his aesthetic and ethical goals, examining his alternation between the roles of censor and champion of the arts. This book contains 12 black and white photographs.

Saint Bernard of Clairvaux a Theory of Art Formed From His Writings
1990 0-88946-266-6
One of the first studies to address positively the controversial subject of Saint Bernard of Clairvaux and the influence he exercised on the arts of his time. Until now Bernard's aestheticism in conjunction with his monastic commitment has been neither precisely defined nor successfully understood. The principal sources for this study - a formulation of a Bernardine theory of art - are the works of Saint Bernard: his letters, treatises and sermons.

Scene Design at the Court of Louis XIV - The Work of the Vigarani Family and Jean Berain
2003 0-7734-6675-4
This study adds another insight into the period of Luis XIV – that the confluence of the theatrical arts from older traditions developed to shape a distinctly French style which all pertained to the glorification of the Sun King. While previous studies have stressed the literary and musical side of the performances of the period, this study examines the settings and scene designs which completed the picture for the mythologies. Besides giving an account of the festivities of Versailles and setting them in their social environment, this work relates the spectacles to the political and social milieu, incorporating both contemporary literary theory and cultural history.

Socialist Realist Painting During the Stalinist Era (1934-1941): The High Art of Mass Art
2010 0-7734-3692-8
This book argues that Socialist Realist paintings, typically seen by western art historians as examples of retrograde art and by scholars of Soviet history simply as propaganda, were a part of an extensive program of skillful artistic practice coupled with masterful propaganda. This book contains fourteen color photographs.

Solomonic Iconography in Early Stuart England Solomon’s Wisdom, Solomon’s Folly
2001 0-7734-7467-6


Spatial Infinite at Greenwich in Works by Christopher Wren, James Thornhill, and James Thomson the Newton Connection
1995 0-7734-9057-4
This interdisciplinary study is an extensive examination, from a comparative arts perspective, of the impact of Newton's Principia on the art and literary theory and practice of the late 17th and early 18th centuries. The Greenwich connection with Newtonian science is exemplified by Sir Christopher Wren's spatially-extended, open-center design for the Greenwich Naval Hospital complex, the site of the Royal Observatory, and his application of Newtonian "conics" to the site; James Thornhill's Newtonian-based spatial treatment and iconography in the illusionistic ceiling painting in the Lower Hall at Greenwich; and James Thomson's celebration of the Royal Observatory in Poem Sacred to the Memory of Sir Isaac Newton as a locus for the Newtonian exploration of the universe, to which he gives dynamic form. The book includes a survey of the development of Newtonianism and its influence on English culture in general along with its role in the development of the aesthetics of the sublime. Illustrated with photographs.

Street Corner Marionettes of Mexico: A History of the Puppetry Company
2013 0-7734-4494-7
This is a translation from Spanish of the book titled, Marionetas de la Esquina Tras Bambalinas, which documents Las Marionetas de la Esquina, one of present-day Mexico’s longest enduring puppet theater groups. It’s the story of a small group’s obsession in perfecting an art form, in this case, one especially aimed at entertaining children.

Styles in Art that Suddenly Disappear: An Unanswered Problem in Art History
2008 0-7734-5139-0
This book deals with an anomaly of art: the powerful style that abruptly disappears. While many historians have focused on explaining the sudden stop, overlooking the fact that when these styles were thriving, futurelessness is precisely what they were not, this book asks how these works were experienced when there futureless was unexpected. This book contains nine color photographs and 24 black and white photographs.

Symbolism of Mirrors in Art From Ancient Times to the Present
1999 0-7734-8269-5
Contains illustrations of mirrors dating from a mirror made in the second millennium before the common era to a postmodern mirror environment created in the late 1980s. The introduction summarizes the symbolism and uses of mirrors in art, discussing mirrors and deities, mirrors and death, mirrors in relation to power and continuity, and the special connection between mirrors and women, especially goddesses. Eighty-five mirrors and images of mirrors are pictured accompanied by descriptive texts. The research materials reflect interdisciplinary sources including art history, anthropology, comparative religion, folklore and mythology. An additional feature of the volume is the linking of mirrors with prose and poetry quotations from widely ranging sources (Zen koans to Woody Allen). With photographs and line drawings.

Symbolism of Vanitas in the Arts, Literature, and Music
1993 0-88946-399-9
Original research on the symbolism of vanitas as seen in the Danse of Death, the treatment of hair, the use of mirrors, and the depiction of skulls. With illustrations.

Tabernacle of Exodus as a Work of Art: An Aesthetic of Monotheism
2009 0-7734-3782-7
This book is the first work that establishes the ancient Israelite Tabernacle as a seminal work of art. It brings together the seemingly divergent worlds of biblical symbolism and art history. While all acknowledge that Western art was often inspired by biblical story and poetry, the modern study of art presupposes that Western religious art originates only from Greco-Roman civilizations. This book contains four color photographs.

Text as Picture Studies in the Literary Transformation of Pictures
1992 0-7734-9449-9
This work is arranged in two sections. The first presents the international debate concerning the theoretical prerequisites for the study of the relation of literary text to pictorial art. The second explicates the author's concept of "iconic projection", which is the human disposition to perceive reality as if it were a picture. Iconic projection as an aspect of literary pictorialism has not been discussed theoretically or historically in international scholarly works before, which makes this work of great interest to scholars within the fields of comparative arts and comparative literature. Originally published in Swedish, this book was awarded a research prize by the Royal Swedish Academy of Arts and Letters.

Theory of Iconic Realism: Understanding the Arts Through Cultural Context
2009 0-7734-4870-5
Artists in literature, fine art and music affect their audiences’ awareness of possibilities in cultural change through their use of iconic realism by representing concepts in need of transformation. The study of iconic realism offers an exploration of semiotic theory and iconic structures within the arts.

Transformation of Catholic Religious Art in the Twentieth Century: Father Marie-alain Couturier and the Church at Assy, France
2008 0-7734-4985-X
A study of the influential, but obscure, Father Marie-Alain Couturier and his modernist revolution in liturgical art. This book contains ten color photographs and two black and white photographs.

Trips of the Psyche
1993 0-7734-3040-7
This is a sequence of seventy-five vignettes: one to four-page mind-pictures of places, persons, ideas, and moral issues; a harvest of decades of looking and feeling. The themes advance thus: observations of objects in space; concern with aesthetics and the arts (sculpture, architecture) that organize space; travelling -- which moves through, and fills with, space; evolution and nature; the imagination -- as maker of art, and our sense of space; the religious instinct as an outgrowth of the imagination; the religious and the mythical -- how they are inter-related; our potential for compassion and solidarity; and the chances we have to export life with us beyond the grave. A world-view expresses itself here in pictures of the world; a blend of poetry, logic, historical observation, and mini-fictions.

Understanding the Manuscript Frontispiece to Corpus Christi College Cambridge Ms 61: The Political Language of a Lancastrian Portrait
2010 0-7734-4691-5
This study utilizes a two-pronged approach to examine the rationale underlying the iconography of the frontispiece to Chaucer’s Troilus and Criseyde in Corpus Christi College Cambridge Manuscript 61. It considers Chaucer in light of orality/literacy theory as well as in relation to prelection and interprets the work within a political framework. This book contains one color photograph.

Une Introduction a L'art Du Moyen Age Pérégrinations
1997 0-7734-8599-6
This volume elucidates a paradox and an esoterism: how could a religion, aniconic and iconoclastic at its beginnings, produce a wealth of masterpieces in all the arts; and what can an abstruse iconography tell us about the interpretation of the Bible through the 12th century? Using inductive method and an interdisciplinary approach, starting in a New York museum, the reader undertakes an imaginary pilgrimage from Roman times to the Germanic empire and finally stops in Paris, in front of the St. Anne portal of Notre Dame. The first artifact is a 12th century Mosan triptych, whose images introduce all the themes pertaining to medieval art: architecture, technology, symbolic representation, mystical numbers, and narrative iconography. The second part studies monasticism from the desert hermits to the splendors of Cluny III. The island of Reichenau illustrates the evolution from the humble cells of Irish hermits to Carolingian, Ottonian, Romanesque and Baroque constructions. The last third of the book is devoted to exegesis, the indispensable key to interpreting an iconography as abstruse as the Eve of Autun or Saint-Denis stained glass windows. The portal of Notre Dame marks the onset of gothic art closely wedded to scholastic and scientific theology. In French

Use of Classical Art and Literature by Victorian Painters, 1860-1912
2007 0-7734-5443-8
This book explores the reception of the classical world in painting from the mid-Victorian period to the second decade of the twentieth century, by seeking: to identify and interpret the artists’ choices of ancient textual and archaeological source material; to investigate significant relationships between particular works and contemporary literature and society; and to situate Victorian classicism in the visual arts within the practices of Victorian painting and the classical tradition. The nineteenth century witnessed important developments and discoveries in classical scholarship and archaeology which, along with major shifts in general sensibility, inevitably affected both academic and popular perceptions of antiquity. Drawing on such perceptions, painters in Victorian Britain brought new approaches to the visualization of the ancient past. Today, popular notions of classical-subject painting envision escapist images of a dreamy and idyllic ancient world. The stereotype is not wholly without foundation, but it drastically misrepresents the sophistication of Victorian constructions of antiquity which, among much else, make clear distinctions between representations of Rome and Greece and are capable of a strikingly original, and often deeply ironic, use of themes, motifs and allusions. This reality illustrates that, although classicism impinged on Victorian culture in a way that is almost unimaginable today, many artists acquired an unexpectedly precise and sophisticated knowledge of ancient history, literature and archaeology.

Use of Italian Renaissance Art in Victorian Religious Education: How the National Society Shaped Our Modern Idea of Christ
2011 0-7734-3641-3
This book provides an important insight into Victorian classroom pedagogy.

Using Computers to Create Art
2006 0-7734-5655-4
As artists increasingly integrate digital procedures into their art making processes, they are confronted with the need to transform older practices, often working through challenging phases of translation. This study examines the ways in which six artists whose practices are based primarily on hand making methods are exchanging hands-on engagement using traditional materials with digital manipulation programs. Three key themes focusing on researching the electronic library, computerized image production and the physicality of art making are extracted from the artists’ interviews. These themes in conjunction with theoretical discourses addressing issues of time and place, cyborgology and art education, illuminate the terms of resistance, incorporation and innovation that characterize the interchanges between hand and computer procedures for producing images.

Vanitas Still Lifes of Harmen Steenwyck (1612-1656) Metaphoric Realism
1990 0-88946-949-0
Deals with original and specific material on the vanitas still lifes of the 17th-century Dutch painter Harmen Steenwyck, the acknowledged leader in this genre. Creates a metaphoric reading of the vanitas theme to his pieces and presents a unique view of the reading of iconography, since the concept of visual metaphor is explored and applied to the analyses of Steenwyck's paintings. Contains 42 illustrations of Harmen Steenwyck's works

Visual Images of Women in the Arts and Mass Media
1993 0-7734-9329-8
ARTS AND MASS MEDIA This collection of research by ten sociologists makes it clear that women's images in the media and arts exert a tremendous influence on perceptions of women. Includes examinations of Vogue photographs from the 1940s to the 1990s; a semiological examination of a rock video; advertisements and stories in women's romance magazines; Latin American photonovellas; the catwoman image; changing portrayals of the Madonna; portrayals of women by sculptor Harriet Hosmer and artist deKooning; and three dance works by two women choreographer/dancers, Hanstein and Ziaks. Illustrated with photographs.

Visual Meaning in the Bayeux Tapestry
2003 0-7734-6618-5
This study explains how images in the Tapestry that are generally dismissed as purely decorative, random, or historically mistaken are in fact none of these, but meaningful devices observable in other medieval works. In light of major studies in medieval iconography, historiography, and visual narrative, it shows how apparent anomalies in the Tapestry are to be read as devices deliberately designed to help interpret and add thematic depth to the narrative. The volume shows, for example, how the image-filled borders help the observer interpret the scenes they accompany, and that, far from being random, they respond to a program which, among other things, determines the positioning of Aesop’s fables and other images.

Vitalism in Modern Art C. 1900-1950: Otto Dix, Stanley Spencer, Max Beckmann and Jacob Epstein
2005 0-7734-6165-5
References to ‘Life’, the ‘life-force’, Lebensphilosophie and a ‘vital-principle’ have all but disappeared from our collective historical memory, wiped out by sophisticated scientific explanations of the origins of life culminating in mid-twentieth-century genetics. However, vitalism, the collective term for these various ideas, played a major role in early-twentieth-century European intellectual development, spreading well beyond professional science into the world of culture and art. Vitalism in Modern Art traces the wider history of vitalism in order to explain why it assumed such a remarkable force in the modernist period, and then refines the theme by tracing vitalism in modern art, focusing on four major vitalist artists, the German painters Otto Dix and Max Beckmann, the English painter Stanley Spencer and the London-based, Polish-American sculptor Jacob Epstein. Vitalism in Modern Art addresses modernism’s ties to Romanticism, to post-Darwinian debates about evolution and religion, to evolving categories of modernist spirituality and to their collective relationship to aesthetics and thus modern art. It complements recent work by historians who have argued that the early twentieth century saw an extensive rejection of perceived Victorian materialism, and with it a renewed upsurge in religious debate and ‘holistic science’ both in England and in Germany.

What Makes Edouard Manet the First Great Modern Artist? the Influence of Charles Baudelaire’s Aesthetic Theory on Manet’s Painting
2016
This book is a slightly revised one volume edition of the author's two volume Manet, Baudelaire, and Photography. It is a thorough examination and interpretation of nearly every major painting that Edouard Manet publicaly exhibited between 1861-1882 in his struggle to create a new style called modern art. The author demonstrates that Manet developed a unique and new style of painting by employing Charles Baudelaire's aesthetic theory. In this way Manet created the characteristic style of modern art.

William Kurelek's Huronia Mission Paintings
1991 0-7734-9731-5
This volume presents a biographical synopsis of Kurelek's life and work, to better place each of the 21 paintings in the perspective of the artist's temperament. Each reproduction is followed by a commentary that is a highly informative blend of aesthetics, history, theology, linguistics, geography, and ethnography. The result is a sustained meditation on what actually transpired between the Hurons, Iroquois, and the eight French missionaries who were destined for martyrdom. This volume provides a valuable effort to enter into the vision of Christianity which animates the pictures themselves, and to account for what Kurelek was able to portray about the daily life and spiritual vision of the Jesuits and their companions, about the Hurons and the Iroquois. This book will be a useful introduction to the Christian experiment that was Huronia, and an initial interpretation of Kurelek's paintings. This volume combines an historian's objectivity, a scholar's criticism, and an art lover's enthusiasm.

Women Contesting the Mainstream Discourses of the Art World
2004 0-7734-6249-X
A neglected area of publishing in the visual arts is that of women’s perceptions and strategies for sustaining their careers as artists. This book reports on research which investigated the formative life experiences of nine women and how they perceived their positions as students, artists, art teachers and family members in relation to the discourses dominant in their lives. The study aimed to identify new discursive practices undertaken by the women to contest their positioning. It used feminist poststructuralist methodology that acknowledged the notion of constitution and positioning of the subject in discourse. This innovative methodology is valuable for researchers in a range of disciplines not only in studying careers of women but also other marginalised groups. Because of the reliance on the women’s voices, the text contributes rich pictures of women’s lives and their attempts to negotiate their careers in workplaces they described as “battle grounds”. Consequently the text has a wider appeal to readers interested in women’s careers and art practice. Obstacles to careers reported in the literature were confirmed by the experiences of the women who were able to challenge and restructure constraining discourses. They utilised a range of strategies to negotiate obstacles and, based on the women’s experiences and the literature, the author is then able to propose further possible strategies.

Wyndham Lewis and the Philosophy of Art in Early Modernist Britain: Creating a Political Aesthetic
2005 0-7734-6254-6
This study offers a reconsideration of Wyndham Lewis’s work up to the 1930s, based on a wide-ranging engagement with theories of modernity and modernism, against a ‘background’ of Enlightenment thought. It discusses the philosophical, art historical and literary complexities of Lewis’s texts, and what they might mean for our understanding of their political orientation. Grounded in Lewis’s aporetic notion of Art, this study takes issue with those critics who attempt to close down these complexities, arguing that Lewis’s political statements are both symptomatic of an ‘avant-garde’ predicament based on his mediation of ideas found in thinkers like Kant and Nietzsche, and thus argumentatively inconclusive – at least up to his outright endorsement of fascism in the early 1930s. This book also connects up Lewis’s understanding of modernity as an era of rationalization and reification with crucial twentieth century dissident thinkers such as Heidegger and Adorno. Deconstructing the Art : : Life opposition announced in Blast 1 of 1914, this work examines how Lewis’s increasing attempts to prioritize visuality and the painter’s controlling eye admit an aesthetic Utopianism deriving from his early Wild Body stories. It is this aesthetic sensibility, even when inchoate, which proves troublesome to Lewis’s own increasing conflation of satire with a totalizing objectivity, and thus to those subsequent commentators on his politics whose own desire for critical mastery is part of the ‘problem’ of Enlightenment defined. In conclusion, this study extrapolate some key ideas in the direction of current doubts about, and ‘resolutions’ of, the ‘project’ of Enlightenment, in the context of its artistic and sociological formations.