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Based on an extensive and very meticulous study of different archives and the evaluation of original, previously unpublished, archival material, this book highlights the key aspects and trends of the European and American art markets in the late nineteenth and early twentieth centuries.In particular, the book focuses on how these markets influenced each other from the viewpoint of one of the most prominent museum directors of this period, Wilhelm von Bode (1845–1929). Given the complexity of the topic, the book is structured into two parts. The first part focuses on Bode's interactions with the German banker and dedicated art collector based in Paris, Rudolphe Kann (1845–1905). The second part follows the sale of the Kann Collection to the dealer Joseph Duveen and follows on the relationship between Bode, Duveen and the American collectors.The book will be of interest to scholars working in art history, museum studies, and the art market.

This book provides a comprehensive overview of the professional activities of the art business. Addressing this fast-moving industry, The Art Business: Art World, Art Market analyses the sector's institutions and structures, including galleries, auction houses and art fairs.The rapid development of art finance and its deployment of art as an asset class are covered, and up to moment observations are delivered on the quickly evolving auction system that includes dramatic changes at the major auction houses, Sotheby's and Christie's. This edition highlights growing crises in the market including the ever more unbearable costs of art fair attendance and the lack of a reliable system for establishing ownership and title of artworks. Ever more pressing ethical issues such as toxic museum donors, cultural heritage compliance, and problems of corrupt provenances are explored in detail. Enhanced by new data analytics on the US art market, the author also distils advice and guidance for working art professionals hoping to build their careers.The result is an up-to-date picture of an art business suitable for students and practitioners across the creative sector.

George Moore (1852-1933) was one of the most influential and versatile writers and journalists of the turn of the century. This five-volume, reset critical edition addresses scholarly interest in Moore, making available his generally neglected short story collections.

Philosophers have discussed art – or artistic practices such as poetry – since ancient times. But systems of art and entertainment appeared only in the modern era – in the West, during the 18th and 19th centuries. And philosophers have largely neglected the concept of entertainment. In this book Andy Hamilton explores art and entertainment from a philosophical standpoint. He argues, against modernist theory, that art and entertainment are not opposites, but form a loosely connected conceptual system. Against postmodernism, however, he insists on their vital differences.Hamilton begins by questioning the received modernist view, examining artist-entertainers including Jane Austen, Charles Dickens, Louis Armstrong and Billie Holiday. Entertainment, he argues, is by nature audience-centred – but so is art, in a different way. Thus while art should pass the test of time, entertainment must pass the test of its own time – it has to entertain at the time it is produced. Art and entertainment are inter-dependent concepts, and must be understood together with other aesthetic concepts including criticism, genius, canons and design. These concepts form the subject of later chapters of this book, where Hamilton develops a meritocratic position that is neither elitist nor populist. He also addresses the contemporary charge of cultural appropriation, and qualifies it.An innovative feature of the book is the inclusion of dialogues with artists, critics and academics that help to recast or reformulate the debate. Art and Entertainment: A Philosophical Exploration is essential reading for those working in art and aesthetics, and will also be of interest to those in related disciplines such as cultural studies, music and film studies, with an interest in entertainment.

This study evaluates how the ideology of Socialist Realism, developed by the Soviets in policies and the practices of art, has been influential in the Asia-Pacific region from 1917 until today.Focusing primarily on Russia, then China, Vietnam, Korea, Singapore, Indonesia, the Philippines and Australia, this book demonstrates how each society adopted and adapted the Soviet example to make some of the most important imagery of recent history. Included is an examination of how the practice of Western art history, the nature of art history in Asia and the forces of the Cold War have led to this influence being inadequately acknowledged across Asia and more widely.The book will be relevant to those interested in art history, Asian studies, political history and cultural history.

This study explores the interplay between money, status, politics and art collecting in the public and private lives of members of the wealthy trading classes in Brighton during the period 1840–1914.Chapters focus on the collecting practices of five rich and upwardly mobile Victorians: William Coningham (1815–84), Henry Hill (1813–82), Henry Willett (1823–1905) and Harriet Trist (1816–96) and her husband John Hamilton Trist (1812–91). The book examines the relationship between the wealth of these would-be members of the Brighton bourgeoisie and the social and political meanings of their art collections paid for out of fortunes made from sugar, tailoring, beer and wine. It explores their luxury lifestyles and civic activities including the making of Brighton museum and art gallery, which reflected a paradoxical mix of patrician and liberal views, of aristocratic aspiration and radical rhetoric. It also highlights the centrality of the London art world to their collecting facilitated by the opening of the London to Brighton railway line in 1841.The book will be of interest to scholars working in art history, museum studies and British history.

This edited volume will be the first book examining the art history of China's socialist period from the perspective of modernism, modernity, and global interactions.The majority of chapters are based on newly available archival materials and fresh critical frameworks/concepts. By shifting the frame of interpretation from socialist realism to socialist modernity, this study reveals the plurality of the historical process of developing modernity in China, the autonomy of artistic agency, and the complexity of an art world conditioned, yet not completely confined, by its surrounding political and ideological apparatus. The unexpected global exchanges examined by many of the authors in this study and the divergent approaches, topics, and genres they present add new sources and insights to this research field, revealing an art history that is heterogeneous, pluralistic, and multi-layered.The book will be of interest to scholars working in art history, art and politics, and Chinese studies.

This study constructs a framework of narratology for art history and rewrites the development of twentieth-century Chinese art from a narratological perspective. Theoretically and methodologically oriented, this is a self-reflective meta-art history studying the art historical narratives while narrating the story of modern and contemporary Chinese art. Thus, this book explores the three layers of narrative within the narratological framework: the first-hand fabula, the secondary narration, and the tertiary narrativization. With this tertiary narrativization, the reader-author presents three types of narrative: the grand narrative of the central thesis of this book, the middle-range narrative of the chapter theses, and case analyses supporting these theses. The focus of this tertiary narrativization is the interaction between Western influence on Chinese art and the Chinese response to this influence. The central thesis is that this interaction conditioned and shaped the development of Chinese art at every historical turning point in the twentieth century. The book will be of interest to scholars working in art history, critical theory, Chinese studies, and cultural studies.

This edited volume considers the many ways in which landscape (seen and unseen) is fundamental to placemaking, colonial settlement, and identity formation. Collectively, the book's authors map a constellation of interlocking photographic histories and survey practices, decentering Europe as the origin of camera-based surveillance. The volume charts a conversation across continents - connecting Europe, Africa, the Arab World, Asia, and the Americas. It does not segregate places, histories, and traditions but rather puts them in dialogue with one another, establishing solidarity across ever-shifting national, linguistic, racial, religious, and ethnic. Refusing the neat organization of survey photographs into national or imperial narratives, these essays celebrate the messy, cross-cultural reverberations of landscape over the past 170 years. Considering the visual, social, and historical networks in which these images circulate, this anthology connects the many entangled and political histories of photography in order to reframe survey practices and the multidimensionality of landscape as an international phenomenon. This book will be of interest to scholars in art history, history of photography, and landscape history.

James Smith (1989) is study of this hitherto-neglected maker of colonial culture, and traces the rise and decline of the transplanted ideas and values that Smith and many of his fellow immigrants to Australia upheld. It reveals the remarkable vigour with which Smith set about making a new society out of the legacy of the old, and which saw the transformation of Melbourne from gold-rush town to Australia's largest and most influential city in the new Federation.

The definitive history of photography book, Seizing the Light: A Social & Aesthetic History of Photography delivers the fascinating story of how photography as an art form came into being, and its continued development, maturity, and transformation.Covering major events, practitioners, works, and social effects of photographic practice, author Robert Hirsch provides a concise and discerning chronological account of photography, drawing on examples from across the world. This fundamental starting place shows the diversity of makers, inventors, issues, and applications, exploring the artistic, critical, and social aspects of the creative thinking process. This new edition has been fully revised and updated to include the latest advances in technology and digital photography, as well as information on contemporary photographers such as Granville Carroll, Meryl McMaster, Cindy Sherman, Penelope Umbrico, and Yang Yongliang. New topics include the rise of mobile photography and surveillance cameras, drone photography, image manipulation, protest and social justice photography, plus the roles of artificial intelligence and social media in photography. Highly illustrated with over 250 full-color images and contributions from hundreds of artists around the world, Seizing the Light serves as a gateway to the history of photography.Written in an accessible style, it is perfect for those newly engaging with the practice of photography and for experienced photographers wanting to contextualize their own work.

The internationally focused Dictionary of Museology reflects the diversity of cultural and disciplinary approaches to theory and practice in the museum field today. The museum world is changing rapidly, and the characteristics and social roles of the world's approximately 100,000 existing museums are constantly evolving. In addition to their traditional functions of preservation, research and communication, museums are increasingly addressing issues related to social inclusion, human rights, sustainable development and finances, all of which are explored in this dictionary. Drawing on the support of an international editorial committee, including influential figures from the US, Canada, Brazil, Japan, Spain, Germany, France and the UK, this collaborative work produced by over 100 researchers from around the world provides an overview of this unique field by defining over 1,000 terms relating to museology. The Dictionary of Museology is intended for a broad spectrum of museum professionals, academics, researchers and students. The book will be especially useful to those working with international partners, since a common lexicon that conveys the complex reality of current social and cultural values is particularly vital for those working across borders.

This book explores the interplay between various semiotic modes in multimodal texts and the ways in which they are employed to express cultural translation, seeking to expand prevailing views of translation and adaptation in light of everchanging social realities.Drawing on work from multimodal discourse studies, translation studies and adaptation studies, Kohn and Weissbrod shed a light on the increasing prominence of the visual in multimodal texts in the act of translation in a broad sense, and specifically, in conveying cultural translation, broadly understood as the processes and experiences which communities and individuals undergo in the face of social and cultural upheavals which require them to become acquainted with new signs, uniquely encoded across different contexts. Each example showcases individual sociocultural domains while also engaging in the active role of the audience and the respective spaces these works inhabit.The book brings together work from translation and adaptation studies and multimodality and opens up avenues for new research, making it of interest to scholars in these disciplines as well as fields such as media studies, migration studies and cultural studies.

The Experimental Darkroom is a book focused on traditional black & white photographic materials—darkroom chemistry and silver gelatin paper—now used in many non-traditional ways. The book starts with a comprehensive digital negatives chapter. Topics are divided into five sections: cameraless experimentation, camera experimentation, printing experimentation, finished print experimentation, and a section highlighting contemporary photographers who use these approaches today. Each process under discussion is accompanied by photographic examples and a step-by-step method written in a “Just the facts, ma'am” style.Topics included are: Photograms and clichés verre Lumen prints Chemigrams Pinhole and zoneplate Holgas Chromo Liquid emulsion and modern tintype Lith printing Sabattier Mordançage Bleaching and bleachout Toning, traditional to experimental Applied color and abrasion tone Encaustic, photomontage, and collage Bromoil The Experimental Darkroom encourages taking risks and having fun. Over 400 images and 71 artists are included in its 276 pages. The outcome will be an expansion of creative options for the silver gelatin print. The options are engaging and now more accessible with digital negatives. Images are no longer solely captured in camera or on analog film. The darkroom is no longer always dark. The print is no longer a pristine and accurate rendition of what the camera sees. Photographers are pushing the boundaries of black & white photographic practice. It is an exciting time to get into the darkroom and play!

Essays on 20th Century Latin American Art provides a broad synthesis of the subject through short chapters illustrated with reproductions of iconic works by artists who have made significant contributions to art and society. Designed as a teaching tool for non-art historians, the book's purpose is to introduce these important artists within a new scholarly context and recognize their accomplishments with those of others beyond the Americas and the Caribbean. The publication provides an in-depth analysis of topics such as political issues in Latin American art and art and popular culture, introducing views on artists and art-related issues that have rarely been addressed. Organized both regionally and thematically, it takes a unique approach to the exploration of art in the Americas, beginning with discussions of Modernism and Abstraction, followed by a chapter on art and politics from the 1960s to the 1980s. The author covers Spanish-speaking Central America and the Caribbean, regions not usually addressed in Latin American art history surveys. The chapter on Carnival as an expression of popular culture is a particularly valuable addition.This book will be of interest to students and scholars of Latin American history, culture, art, international relations, gender studies, and sociology, as well as Caribbean studies.

This book explores the nature of Britain-based artists'engagement with the transformations of their environment since the early days of the Industrial Revolution.At a time of pressing ecological concerns, the international group of contributors provide a series of case studies that reconsider the nature–culture divide and aim at identifying the contours of a national narrative that stretches from enclosed lands to rising seas. By adopting a longer historical view, this book hopes to enrich current debates concerning art's engagement with recording and questioning the impact of human activity on the environment.The book will be of interest to scholars working in art history, contemporary art, environmental humanities, and British studies.

This volume examines the visual culture of Japan's transition to modernity, from 1868 to the first decades of the twentieth century.Through this important moment in Japanese history, contributors reflect on Japan's transcultural artistic imagination vis-a-vis the discernment, negotiation, assimilation, and assemblage of diverse aesthetic concepts and visual pursuits. The collected chapters show how new cultural notions were partially modified and integrated to become the artistic methods of modern Japan, based on the hybridization of major ideologies, visualities, technologies, productions, formulations, and modes of representation. The book presents case studies of creative transformation demonstrating how new concepts and methods were perceived and altered to match views and theories prevalent in Meiji Japan, and by what means different practitioners negotiated between their existing skills and the knowledge generated from incoming ideas to create innovative modes of practice and representation that reflected the specificity of modern Japanese artistic circumstances.The book will be of interest to scholars working in art history, Japanese studies, Asian studies, and Japanese history, as well as those who use approaches and methods related to globalization, cross-cultural studies, transcultural exchange, and interdisciplinary studies.

This volume critically investigates how art historians writing about Central and Eastern Europe in the late nineteenth and early twentieth centuries engaged with periodization.At the heart of much of their writing lay the ideological project of nation-building. Hence discourses around periodization – such as the mythicizing of certain periods, the invention of historical continuity and the assertion of national specificity – contributed strongly to identity construction. Central to the book's approach is a transnational exploration of how the art histories of the region not only interacted with established Western periodizations but also resonated and ‘entangled'with each other. In their efforts to develop more sympathetic frameworks that refined, ignored or hybridized Western models, they sought to overcome the centre–periphery paradigm which equated distance from the centre with temporal belatedness and artistic backwardness. The book thus demonstrates that the concept of periodization is far from neutral or strictly descriptive, and that its use in art history needs to be reconsidered.Bringing together a broad range of scholars from different European institutions, the volume offers a unique new perspective on Central and Eastern European art historiography. It will be of interest to scholars working in art history, historiography and European studies.The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.

This edited collection explores the intersection of historical studies and the artistic representation of the past in the long nineteenth century. The case studies provide not just an account of the pursuit of history in art within Western Europe but also examples from beyond that sphere. These cover canonical and conventional examples of history painting as well as more inclusive, ‘popular'and vernacular visual cultural phenomena. General themes explored include the problematics internal to the theory and practice of academic history painting and historical genre painting, including compositional devices and the authenticity of artefacts depicted; relationships of power and purpose in historical art; the use of historical art for alternative Liberal and authoritarian ideals; the international cross-fertilisation of ideas about historical art; and exploration of the diverse influences of socioeconomic and geopolitical factors. This book will be of particular interest to scholars of the histories of nineteenth-century art and culture.

Scottish engineer Daniel Wilson (1790–1849) helped launch the industrial revolution in France and acquired a major art collection. His daughter, Marguerite (1836–1902), restored the château de Chenonceau, near the Loire Valley. His son, Daniel (1840–1919), close to Marguerite, became an MP, founded a newspaper chain, rose to become a leading republican politician, and married the daughter of President of the Republic Jules Grévy. The younger Daniel Wilson's business activities and news strategies offended many and prompted his involvement in a scandal (the sale of the Legion of Honour decoration) that led to his downfall and that of President Grévy. Wilson's name became and remains synonymous with political corruption. This book is the first to examine the nexus of political and press connections in early republican France from his viewpoint. The struggle for press freedom since the 1789 Revolution culminating in the 1881 Press Law is assessed by considering the stance of Wilson, Grévy, and the leading press magnate Emile de Girardin and other press tycoons. The flamboyant Marguerite, who hosted Gustave Flaubert in Chenonceau and journeyed to India, colours the saga.

This book offers microhistories related to the transnational circulations of impressionism in the late nineteenth and early twentieth centuries. The contributors rethink the role of'French'impressionism in shaping these iterations by placing France within its global and imperialist context and arguing that impressionisms might be framed through the mobility studies'concept of'constellations of mobility.'Artists engaging with impressionism in France, as in other global contexts, relied on, responded to, appropriated, and resisted elements of form and content based on fluid and interconnected political realities and market structures. Written by scholars and curators, the chapters demand reconsideration of impressionism as a historical construct and the meanings assigned to that term. This project frames future discussion in art history, cultural studies, and global studies on the politics of appropriating impressionism.

Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945-1990 is one of two text anthologies that trace the reception of American art in Europe during the Cold War era through primary sources. Translated into English for the first time from sixteen languages and introduced by scholarly essays, the texts in this volume offer a representative selection of the diverse responses to American art in Portugal, Italy, Spain, Greece, Yugoslavia, Romania, Bulgaria, Soviet Union (including the Baltic States), Czechoslovakia, Poland, Hungary, and East Germany (GDR). There was no single European discourse, as attitudes to American art were determined by a wide range of ideological, political, social, cultural and artistic positions that varied considerably across the European nations. This volume and its companion, Hot Art, Cold War – Northern and Western European Writing on American Art 1945-1990, offer the reader a unique opportunity to compare how European art writers introduced and explained contemporary American art to their many and varied audiences. Whilst many are fluent in one or two foreign languages, few are able to read all twenty-five languages represented in the two volumes. These ground-breaking publications significantly enrich the fields of American art studies and European art criticism.

Italian Painting in the Age of Unification reconstructs the artistic motivations and messaging of three artists—Tommaso Minardi, Francesco Hayez, and Gioacchino Toma—from three distinct regions in Italy prior to, during, and directly following political unification in 1861. Each artist, working in Rome, Milan, and Naples, respectively, adopted the visual narratives particular to his region, using style to communicate aspects of his political, religious, or social context. By focusing on these three figures, this study will introduce readers outside of Italy to their diversity of practice, and provide a means for understanding their place within the larger field of international nineteenth-century art, albeit a place largely distinct from the better-known French tradition. The book will be of interest to scholars working in art history, nationalism, Italian history, or Italian studies.

For all of Robert Louis Stevenson's achievements in fiction, many of his contemporaries thought of him primarily as an essayist. His essays, known for their intellectual substance, emotional force, and stylistic vitality, were widely considered the best of their time. Despite the importance of Stevenson's nonfiction, his personal essays—70 in total—have never been printed together in a single volume until now. Stevenson's essays explore a range of topics from illness and evolution to marriage and dreams, and from literal and literary travel to the behavior of children and the character of dogs. Grappling with many of the cultural, ethical, and existential questions of his age, he resists dogma to draw fresh conclusions. Stevenson examines beggars and university students, immigrants and engineers, invalids and nurses, outlining his own colorful life story and unique approach to'the art of living'along the way. Whereas the most common and widely available versions of these texts were modified after Stevenson's death, this volume gathers his personal essays, many of which have never appeared in any modern edition, in their authorized versions. These essays are still considered classic models of the form, and in this volume, the Editor presents them alongside an introduction and notes to assist in a rereading and reappreciation that is long overdue.

This book focuses on the life and artistic activities of Emilio Sanchez (1921–1999) in New York, and Latin America in the 1940s and 1950s. More specifically, the book will consider Sanchez in the wider context of mid-century Cuban artists, and cross-cultural exchange between New York, Cuba, and the Caribbean. The book reflects on why Sanchez chose to be a mobile observer of the American and Caribbean vernacular at a time when such an approach seemed at odds with the mainstream avant-garde. The book includes a foreword by Dr. Ann Koll, former Executive Director/Curator of the Emilio Sanchez Foundation, and an introduction by Dr. Nathan J. Timpano, University of Miami Department of Art and Art History. This book will be of interest to scholars in modern art, Caribbean studies, architectural history, and Latin American and Hispanic studies.

This monograph uses the national pavilions of the Venice Biennale as a vehicle to examine the development of international contemporary art trends within the Asia-Pacific region, including Australia, Japan and Korea and 16 additional national entities who have had less continuous participation in this global art event.Analysing both the spatial and visual representation of contemporary art presented at the Venice Biennale and incorporating the politics behind national selections, this monograph provides insights into a range of important elements of the global art industry. Areas analysed include national cultural trends and strategies, the inversion of the peripheral to the centre stage of the Biennale, geopolitics in gaining exhibition space at the Venice Biennale, curatorial practices for contemporary art presentation and artistic trends that seek to deal with major economic, cultural, religious and environmental issues emerging from non-European art centres.This monograph will be of interest to scholars in art history, museum studies and Asia-Pacific cultural history.

This is the first book to examine the lives and works of women photographers active in the settler colonial nations of the Pacific Rim from 1857–1930. The few histories of women's photography that have been written so far have been confined to developments in Britain, France, Germany and the USA, and have overwhelmingly focused on artistic photography, ignoring the whole area of commercial photography. Taking 12 case studies as representative of the many women who entered the profession between 1857 and 1930, this book deals with both early 20th-century artistic and ethnographic photography in the region and 19th-century commercial photography. In addition to asking how female photographers coped with the pressure of being women in a male-dominated profession, what was new about the techniques and methods they deployed, and the kinds of artistic visions they brought to bear on their subjects, it breaks new ground by asking how they responded as photographers to the on-going decimation and displacement of indigenous peoples as white settlement and capitalism became ever more entrenched across the new world territories of the Pacific Rim, and photography more influenced by the international art movements of Pictorialism and Modernism.

Hands on Media History explores the whole range of hands on media history techniques for the first time, offering both practical guides and general perspectives. It covers both analogue and digital media; film, television, video, gaming, photography and recorded sound. Understanding media means understanding the technologies involved. The hands on history approach can open our minds to new perceptions of how media technologies work and how we work with them. Essays in this collection explore the difficult questions of reconstruction and historical memory, and the issues of equipment degradation and loss. Hands on Media History is concerned with both the professional and the amateur, the producers and the users, providing a new perspective on one of the modern era's most urgent questions: what is the relationship between people and the technologies they use every day? Engaging and enlightening, this collection is a key reference for students and scholars of media studies, digital humanities, and for those interested in models of museum and research practice.

Originally published between 1929 and 1991 the volumes in this set: Offer a comprehensive and challenging interpretation of the German past Assess Bismarck's contribution to the German Empire and his legacy for modern Germany Examine the psyche of the Germans and discuss the psychological impact of the Second World War on the Germans Review critically not only the rise and rule of National Socialism, but also the strength of authoritarianism and militarism and the weakness of democracy in 19th Century Germany Examine the inter-relationships between social and economic change on the one hand, and political developments on the other. Analyse the significance of the Zollverein on economic growth Discuss authority and the law in the German Empire and the Weimar Republic. Analyse the contribution of German historians to 20th Century historiography Chart key events in British – German trade rivalry Include archival material from both the former East and West Germany.

In this volume, emerging and established scholars bring ethical and political concerns for the environment, nonhuman animals and social justice to the study of nineteenth-century visual culture. They draw their theoretical inspiration from the vitality of emerging critical discourses, such as new materialism, ecofeminism, critical animal studies, food studies, object-oriented ontology and affect theory. This timely volume looks back at the early decades of the Anthropocene to query the agency of visual culture to critique, create and maintain more resilient and biologically diverse local and global ecologies.

The 5th edition of this classic book was originally published in 1955, and includes contributions from well-known authors on history, politics, literature, art, architecture and philosophy. The ideas are discussed and interpreted in the context of the development of European and global intellectual, cultural and political life and includes chapters on the German communist writers of the post-war years.

This book centres on four Portuguese artists'journeys between Portugal and Britain and aims at rethinking the cultural and artistic interactions in the post-war Europe, the shaping of new identities within a context of creative experimentalism and transnational dynamics and the artistic responses to political troubles. Leonor de Oliveira examines the contributions of the work of Paula Rego, Barto dos Santos, João Cutileiro and Jorge Vieira, among other artists, to shape referential images of Portuguese identity that not only responded to the purpose of breaking with dominant iconographic and aesthetic representations but also incorporated a critical perspective on contemporaneity.This title will appeal to scholars interested in art history, Portuguese and European art, and the mid-twentieth-century art scene.

Smart Science, Design & Technology represents the proceedings of the 5th International Conference on Applied System Innovation (ICASI 2019), which was held in Fukuoka, Japan, April 12-18, 2019. The conference received more than 300 submitted papers from at least 20 different countries, whereby one third of these papers was selected by the committees and invited to present at ICASI 2019. The resulting book aims to provide an integrated communication platform for researchers active in a wide range of fields including information technology, communication science, applied mathematics, computer science, advanced material science, and engineering. Major breakthroughs are being made by interdisciplinary collaborations between science and engineering technologists in academia and industry within this unique international network. Smart Science has emerged as a separate discipline, involving innovative practices, methodologies and processes.

•Winner of the American Society for Aesthetics 2019 Outstanding Monograph Prize•Until now, research on art schools has been largely occupied with the facts of particular schools and teachers. This book presents a philosophical account of the underlying practices and ideas that have come to shape contemporary art school teaching in the UK, US and Europe. It analyses two models that, hidden beneath the diversity of contemporary artist training, have come to dominate art schools. The first of these is essentially an old approach: a training guided by the artistic values of a single artist-teacher. The second dates from the 1960s, and is based around the group crit, in which diverse voices contribute to an artist's development. Understanding the underlying principles and possibilities of these two models, which sit together in an uneasy tension, gives new insights into the character of contemporary art school teaching, demonstrating how art schools shape art and artists, how they can be a potent engine of creativity in contemporary culture and how they contribute to artistic research. A Philosophy of the Art School draws on first-hand accounts of art school teaching, and is deeply informed by disciplines ranging from art history and art theory, to the philosophy of art, education and creativity.

An original interpretation of Impressionism and nineteenth-century art and culture by a noted feminist art historian. This book is a pioneering reading of Impressionism from a feminist perspective by a noted art historian. Norma Broude analyzes the philosophical underpinnings of landscape painting in the late nineteenth century discussing the crit

Perception of expression distinguishes our cognitive activity in a pervasive, significant and peculiar way, and manifests itself paradigmatically in the vast world of artistic production.Art and Expression examines the cognitive processes involved in artistic production, aesthetic reception, understanding and enjoyment. Using a phenomenological theoretical and methodological framework, developed by Rudolf Arnheim and other important scholars interested in expressive media, Alberto Argenton considers a wide range of artistic works, which span the whole arc of the history of western graphic and pictorial art. Argenton analyses the representational strategies of a dynamic and expressive character that can be reduced to basic aspects of perception, like obliqueness, amodal completion, and the bilateral function of contour, giving new directions relative to the functioning of cognitive activity.Art and Expression is a monument to the fruitful collaboration of art history and psychology, and Argenton has taken great care to construct a meaningful psychological approach to the arts based also on a knowledge of pictorial genres that allows him to systematically situate the works under scrutiny. Art and Expression is an essential resource for postgraduate researchers and scholars interested in visual perception, art, and gestalt psychology.

First published in 1999, this is the first study of the noted French music critic and scholar Louis Laloy, and the first collection of his writings. His writings were unique in their time and have never previously been translated. Laloy's ideas on Debussy, Ravel and Stravinsky are presented here with an introduction by Deborah Priest to each extract, placing it in the context of the period and the composer's work. Detailed annotations explain technical and cultural references.As a friend of all three composers, but especially of Debussy, Laloy wrote with great authority and influence: his work provides recollections, analytical insights, and insights into reception and performance practice. His erudition and wide range of reference make for fascinating and enlightening reading about the period. Deborah Priest provides a detailed introduction which sets Laloy's work against the background of the Paris music scene from 1900- 1940.

The product of research by US and Japanese scholars, this book is an assessment of the work of individual'yatoi', and their contributions to the rapid development that characterized Meiji Japan (1868-1912).

This is the first comprehensive English-language study of East Asian art history in a transnational context, and challenges the existing geographic, temporal, and generic paradigms that currently frame the art history of East Asia. This pioneering study proposes an important new framework that focuses on the relationship between China, Japan, and Korea. By reconsidering existing concepts of ‘East Asia', and examining the porousness of boundaries in East Asian art history, the study proposes a new model for understanding trans-local artistic production – in particular the mechanics of interactions – at the turn of the 20th century.

This first book in English on the French composer André Jolivet (1905–1974) investigates his music, life and influence. A pupil of Varèse and colleague of Messiaen in La Jeune France, Jolivet is a major figure in French music of the twentieth century. His music combines innovative language with spirituality, summarised in his self-declared axiom to ‘restore music's ancient original meaning when it was the magic and incantatory expression of the sacred in human communities'. The book's contextual introduction is followed by contributions, edited by Caroline Rae, from leading international scholars including the composer's daughter Christine Jolivet-Erlih. These assess Jolivet's output and activities from the 1920s through to his last works, exploring creative process, aesthetic, his relationship with the exotic and influences from literature. They also examine, for the first time, the significance of Jolivet's involvement with the visual arts and his activities as conductor, teacher and critic. A chronology of Jolivet's life and works with details of first performances provides valuable overview and reference. This fascinating and comprehensive volume is an indispensable source for research into French music and culture of the twentieth century.

The Sierra Club's Fourteenth Biennial Wilderness Conference was cosponsored by the National Audubon Society, with over 100 organizations participating. It was among the largest assemblies ever held of statesmen, scientists, lawyers, conservationists, and government and UN officials concerned with the preservation, protection, and restoration of nat

This clear and engaging book offers readers an introduction to European Literary History from antiquity through to the present day. Each chapter discusses a short extract from a literary text, whilst including a close reading and a longer essay examining other key texts of the period and their place within European Literature. Offering a view of Europe as an evolving cultural space and examining the mobility and travel of literature both within and out of Europe, this guide offers an introduction to the dynamics of major literary networks, international literary networks, publication cultures and debates, and the cultural history of'Europe'as a region as well as a concept.

How much does art provide escape from everyday life, and how much does it aid in controlling life? How are art worlds built and maintained? Are new styles the creations of whim or genius? Or are stylistic changes the product of the social and political world in which the artist lives? How does art itself shape these worlds? How are art worlds built

New Dimensions in Photo Processes invites artists in all visual media to discover contemporary approaches to historical techniques. Painters, printmakers, and photographers alike will find value in this practical book, as these processes require little to no knowledge of photography, digital means, or chemistry.Easy to use in a studio or lab, this edition highlights innovative work by internationally respected artists, such as Robert Rauschenberg, Chuck Close, Mike and Doug Starn, and Emmet Gowin. In addition to including new sun-printing techniques, such as salted paper and lumen printing, this book has been updated throughout, from pinhole camera and digital methods of making color separations and contact negatives to making water color pigments photo-sensitive and more.With step-by-step instructions and clear safety precautions, New Dimensions in Photo Processes will teach you how to: Reproduce original photographic art, collages, and drawings on paper, fabric, metal, and other unusual surfaces. Safely mix chemicals and apply antique light-sensitive emulsions by hand. Create imagery in and out of the traditional darkroom and digital studio. Relocate photo imagery and make prints from real objects, photocopies, and pictures from magazines and newspapers, as well as from your digitial files and black and white negatives. Alter black and white photographs, smart phone images, and digital prints.

In the century following the foundation of the Royal Academy in 1768, British art had an international reputation: prints spread knowledge of the work of British artists around the globe, and it was widely seen as the product of a modern, commercial society, and much admired by artists as diverse as Goya in Spain, Delacroix in France, and Bierstadt in America. In recent years, scholars working on this period have become increasingly aware of the international context of their subject, but there has been no systematic analysis of the reception of British art abroad. This collection of essays looks at the uses made of the paintings of Reynolds, Hogarth, Lawrence and their contemporaries on the continent of Europe, and in the colonies and ex-colonies of Australia and America. The authors go beyond the simple issue of'influence'to consider how ideas and artistic conventions originating in the British Isles were adapted, appropriated or resisted in these new environments. In the process, some surprising views of British art emerge, demonstrating how a multi-faceted view from the outside can correct and enrich the narrative produced within a national school, and revealing some of the important connections that are obscured when art is studied, as it so often is, within narrow national boundaries.

The arts sector is of vital importance to the global economy and students aspiring to a career in the visual arts are increasingly required to gain an understanding of the business side of the arts world. This textbook introduces the field of arts management with a focus on visual arts.Visual Arts Management provides the first comprehensive textbook to the art business. The book covers the full range of the art world from contemporary galleries, secondary market, auction houses, art fairs, and museums. Topics include overviews of the distinct sectors of the business, but also delves in to technical topics: curatorship, antiques, cultural heritage compliance, marketing, art criticism, taxation, customs, insurance, transportation, appraising, conservation, and connoisseurship. Each chapter concludes with a real-world case study to provide cautionary tales of the dangers and pitfalls of the art business.This unique textbook, authored by an experienced instructor, presents a global perspective on the rapidly developing art business in a way that is relevant for arts management classes and art professionals worldwide.

Belgian Museums of the Great War: Politics, Memory, and Commerce examines the handling of the centennial of World War I by several museums along the Western Front in Flanders, Belgium. In the twenty-first century, the museum has become a strategic space for negotiating ownership of and access to knowledge produced in local settings. The specific focus on museums and commemorative events in Flanders allows for an in-depth evaluation of how each museum works with the remembrance and tourist industry in the region while carving a unique niche. Belgian Museums of the Great War writes the history of these institutions, analyzes the changes made in advance of the anniversary years, and considers the site-specificity of each institution and its architectural frame. Since museums not only transmit information but also shape knowledge, as Eileen Hooper-Greenhill has noted, the diverse narratives and community programs sponsored by each museum have served to challenge prior historiographies of the war. Through newly revamped interactive environments, self-guided learning, and an emphasis on the landscape, the museums in Flanders have a significant role to play in the ever-changing dialogue on the meaning of the history and remembrance of the Great War.

First published in 1998, Carley collates twelve essays by an international group of contributors reflects the truly cosmopolitan nature of Delius's life and his music. They reveal the manner in which he absorbed the culture of the nations he came to know, their music, art and literature, and the influences they brought to bare on his own work. Also discussed are some of the often mixed, but rarely equivocal reactions that performances of his music have reactions over the years, with Lionel Carley's in-depth study of the first production of Foleraadet in 1897, and a wide ranging analysis by Don Gillespie and Robert Beckhard of the critical reception of Delius's music in the United States between 1909 and 1920.

First published in 1998, this volume explores the expanding wave of a new kind of museums of contemporary art in the nineteenth and early twentieth centuries. Lorente examines their ‘coming of age'and the weight of their museological legacy, arguing that the establishment of great national museums of art at London and Paris radiated out, carrying their influence with it. This book emerged as part of a series on towns and cities and has a focus on London and Paris as centres of artistic innovation.