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Henri Matisse produced three famous “decorative landscapes” in Tangier in 1912. New documents throw fresh light on the physical and cultural milieu in which they were made. Unpublished photographs ...

The visit of the young Tom Roberts to the Alhambra Palace in Granada has long been considered a foundational moment for the future ‘father of Australian landscape painting’. Exposure to the bright ...

There are few places more remote from Melbourne than Tangiers. Yet when the young Australian painter Hilda Rix visited there in search of fresh subjects in 1912, she encountered the familiar sight ...

When is a painted copy no longer a copy? When it deviates so far from the original that the copy achieves its own separate identity as an interpretation. That is the condition proposed by the best-known painting in the oeuvre of the prolific Australian painter Tim Johnson. His Illusory City (1983-5) was based on a source so obscure that few would have grasped they were dealing with a work of citation. In this, it was unlike much 1980s Australian appropriation art, which played upon the possibility that viewers would recognise and relish a series of witty or trenchant visual citations. Instead, in the sincerity of his homage to other cultures - Chinese and Aboriginal - and the completeness of his pictorial transformation of their ways of making images, Johnson's practice smacks as much of the high modern japonaiserie of Vincent van Gogh or the cubist copying of old masters by Juan Gris as it does the homeless postmodern borrowings of David Salle or Imants Tillers.

The American university is one of society’s key institutions, perhaps the lead institution available today to respond to changing societal imperatives. However, for the university to continue to play a leading role, it is important to match the functions of the institution with the societal imperatives presented by a changed environment. In short, for purposeful, intelligent redesign of the university to take place, new blueprints for changes in the role of the university must be constructed. This article aims at such a blueprint. A heterogeneous set of changes in the environment—globalization, immigration, rising social-economic inequality, centrality of the knowledge economy, and issues surrounding cultural identity—are the new changes that will transform the American university in coming decades. The implications of each of the challenges, particularly the recognition that the university must take a stronger responsibility to improve the nation’s human capital, are discussed.

The Bain turc, more than any other Ingres work, escaped the claims of normative art history and spoke to a radical aesthetic community intent on framing a new art. This essay on the reception of Ingres's figure painting reads responses to the Bain turc at the small Ingres retrospective the Society of the Salon d'Automne organized in 1905, and in 1907 when his Grande Odalisque was challenged by the elevation of Manet's Olympia to the Louvre. Three communities laid claim to Ingres at this time. Scholars like Lapauze and Mommeja ratified the Bain turc for the museum community and for its owner, the Prince de Broglie. The Fauvist avant garde had other goals in arranging the retrospective. It is argued that the Bain turc, and the two dozen pencil studies exhibited with it, changed the visual orientation of artists such as Picasso, Matisse and Vallotton. The third group, standing between the artists and official gate-keepers, were the critics. Some claimed Ingres for classicism and the French Tradition (albeit one skewed by an octagenarian's sexual longing). Left and Jewish critics close to the Salon rejected the academic authority figure, proclaiming the value of his nudes, line drawing and distorting arabesque. The debate crystallized when Olympia was hung opposite the Grande Baigneuse. Matisse and Apollinaire judged the Manet to be passe, and soon afterwards the pro-Cubist writers Riviere and Lhote saw in the Grande Baigneuse the model for a revolution in the concept of drawing.

Using a political economy framework to analyze the current problems facing US postsecondary education, The New Limits of Education Policy tackles the questions surrounding the future of higher education. The study provides an explanation of why improvement of teaching and learning is not a high priority for the stakeholders involved. Roger Benjamin explains why heightened recognition by the State of the importance of human capital in the knowledge economy will create the external conditions that will, in turn, create the need for an altered incentive system for these stakeholders. He goes on to make a case for additional positive incentives that would reward behavior that improves teaching and learning.

Until now, Orientalist art—exemplified by paintings of harems, slave markets, or bazaars—has predominantly been understood to reflect Western interpretations and to perpetuate reductive, often demeaning stereotypes of the exotic East. Orientalism's Interlocutors contests the idea that Orientalist art simply expresses the politics of Western domination and argues instead that it was often produced through cross-cultural interactions. Focusing on paintings and other representations of North African and Ottoman cultures, by both local artists and westerners, the contributors contend that the stylistic similarities between indigenous and Western Orientalist art mask profound interpretive differences, which, on examination, can reveal a visual language of resistance to colonization. The essays also demonstrate how marginalized voices and viewpoints—especially women's—within Western Orientalism decentered and destabilized colonial authority. Looking at the political significance of cross-cultural encounters refracted through the visual languages of Orientalism, the contributors engage with pressing recent debates about indigenous agency, postcolonial identity, and gendered subjectivities. The very range of artists, styles, and forms discussed in this collection broadens contemporary understandings of Orientalist art. Among the artists considered are the Algerian painters Azouaou Mammeri and Mohammed Racim; Turkish painter Osman Hamdi; British landscape painter Barbara Bodichon; and the French painter Henri Regnault. From the liminal "Third Space" created by mosques in postcolonial Britain to the ways nineteenth-century harem women negotiated their portraits by British artists, the essays in this collection force a rethinking of the Orientalist canon. This innovative volume will appeal to those interested in art history, theories of gender, and postcolonial studies. Contributors . Jill Beaulieu, Roger Benjamin, Zeynep Celik, Deborah Cherry, Hollis Clayson, Mark Crinson, Mary Roberts

STUDIES OF KOREAN economic and political development have developed independently of one another. Although interrelationships between economics and politics are typically acknowledged, the analytical assumption is made that economics and politics are distinct from one another. Political scientists, for their part, lament the absence of political development-defined as democracy, political stability, or some variant of Huntington's institutionalization model.' Although political scientists criticize the structural imbalance in Korean economic development and the increasing social and economic inequality across groups and social classes that has been a by-product of that economic development, they generally applaud Korea's attainment of middle-level industrialization status. For their part, economists largely ignore or regard the political "difficulties" of the past 25 years as a nuisance, or argue the socialeconomic requisites thesis regarding political development: political development will yet inevitably, though perhaps belatedly, follow from economic development. Because of the political problems of the past two years, "political" development appears to be no closer now than at the end of the Korean War. However, in 1982 there are questions about the ability of the military to provide political stability, to actually govern an economy and society that is much more complex now than twenty years ago. Further economic growth may well be threatened. What went wrong? I wish to suggest that a major part of the difficulty is the way we