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C. R. Cheney
Bulletin of the John Rylands Library
Bulletin of the John Rylands Library
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J.W.M. Hichberger

and incorporated into the belief system of the ruling classes before 1914. This book attempts to chart the process of transformation in the images of the army and its soldiers from Waterloo to the eve of the Great War. Notes 1 W. M. Rossetti. Fine Art, Chiefly Contemporary , 1867 , p. 13. 2

in Images of the army
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Jack Smith, Ruth St. Denis, and the dance of gestures
Paisid Aramphongphan

experience through an “informalizable excess in sexual and personal relations in films.” Such an excess in this scenario has the potential to produce “nonformalizable, intensely affective experience” beyond the bounds of the capitalist system of exchange value, of which business-as-usual orientalism is part. 33 To the question, then, of what we are to make of Jack Smith’s orientalism, the critical moves in current thinking is to attribute what Eve Kosofsky Sedgwick would call a paranoid critical position to Smith’s work itself. A paranoid mode of critique deconstructs

in Horizontal together
From Burke’s Philosophical Enquiry to British Romantic art
Author: Hélène Ibata

The challenge of the sublime argues that the unprecedented visual inventiveness of the Romantic period in Britain could be seen as a response to theories of the sublime, more specifically to Edmund Burke’s Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). While it is widely accepted that the Enquiry contributed to shaping the thematics of terror that became fashionable in British art from the 1770s, this book contends that its influence was of even greater consequence, paradoxically because of Burke’s conviction that the visual arts were incapable of conveying the sublime. His argument that the sublime was beyond the reach of painting, because of the mimetic nature of visual representation, directly or indirectly incited visual artists to explore not just new themes, but also new compositional strategies and even new or undeveloped pictorial and graphic media, such as the panorama, book illustrations and capricci. More significantly, it began to call into question mimetic representational models, causing artists to reflect about the presentation of the unpresentable and the inadequacy of their endeavours, and thus drawing attention to the process of artistic production itself, rather than the finished artwork. By revisiting the links between eighteenth-century aesthetic theory and visual practices, The challenge of the sublime establishes new interdisciplinary connections which address researchers in the fields of art history, cultural studies and aesthetics.

Visualising a changing city

Delving into a hitherto unexplored aspect of Irish art history, Painting Dublin, 1886–1949 examines the depiction of Dublin by artists from the late-nineteenth to the mid-twentieth century. Artists’ representations of the city have long been markers of civic pride and identity, yet in Ireland, such artworks have been overlooked in favour of the rural and pastoral, falling outside of the dominant disciplinary narratives of nationalism or modernism. Framed by the shift from city of empire to capital of an independent republic, this book chiefly examines artworks by of Walter Frederick Osborne (1857–1903), Rose Mary Barton (1856–1929), Jack Butler Yeats (1871–1957), Harry Aaron Kernoff (1900–74), Estella Frances Solomons (1882–1968), and Flora Hippisley Mitchell (1890–1973), encompassing a variety of urban views and artistic themes. While Dublin is renowned for its representation in literature, this book will demonstrate how the city was also the subject of a range of visual depictions, including those in painting and print. Focusing on the images created by these artists as they navigated the city’s streets, this book offers a vivid visualisation of Dublin and its inhabitants, challenging a reengagement with Ireland’s art history through the prism of the city and urban life.

Der Blaue Reiter and its legacies
Author: Dorothy Price

This book presents new research on the histories and legacies of the German Expressionist group, Der Blaue Reiter, the founding force behind modernist abstraction. For the first time Der Blaue Reiter is subjected to a variety of novel inter-disciplinary perspectives, ranging from a philosophical enquiry into its language and visual perception, to analyses of its gender dynamics, its reception at different historical junctures throughout the twentieth century, and its legacies for post-colonial aesthetic practices. The volume offers a new perspective on familiar aspects of Expressionism and abstraction, taking seriously the inheritance of modernism for the twenty-first century in ways that will help to recalibrate the field of Expressionist studies for future scholarship. Der Blaue Reiter still matters, the contributors argue, because the legacies of abstraction are still being debated by artists, writers, philosophers and cultural theorists today.

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The material and visual culture of the Stuart Courts, 1589–1619
Author: Jemma Field

This book analyses Anna of Denmark’s material and visual patronage at the Stuart courts, examining her engagement with a wide array of expressive media including architecture, garden design, painting, music, dress, and jewellery. Encompassing Anna’s time in Denmark, England, and Scotland, it establishes patterns of interest and influence in her agency, while furthering our knowledge of Baltic-British transfer in the early modern period. Substantial archival work has facilitated a formative re-conceptualisation of James and Anna’s relationship, extended our knowledge of the constituents of consortship in the period, and has uncovered evidence to challenge the view that Anna followed the cultural accomplishments of her son, Prince Henry. This book reclaims Anna of Denmark as the influential and culturally active royal woman that her contemporaries knew. Combining politics, culture, and religion across the courts of Denmark, Scotland, and England, it enriches our understanding of royal women’s roles in early modern patriarchal societies and their impact on the development of cultural modes and fashions. This book will be of interest to upper level undergraduate and postgraduate students taking courses on early modern Europe in the disciplines of Art and Architectural History, English Literature, Theatre Studies, History, and Gender Studies. It will also attract a wide range of academics working on early modern material and visual culture, and female patronage, while members of the public who enjoy the history of courts and the British royals will also find it distinctively appealing.

The 1953 Italian fair at Galeries Lafayette
Florence Brachet Champsaur

décembre 1952’. 70 GLA, Paris, Italy exhibition file, Lemaréchal collection, Letter from H. Weill to R. Meyer, 11 December 1952. 71 GLA, Paris, Italy exhibition file, Lemaréchal collection, ‘Rapports avec les autorités italiennes’, J. d’Allens to R. Giancolla, attaché at the Italian Embassy, Paris, 13 December 1952,. 72 GLA, Paris, EVE/GL 1953, Letter from assistant director L. Evrard to J. d’Allens, ‘Achats’, 18 December 1952. 73 GLA, Paris, EVE/GL 1953, ‘Voyage Italie’, January 1953. 74 Ibid . Founded by Luigi and Ferdinando Bocconi in 1877, Città d

in European fashion
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Brigitte Rollet

aura-t-il de la neige à Noël?, the first film by the unknown and young film neophyte Sandrine Veysset in 1996, illustrates this trend. It also shows that the ‘feminisation’ of French cinema seems to go beyond the increasing number of female directors within the French film industry. Even if these signs should be viewed with caution, they are nonetheless evidence that things are changing. Another confirmation of this tendency is the growing interest that these films seem now to attract from critics and audience alike. On the eve

in Coline Serreau