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.
W. M. Rossetti. Fine Art, Chiefly Contemporary , 1867 , p. 13.
Jack Smith, Ruth St. Denis, and the dance of gestures
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
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.
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.
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.
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.
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
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