Periods, Groups & Movements: All Other
These are books that did not specificially fit into any of the other art history categories.
Nineteenth-Century European Painting: From Barbizon to Belle Époque by William Rau – Hardcover: 684 pages Publisher: Antique Collectors Club Dist; Slp edition (February 16, 2013)

A fresh approach to nineteenth-century European painting; lusciously illustrated, it offers a comprehensive overview of the century's artistic innovation. This extensive survey also includes biographies for each of the artists. Nineteenth-Century European Painting: From Barbizon to Belle Époque represents a comprehensive guide to the range of stylistically diverse genres of nineteenth-century European painting.

Rebels and Martyrs: The Image of the Artist in the Nineteenth Century (National Gallery Publications) by Alexander Sturgis Paperback: 192 pages Publisher: Yale University Press (September 18, 2006)

The mythical artist, heroic and rebellious, isolated and suffering, is the creation of late-18th-century Romanticism. Throughout the 19th century this powerful myth influenced the way people thought and wrote about artists and, more importantly, the way artists thought about––and depicted––themselves

Covering the period from the French Revolution to World War I, from Romanticism to the avant-garde, this catalogue considers how artists responded to this myth. The focus is on key artists and groups who self-consciously forged distinctive identities: the Nazarenes, Delacroix, Courbet, Manet, Van Gogh, Gauguin, the Nabis, and Schiele. The book includes an introduction, a chronology, and an overview of the myth of the artist in literature, as well as a beautifully illustrated catalogue section arranged according to such themes as Bohemia; Dandy and Flâneur; Priest, Seer, Martyr, Christ; and Creativity and Sexuality.

On the Edge of Your Seat: Popular Theater and Film in Early Twentieth-Century American Art by Patricia McDonnell Hardcover: 240 pages Publisher: Yale University Press (May 1, 2002)

Similar in scope and execution to Donna Gustafson's recently published Images from the World Between: The Circus in 20th Century American Art, this lovely exhibition catalog of the eponymous art exhibition, curated by McDonnell of the University of Minnesota's Frederick R. Weisman Art Museum, critically explores the influence of popular entertainment on American visual art from 1890 to 1930. The book is adorned with 95 color plates and 47 black-and-white illustrations, but unlike Images from the World Between, it is the text that steals the show. Among the ten essays explicating the wonder and pervasive influence of vaudeville, film, theater, and burlesque on American artists are contributions from noted academics Rebecca Zurier, Robert Silberman, and David Nashaw, who offers a particularly illuminating piece on the importance of electric lights. Other essays explore the work of specific artists like Charles Demuth, Edward Hopper, Everett Shinn, and John Sloan to reveal the nascent fascination and obsession with emerging forms of mass popular entertainment. A fine scholarly study best suited for academic and specialized collections. —Barry X. Miller, Austin P.L., TX Copyright 2002 Cahners Business Information, Inc.

Dictionary of British Art Vol 5, 1880-1940 by J. Johnson (Compiler), A. Greutzner (Compiler) – Hardcover: 568 pages; Publisher: Antique Collectors Club Dist; 1st edition (December 18, 2007)

Unlikely to be challenged as the standard work on the subject, British Artists 1880-1940 includes entries for a staggering 41,000 British artists who exhibited at forty-nine of the major exhibition centres and commercial galleries throughout England, Scotland, Wales and Ireland between the years 1880-1940.

Ottocento: Romanticism and Revolution in 19th Century Italian Painting by Roberto J.M. Olsen – Hardcover: 292 pages Publisher: Philip Wilson Publishers (November 22, 2003)

Note: Cover painting is artist James Whistler by Giovanni Boldini.

The Ottocento (literally "eight hundred"), or the nineteenth century, witnessed the creation of a united Italy. This century, which was the age of nationalism throughout Europe, gave birth to modern Italy as a definable political entity after a long period of regional fragmentation and foreign domination. The political struggle for unification was known as the Risorgimento, meaning to rise up again (evoking similar powerful alliterative like renaissance and resurrection). The term was chosen because Italians hoped that their land might overcome internal political divisions and regionalism to regain the prominent place in Western Civilization it had enjoyed during the Roman and Renaissance times, when the Italic peninsula had been a rich and vital center.

The Ottocento was an epoch of major upheavels and drastic changes, or revolutions, in the fabric of Italian thought and society, not least in the area of the arts, especially painting.

One of the major themes of this exhibition is that the art of the epoch reveals a national consciousness long before Italy's actual political unification in 1870. A second them is that Italian artists were not as isolated as formerly thought (as a perusal of the biographies of the artists included in the exhibition as well as those of other Ottocento artists reveals). They participated in broader European crosscurrents, though always painted with a decidedly Italian timbre. When they adopted overly Italianate subjects and styles, it was frequently as an intentional regional and/or nationalistic statement. Sometimes to avoid censureship they employed Italian historical subjects as a guise for contemporary political issues. A third theme of the exhibition is that the entire century, and thus the risorgimiento itself, was motivated vy a romantic spirit. A seminal factor was the city of Rome, a cosmopolitan centre from the mid-eighteenth through the mid-nineteenth centuries for native and foreign artists alike. Even in the second half of the nineteenth century, when artists also visited Paris, then preeminent in the art world, and travelled extensively throughout Europe, Rome remained an artistic mecca and an eloquent muse.

The Changing Status of the Artist by Emma Barker (Editor), Nick Webb (Editor), Kim W. Woods (Editor) – Hardcover: 260 pages Publisher: Yale University Press (December 11, 1998)

This book focuses attention on the theme of the artist and especially the changing status of the artist in the early modern period. In a series of case studies—some devoted to a single artist and others dealing more broadly with artistic practice—the book explores and questions the widely held notion that the modern idea of the artist emerged in the later fifteenth and sixteenth centuries.

This is the second of six volumes in the series Art and Its Histories, created to accompany the Open University course by the same title.

Roman Painting by Roger Ling – Paperback: 261 pages Publisher: Cambridge University Press (March 29, 1991)

This book provides a general survey of Roman wall painting from the second century B.C. through to the fourth century A.D., tracing the origins, chronological development, subjects, techniques, and social context of this art which had considerable influence upon European artists of the Renaissance and Neo-Classical periods. It deals particularly with the paintings from the buried cities of Pompeii and Herculaneum, and its main purpose is to provide an up-to-date summary of the subject in light of the most recent research. This is the first general history of Roman painting written specifically for English-language readers.

French Realist Painting and the Critique of American Society, 1865-1900 by Laura L. Meixner – Hardcover (March 1995) Cambridge Univ Press (Short)

French Realist Painting and the Critique of American Society, 1865-1900 examines public reception of contemporary French painting in post-Civil War American society and demonstrates how a variety of audiences, from small capitalists to workers, used foreign images to politicize their claims to cultural lives. Analyzed from class and regional perspectives, popular responses to Realist and Impressionist painting, recorded in the daily press and radical journals, are shown to have articulated conflicting attitudes toward equality as well as doubts about the fate of democracy in an industrialized society. At another level, French genre and landscape, which had been associated with the 1848 revolution and the rise of the Third Republic, also provoked American thinkers to critique their national culture and reconceptualize definitions of democratic art. The methods of art history, reception theory, and social history merge in this study to explain how Americans came to see themselves in foreign art, and how the public gave these images meaning independent of official art criticism and their original French contexts.

19th-Century Art by H. W. Janson, Robert Rosenblum – Hardcover, 527 pages (March 1984) Harry N Abrams

Revolution marked the 19th century in terms of politics, intellectual thought, and most surely in the area of art. In this volume, Janson and Rosenblum combine their scholarship talents to supply readers with yet another definitive art history, surveying painting and sculpture between 1776 and 1900 and demonstrating the influences of technology, politics, literature, and music on the art world. All the major names are represented (David, Goya, Manet, Renoir, Van Gogh, Rodin, etc.) as well as lesser masters from Victorian eccentrics and French academics to the Belgian Social Realists. Includes 500 illustrations, 89 of which are in color. —Annotation © by Book News, Inc., Portland, Or.


Painting in Sixteenth Century Venice: Titian, Veronese, Tintoretto by David Painting in Cinquecento Venice Rosand – Paperback, 352 pages Revised edition (October 1997) Cambridge Univ Press (Pap Txt)


British Painting: The Golden Age by William Vaughn – Paperback: 256 pages; Publisher: Thames & Hudson (June 17, 1999)

From Hogarth's first works around 1730 to the death of Turner in 1851, Britain's status as an artistic nation was dramatically transformed.

Art in Britain 1660–1815 by David H. Solkin – Hardcover: 378 pages; Publisher: Paul Mellon Centre BA; 1 edition (December 1, 2015)

Art in Britain 1660–1815 presents the first social history of British art from the period known as the long 18th century, and offers a fresh and challenging look at the major developments in painting, drawing, and printmaking that took place during this period. It describes how an embryonic London art world metamorphosed into a flourishing community of native and immigrant practitioners, whose efforts ultimately led to the rise of a British School deemed worthy of comparison with its European counterparts.

Within this larger narrative are authoritative accounts of the achievements of celebrated artists such as Peter Lely, William Hogarth, Thomas Gainsborough, and J.M.W. Turner. David H. Solkin has interwoven their stories and many others into a critical analysis of how visual culture reinforced, and on occasion challenged, established social hierarchies and prevailing notions of gender, class, and race as Britain entered the modern age. More than 300 artworks, accompanied by detailed analysis, beautifully illustrate how Britain’s transformation into the world’s foremost commercial and imperial power found expression in the visual arts, and how the arts shaped the nation in return.

Edwardian Opulence: British Art at the Dawn of the Twentieth Century by Angus Trumble, Andrea Wolk Rager – Hardcover: 420 pages; Publisher: Yale Center for British Art; 1st edition (March 26, 2013)

The Edwardian age was as brief as the Victorian era that preceded it was long. It has been depicted as an indolent summer afternoon of imperial and elite complacency, but also as a period of rapid political, economic, and artistic change, culminating in the First World War. This magnificent book explores themes of power, nostalgia, and a contrasting lightness of touch that characterized the period. Issues of creation, consumption, and display are examined through a range of objects, including portraits by Sargent and Boldini, diamond tiaras and ostrich-feather fans, jewel-like Autochrome color photography, and a spectacular embroidered gown that belonged to the American-born Vicereine of India.

Irish Rural Interiors in Art by Claudia Kinmonth Hardcover: 320 pages Publisher: Yale University Press (May 31, 2006)

This book offers a fascinating view of many aspects of Irish rural life from the eighteenth to the mid twentieth century. Illustrated with more than 250 images, many of which have not been published before, the book evokes the hardships and celebrations of laborers and farmers, men and women, the old and the young as depicted in oil paintings, watercolors, drawings, prints, postcards, and cartoons. Most of the illustrations show people engaged in indoor activities at home, but schools, shops, pubs, and doctors’ surgeries are also included. Claudia Kinmonth draws on extensive knowledge of the material culture of rural life to present a new social history of Irish country people.

Working within a broadly chronological framework, the author addresses such themes and patterns of rural life as the architecture of houses, where people slept, cooking over the open hearth, rural dress, display, childcare, work within the home, the arrangement of marriages, weddings, wakes, and celebrations. The book also explores why Irish and foreign artists depicted rural interiors and sets their work in the context of art history.

European Art of the Eighteenth Century 8 by Daniela Tarabra – Paperback: 384 pages; Publisher: J. Paul Getty Museum; 1st edition (August 11, 2008)

This latest volume in the Art Through the Centuries series presents the most important artists and artistic concepts of the eighteenth century. While the Baroque style, with its emphasis on emotionalism and naturalistic forms, had dominated the seventeenth century, a new sensibility, the Rococo, emerged in the early years of the next century.

The Last Romantics: The Romantic Tradition in British Art: Burne-Jones to Stanley Spencer by Barbican Art Gallery (Corporate Author), John Christian (Unknown), Mary Anne Stevens (Editor) – Paperback: 208 pages Publisher: Lund Humphries Publishers; Reissue edition (May 1993)


Realism (Style and Civilization) by Linda Nochlin – Paperback Reissue edition (February 1993) Viking Press of Chica


The Painting of Modern Life: Paris in the Art of Manet and His Followers by T. J. Clark – Paperback Reprint edition (January 1986) Princeton Univ Press


Adolph Menzel 1815-1905: Between Romanticism and Impressionism by Adolph Menzel, Marie-Ursula Riemann-Reyher (Editor), Claude Keisch (Editor) – Hardcover, 480 pages (November 1996) Yale Univ Press


The Changing Status of the Artist by Emma Barker (Editor), Nick Webb (Editor), Kim W. Woods (Editor) Hardcover: 260 pages Publisher: Yale University Press (December 11, 1998)

This book focuses attention on the theme of the artist and especially the changing status of the artist in the early modern period. In a series of case studies—some devoted to a single artist and others dealing more broadly with artistic practice—the book explores and questions the widely held notion that the modern idea of the artist emerged in the later fifteenth and sixteenth centuries.

Painting of the Golden Age: A Biographical Dictionary of Seventeenth-Century European Painters by Adelheid M. Gealt – Hardcover: 800 pages Publisher: Greenwood Press (September 30, 1993)

For this compendium of well-summarized biographies of about 300 painters active in the 1600s, Gealt (curator, Indiana Univ. Arts Museum) selected artists based on their "importance... contributions... amount of scholarship available... and the inherent quality of their oeuvre." Given these criteria, the selected artists are largely Italian and Dutch/Flemish, with a smattering of other nationalities. Each essay (ranging from one to eight pages) concentrates on biographical facts, training, and discussions of major works and style. Completing each entry are a list of additional works keyed to location (though no clear criteria for inclusion are given) and a bibliography keyed to a master bibliography. A secondary work, but useful at an undergraduate level both for the summary biographies and as an introduction to the mostly English-language literature.
Jack Perry Brown, Art Inst. of Chicago Lib. Copyright 1993 Reed Business Information, Inc.

Ancient Faces: Mummy Portraits in Roman Egypt (Metropolitan Museum of Art Publications) by Susan Walker – Hardcover: 176 pages Publisher: Routledge; 1st edition (February 2000)

When Rome conquered Egypt, two great cultures combined, taking some of the best qualities of each to form an amalgam. The Egyptian belief in the afterlife held strong appeal, but so did the Roman practice of portraiture. As a result, portrait painting was added to traditional Egyptian funerary practices to produce the unique and haunting "mummy portraits," some of the earliest portraits still in existence. The first "ancient faces" exhibit appeared at the British Museum in 1997. When the Metropolitan Museum of Art decided to do its own version, it expanded on the original core group of portraits by adding material from European and North American collections. Walker, deputy keeper of Greek and Roman Antiquities at the British Museum, edited the catalog for both shows. Consequently, they are very similar in most respects; five of the seven essays in this volume appeared first in the British catalog. Recommended for academic and larger public libraries not owning the British catalog. —Mary Morgan Smith, Northland P.L., Pittsburgh Copyright 2000 Reed Business Information, Inc.

150 Masterpieces of Drawing by Anthony Toney (Editor) – Paperback: 150 pages Publisher: Dover Publications (June 1, 1963)

Full-page reproductions of drawings from the early 15th century to the end of the 18th century, all beautifully reproduced: Rembrandt, Michelangelo, Dürer, Fragonard, Urs Graf, Wouwerman, many others. First-rate browsing book, model book for artists.

Art: A World History by Arte Storia Universale. English, Georgio Taboreli – Hardcover, 720 pages (October 1998) DK Publishing

From cave paintings to computer art, classical temples to postmodern office buildings, Art: A World History is an up-to-the-minute, in-depth guide to the world's art and architecture. Each of the chapters present a comprehensive account of a particular period of world art with detailed timelines as visual reference guides. Art: A World History enables you to look at a work of art, understand its construction, and distinguish between different techniques, styles, and critical viewpoints.

The Illustrated History of Erotica Charlotte Hill (Editor), William Wallace (Editor) Mass Market – Paperback, 480 pages illustrate edition (October 1997) Carroll & Graf 450 full-color illus. 3-vols.

Hill and Wallace's popular Erotica series is now available in a special boxed edition containing all three volumes' worth of magnificent erotic selections—paintings and drawings, sculpture and photographs, poetry and prose. Among the provocative works included are Renaissance paintings, the memoirs of Casanova, and much more.

Painting in Spain 1500-1700 (Yale University Press Pelican History of Art) by Jonathan Brown – Paperback, 342 pages (June 1999) Yale Univ Press

El Greco, Ribera, Velzquez, Murillothese are but a few of the great artists of Spain's golden age of painting. This authoritative and handsome book-an enlarged and revised version of the author's Golden Age of Painting in Spain surveys the development of painting in Spain during this fascinating period, focusing on the interaction between art and the prevailing socioeconomic and political conditions.


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