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Description: Gardens and Gardening in Papal Rome
From the late Middle Ages, when it embodied spirituality, through the end of the eighteenth century, when it offered pleasurable surroundings for banquets, poetry readings, and amorous pursuits, the garden figured prominently in everyday Roman life. In this fascinating history, David Coffin provides a wealth of information on how Italian gardeners worked with the elements of color, fragrance, sound, shade, architecture, sculpture, and wildlife to achieve a wide variety of sensual effects. In so doing he presents the stages of evolution in classic Italian gardening, which was replaced in the late eighteenth century by the more naturalistic English style. Coffin first considers the role of cloistered gardens in the Middle Ages and shows how they were later incorporated as private spaces within the larger Renaissance gardens. Describing the introduction of sculptural collections and waterworks into gardens during the sixteenth century, he explores some of the rich, often complicated, iconographical programs that emerged. The extension of garden parks in the seventeenth century marks the decline of architecture in landscaping and the advent of landscape design as a dominant factor. Throughout this book Coffin concentrates on the garden as a site for entertainment and on the development of design components that eventually permitted gardens to be freely open to the public.
Print publication date January 1991 (out of print)
Print ISBN 9780608091099
EISBN 9780300251715
Illustrations 193
Print Status out of print
Description: Art, Tea, and Industry: Masuda Takashi and the Mitsui Circle
In this book Christine Guth examines the intimate relationship between art collecting, the tea ceremony, and business through the activities of Masuda Takashi (1848–1938), the highly charismatic director of the Mitsui conglomerate whose opulent life and passionate pursuit of art continue to influence new generations of aspiring business magnates in Japan. An elaborate social ritual in which the worlds of business and art collecting intersected, the tea ceremony guided Masuda in amassing the finest collection of Sino-Japanese art in the early Japanese industrial era. Guth's exploration of his aesthetic ideas deepens our understanding of not only the formation of the canon of Japanese art but also the role of art in the ideology of early modern Japan.

At a time when there were few art museums in Japan and Japanese art was becoming internationally known, Masuda's tea gatherings functioned as a salon where his colleagues, other collectors, and art dealers could view, discuss, and handle works of art. Under his influence, art collecting and mastery of the tea ceremony became integral parts of the business training and activities of Mitsui executives. Masuda's collection was rich in calligraphy, ink painting, lacquer, and ceramics, but it was especially noted for its Buddhist painting and sculpture. These works, which were dispersed after World War II, are now in museums and private collections throughout Japan and the United States.
Print publication date January 1993 (out of print)
Print ISBN 9780691032061
EISBN 9780300252101
Illustrations 77
Print Status out of print
Description: Art and the French Commune: Imagining Paris after War and Revolution
In this bold exploration of the political forces that shaped Impressionism, Albert Boime proposes that at the heart of the modern is a "guilty secret"—the need of the dominant, mainly bourgeois, classes in Paris to expunge from historical memory the haunting nightmare of the Commune and its socialist ideology. The Commune of 1871 emerged after the Prussian war when the Paris militia chased the central government to Versailles, enabling the working class and its allies to seize control of the capital. Eventually violence engulfed the city as traditional liberals and moderates joined forces with reactionaries to restore Paris to "order"—the bourgeois order. Here Boime examines the rise of Impressionism in relation to the efforts of the reinstated conservative government to "rebuild" Paris, to return it to its Haussmannian appearance and erase all reminders of socialist threat.

Boime contends that an organized Impressionist movement owed its initiating impulse to its complicity with the state's program. The exuberant street scenes, spaces of leisure and entertainment, sunlit parks and gardens, the entire concourse of movement as filtered through an atmosphere of scintillating light and color all constitute an effort to reclaim Paris visually and symbolically for the bourgeoisie. Amply documented and compellingly argued, Boime's thesis serves as a challenge to all cultural historians interested in the rise of modernism.
Print publication date January 1995 (in print)
Print ISBN 9780691015552
EISBN 9780300251708
Illustrations 164
Print Status in print
Description: Louis Le Vau: Mazarin’s Collège, Colbert’s Revenge
From Vaux-le-Vicomte to Versailles, the buildings of Louis Le Vau shaped the image of French court society. None, however, has had as dramatic an effect as Mazarin's Collège (1661–70), the Parisian landmark that now houses the Institut de France. In this first English-language book on Louis XIV's celebrated architect, Hilary Ballon deftly portrays the brilliance and controversy of Le Vau's late career through an exploration of this masterpiece, a hybrid of baroque and classical styles. She tracks the design and construction of the Collège on the basis of splendid drawings, fully illustrated here, integrating into this account previously unknown dimensions of Le Vau's creative personality, his financial entanglements, and his feuds with government leaders.

The story of the Collège begins in 1661 with the death of Cardinal Mazarin, who left an extravagant sum of money for a school to be built in his memory. Le Vau responded with an ambitious architectural tribute intended to launch the development of Paris in a new artistic direction. As Ballon shows, many personal factors figured into the final product, including Le Vau's activities as a real estate developer and entrepreneur, and his explosive response to the Italian baroque master Gianlorenzo Bernini, who visited Paris in 1665. The project ended up significantly over budget, and officials charged Le Vau shortly after his death with embezzling funds. The chief minister, Jean-Baptiste Colbert, led the attack on Le Vau, turning the ethical scandal into an aesthetic crusade to maintain a "classical" look for central Paris.

By relating the intriguing context in which the Collège was created, Ballon explains why traditional definitions of the baroque and classical styles have failed to offer a cohesive understanding of the building. Her examination of the elements informing Le Vau's personal style and his relationship with Colbert brings into sharper focus the phenomenon of royal patronage and opens a new perspective on the development of French classicism at a turning point in Parisian architectural history.
Print publication date September 1999 (out of print)
Print ISBN 9780691048956
EISBN 9780300251692
Illustrations 109
Print Status out of print
Description: The Arab Imago: A Social History of Portrait Photography, 1860-1910
The birth of photography coincided with the expansion of European imperialism in the Middle East, and some of the medium's earliest images are Orientalist pictures taken by Europeans in such places as Cairo and Jerusalem—photographs that have long shaped and distorted the Western visual imagination of the region. But the Middle East had many of its own photographers, collectors, and patrons. In this book, Stephen Sheehi presents a groundbreaking new account of early photography in the Arab world.

The Arab Imago concentrates primarily on studio portraits by Arab and Armenian photographers in the late Ottoman Empire. Examining previously known studios such as Abdullah Frères, Pascal Sébah, Garabed Krikorian, and Khalil Raad, the book also provides the first account of other pioneers such as Georges and Louis Saboungi, the Kova Brothers, Muhammad Sadiq Bey, and Ibrahim Rif'at Pasha—as well as the first detailed look at early photographs of the annual pilgrimage to Mecca. In addition, the book explores indigenous photography manuals and albums, newspapers, scientific journals, and fiction.

Featuring extensive previously unpublished images, The Arab Imago shows how native photography played an essential role in the creation of modern Arab societies in Egypt, Palestine, Syria, and Lebanon before the First World War. At the same time, the book overturns Eurocentric and Orientalist understandings of indigenous photography and challenges previous histories of the medium.
Print publication date January 2016 (in print)
Print ISBN 9780691151328
EISBN 9780300249774
Illustrations 76
Print Status in print
Description: Objects of Translation: Material Culture and Medieval “Hindu-Muslim”...
Objects of Translation offers a nuanced approach to the entanglements of medieval elites in the regions that today comprise Afghanistan, Pakistan, and north India. The book-—which ranges in time from the early eighth to the early thirteenth centuries-—challenges existing narratives that cast the period as one of enduring hostility between monolithic "Hindu" and "Muslim" cultures. These narratives of conflict have generally depended upon premodern texts for their understanding of the past. By contrast, this book considers the role of material culture and highlights how objects such as coins, dress, monuments, paintings, and sculptures mediated diverse modes of encounter during a critical but neglected period in South Asian history.

The book explores modes of circulation—among them looting, gifting, and trade—through which artisans and artifacts traveled, remapping cultural boundaries usually imagined as stable and static. It analyzes the relationship between mobility and practices of cultural translation, and the role of both in the emergence of complex transcultural identities. Among the subjects discussed are the rendering of Arabic sacred texts in Sanskrit on Indian coins, the adoption of Turko-Persian dress by Buddhist rulers, the work of Indian stone masons in Afghanistan, and the incorporation of carvings from Hindu and Jain temples in early Indian mosques. Objects of Translation draws upon contemporary theories of cosmopolitanism and globalization to argue for radically new approaches to the cultural geography of premodern South Asia and the Islamic world.
Print publication date January 2018 (in print)
Print ISBN 9780691180748
EISBN 9780300249750
Illustrations 184
Print Status in print
Description: The Villa in the Life of Renaissance Rome
Tracing the history of the Roman villa during the fifteenth and sixteenth centuries, David Coffin presents the first comprehensive study of the subject of villeggiatura (withdrawal to a country residence) in English. Further, his book is the first in any language to analyze the villa in terms of its social function and meaning rather than its architecture and formal properties. Coffin draws on a wide variety of printed material and previously unused sources to explore twenty of the most important residences built by dignitaries of Church and State. Early plans and drawings and photographs aid him in reconstructing the leisure activity of the leaders of Renaissance society in the settings that were built to enhance it.
Print publication date January 1979 (out of print)
Print ISBN 9780691002798
EISBN 9780300249705
Illustrations 246
Print Status out of print
Description: Pre-Modernism: Art-World Change and American Culture from the Civil War to the...
Speaking of the emergence of modernism, author Virginia Woolf famously said: "On or about December 1910, human character changed." But was the shift to modernism really so revolutionary? J. M. Mancini argues that it was not. She proposes that the origins of the movement can in fact be traced well into the nineteenth century.

Several cultural developments after the Civil War gradually set the stage for modernism, Mancini contends. New mass art media appeared on the scene, as did a national network of museums and groundbreaking initiatives in art education.These new institutions provided support for future modernists and models for the creators of the avant-garde. Simultaneously, art critics began to embrace abstraction after the Civil War, both for aesthetic reasons and to shore up their own nascent profession. Modernism was thus linked, Mancini argues, to the emergence of cultural hierarchy.

A work of impeccable scholarship and unusual breadth, the book challenges some of the basic ideas about both the origins of twentieth-century modernism and the character of Gilded-Age culture. It will appeal not only to art historians but also to scholars in American history and American studies.
Print publication date January 2005 (in print)
Print ISBN 9780691118130
EISBN 9780300249767
Illustrations 76
Print Status in print
Description: Fellow Men: Fantin-Latour and the Problem of the Group in Nineteenth-Century French...
Focusing on the art of Henri Fantin-Latour (1836–1904) and his colleagues Gustave Courbet, Edgar Degas, Edouard Manet, Frédéric Bazille, and Pierre-Auguste Renoir, Fellow Men argues for the importance of the group as a defining subject of nineteenth-century French painting. Through close readings of some of the most ambitious paintings of the realist and impressionist generation, Bridget Alsdorf offers new insights into how French painters understood the shifting boundaries of their social world, and reveals the fragile masculine bonds that made up the avant-garde.

A dedicated realist who veered between extremes of sociability and hermetic isolation, Fantin-Latour painted group dynamics over the course of two decades, from 1864 to 1885. This was a period of dramatic change in French history and art—events like the Paris Commune and the rise and fall of impressionism raised serious doubts about the power of collectivism in art and life. Fantin-Latour's monumental group portraits, and related works by his friends and colleagues from the 1850s through the 1880s, represent varied visions of collective identity and test the limits of association as both a social and an artistic pursuit. By examining the bonds and frictions that animated their social circles, Fantin-Latour and his cohorts developed a new pictorial language for the modern group: one of fragmentation, exclusion, and willful withdrawal into interior space that nonetheless presented individuality as radically relational.
Print publication date January 2012 (in print)
Print ISBN 9780691153674
EISBN 9780300249682
Illustrations 169
Print Status in print
Description: The Landscape of Belief: Encountering the Holy Land in Nineteenth-Century American...
This book tells of the nineteenth-century American painters who, along with photographers, archaeologists, writers, evangelists, and tourists, flocked to the biblical Holy Land, a world of striking landscape vistas that reflected, in their eyes, a powerful image of the United States. Here they saw a metaphor for their country: a New World promised land, a divinely favored Protestant nation created by and for a modern "chosen people." Taking these biblical associations as a starting point, John Davis examines the ways in which nineteenth-century Americans looked to the actual landscape of the Holy Land as an extension of their national identity. Through close readings of panoramas, photographs, and conventional easel paintings, he shows how this "sacred topography" became a place to work out competing ideological debates surrounding American exceptionalism, prophetic millennialism, anti-Muslim and anti-Jewish sentiment, and post-Darwinian science.

Drawing on sermons, diaries, travel volumes, and novels, Davis explores the growth of a specific cultural market for landscape imagery of Ottoman Palestine and the manner in which easel painters responded to the popular demand for vernacular representations. Treating little-known painters such as Edward Troy and James Fairman together with major figures including Frederic Church, this volume combines pioneering research and new interpretations.
Print publication date January 1996 (out of print)
Print ISBN 9780691043739
EISBN 9780300249729
Illustrations 107
Print Status out of print
Description: American Painting: From the Armory Show to the Depression
American Painting: From the Armory Show to the Depression is a history of modern painting in the United States in the exciting period between 1913 and 1929—the years when the schools of modernism and conservatism struggled for dominance in American art.

It begins with the emergence of a school of realism, dubbed in derision the Ash Can School, an artistic outgrowth of the liberal reform movement and of the general cultural revolt at the beginning of the twentieth-century. The introduction of modernism through Alfred Stieglitz and his circle and the first great exhibition of modern art at the Armory Show in 1913 is described as a clean break from this establishment American academic tradition. The period ended with the coming of the Depression when the realist tradition reasserted itself in a new generation of American Scene and Regionalist painters.

This book investigates the impact of Fauvism, Cubism, Futurism, Purism, etc., upon American artists; the original Dada and mechanistic experiments of Duchamp and Picabia in this country and their effects; the development of a native school of Cubist Realism; pseudo-scientific theories as a reaction among some more conservative artists to the new movements; and the many experiments and eventual assimilation of modernism by leading artists of the period.
Print publication date January 1970 (out of print)
Print ISBN 9780691003016
EISBN 9780300249699
Illustrations 155
Print Status out of print
Description: Ambitious Form: Giambologna, Ammanati, and Danti in Florence
Ambitious Form describes the transformation of Italian sculpture during the neglected half century between the death of Michelangelo and the rise of Bernini. The book follows the Florentine careers of three major sculptors—Giambologna, Bartolomeo Ammanati, and Vincenzo Danti—as they negotiated the politics of the Medici court and eyed one another's work, setting new aims for their art in the process. Only through a comparative look at Giambologna and his contemporaries, it argues, can we understand them individually--or understand the period in which they worked.

Michael Cole shows how the concerns of central Italian artists changed during the last decades of the Cinquecento. Whereas their predecessors had focused on specific objects and on the particularities of materials, late sixteenth-century sculptors turned their attention to models and design. The iconic figure gave way to the pose, individualized characters to abstractions. Above all, the multiplicity of master crafts that had once divided sculptors into those who fashioned gold or bronze or stone yielded to a more unifying aspiration, as nearly every ambitious sculptor, whatever his training, strove to become an architect.
Print publication date January 2010 (in print)
Print ISBN 9780691147444
EISBN 9780300249712
Illustrations 170
Print Status in print
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