Bøker i Routledge Research in Art History-serien

This volume examines the visual culture of Japan's transition to modernity, from 1868 to the first decades of the twentieth century.

This edited volume examines the history of abstract art across Latin America after 1945. The book aims to expand the map and consider this phenomenon as it developed in neglected regions such as Central America, the Caribbean, and the Andes, investigating how this style came to stand in for Latin American contemporary art.

Fueled by a flourishing capitalist economy, undergirded by advancements in architectural design and urban infrastructure, and patronized by growing bourgeois and elite classes, New York's built environment was dramatically transformed in the 1870s and 1880s.

This edited collection reassesses East-Central European art by offering transnational perspectives on its regional or national histories, while also inserting the region into contemporary discussions of global issues.

This book offers an innovative and interdisciplinary approach to Pop art scholarship through a recuperation of popular music into art historical understandings of the movement.

This book reframes the formative years of three significant artists: Henri Fantin-Latour, Alphonse Legros, and James McNeill Whistler. This book will serve as a comprehensive resource on the development, production, implications, and eventual end of the Societe.

This book addresses the critical terminologies of place and space (and their role within medieval studies) in a considered and critical manner.

This book introduces the subject of international exhibitions to art and design historians and a wider audience as a resource for understanding the broad and varied political meanings of design during a period of rapid industrialization, developing nationalism, imperialism, expanding trade, and the emergence of a consumer society.

This volume provides a stimulating and adventurous exploration of the theme of travel from an art-historical perspective.

The present volume builds upon the body of recent and emerging research - from antiquity to the present day - to embrace a global focus and addressing the more unusual (or at least unexpected) uses, meanings, and aesthetic appeal of marble.

The book argues that images of the Paris urchin addressed transformations at the heart of modernity, including the decline of patriarchal, monarchical social structures and the rise of industrial capitalism and colonialism. It parses a contested national archetype that emerged from repeated, recycled representations of revolutions (1830, 1832, 1848, 1871).

Combining approaches from art history, museum studies, and contemporary curating, this collection focuses on the artist's studio and its legacies. Through a series of case studies on some of the major figures of modern art, contributors examine how and why artists' studios have been exhibited in the art gallery and museum. Among the artists discussed are Donald Judd, Frieda Kahlo, Constantin Brancusi, Francis Bacon, Eduardo Paolozzi, and Piet Mondrian.

Through a rereading of the available textual and visual sources of Symbolist theater and of the work of Nabi artists, as well as through an analysis of sources and paintings previously unexamined in the existing literature, this book rewrites the history of the cross-fertilization between Nabi art and Symbolist theater.

The remains of churches and monasteries throughout the mountainous landscape of the Greek Peloponnesos - the Morea, as it then was known - attest to the interaction of western Europeans and Byzantine Greeks following the Fourth Crusade of 1204 C.E. Architecture and Interaction in the Thirteenth-Century Mediterranean: Building Identity in the Medieval Morea presents fourteen, under-studied monuments in order to assess the role of buildings and their ornamentation in the creation of identity in this Mediterranean region. Architecture and Interaction investigates and reframes scholarly conceptualizations of cultural interaction and revives the ancient Greek term methexis, meaning communion or participation, to elucidate the material culture of complex societies characterized by ever-changing cultural encounters. The book explores the mechanisms of exchange of architectural knowledge and memory among patrons, architects, masons, and viewers. A fully illustrated Appendix catalogs each church - some for the first time in English - and the study creates a model for contextually specific readings of architecture and identity. Architecture and Interaction is geared to scholars and students of both eastern and western medieval architecture and history (as well as historians of architecture in other contact zones) and also to those interested in cross-cultural theory and identity studies.

Focusing on the first four films about Moore's sculpture in the 1940s and 1950s, The Making of Henry Moore on Film: A Cultural History considers how these films played a role in the consolidation of the sculptor's public identity and broke new ground in the exploration of sculptural aesthetics through film. The book draws on extensive archival research in the production files of these films and on detailed contextual research.

Through a series of cross-disciplinary and interdisciplinary interventions, leading international scholars of history and art history explore ways in which the study of images enhances knowledge of the past and informs our understanding of the present.

This edited collection reassesses East-Central European art by offering transnational perspectives on its regional or national histories, while also inserting the region into contemporary discussions of global issues.

This book explores the history and continuing relevance of melancholia as an amorphous but richly suggestive theme in literature, music, and visual culture, as well as philosophy and the history of ideas.

This book illuminates the original functions of seventeenth and early eighteenth-century mural paintings in Britain and is intended to be read primarily by specialists, graduate and undergraduate students with an interest in new approaches to British art of the seventeenth and eighteenth centuries.

The mid-twentieth century saw a change in paradigms of art history: iconology. The main claim of this novel trend in art history was that renown Renaissance artists (such as Botticelli, Leonardo or Michelangelo) created imaginative syntheses between their art and contemporary cosmology, philosophy, theology and magic.

This book explores how the Medici Grand Dukes pursued ways to expand their political, commercial, and cultural networks beyond Europe, cultivating complex relations with the Ottoman Empire and other Islamicate regions, and looking further east to India, China, and Japan.