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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 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.

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 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.

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.

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 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 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).

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.

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

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 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 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.

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 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.

Chinese-Islamic studies have concentrated thus far on the arts of earlier periods with less attention paid to works from the Qing Dynasty (1644-1912). This book focuses on works of Chinese-Islamic art from the late seventeenth century to the present day and bring to the reader's attention several new areas for consideration.

This book uses intermedial theories to study collage and montage, tracing the transformation of visual collage into photomontage in the early avant-garde period.