Art in Theory 1648-1815 provides a wide-ranging and comprehensive collection of documents on the theory of art from the founding of the French Academy until the end of the Napoleonic Wars.

This fully revised and updated new edition, extended to cover the period up to 1914, provides the ultimate introduction to British history between the end of the Napoleonic Wars and the outbreak of the First World War.

Charting the failure of the Romantic critique of political economy, Richard Adelman explores the changing significances and the developing concepts of idleness and aesthetic consciousness during the nineteenth century. Through careful analysis of some of the period's most influential thinkers, including John Stuart Mill, George Eliot, John Ruskin and Karl Marx, Adelman weaves together evolving ideas across a range of intellectual discourses - political economy, meditative poetry, the ideology of the 'gospel of work', cultural theory, the Gothic and psychoanalysis. In doing so, he reconstructs debates over passivity and repose and demonstrates their centrality to the cultural politics of the age. Arguing that hardened conceptions of aesthetic consciousness come into being at moments of civic unrest concerning political representation and that the fin-de-siècle witnesses the demonization of the once revolutionary category of aesthetic consciousness, the book demonstrates that late eighteenth-century positivity around human spirituality is comprehensively dismantled by the beginning of the twentieth century.

Known for its collection of French prints and posters, the Zimmerli Art Museum at Rutgers University has rich holdings of lithographs made over the course of the 1800s, including examples from lithography?s early years in Paris to iconic color posters from the 1890s. Invented around 1796, lithography introduced a new process and new opportunities for the creation and circulation of printed images. Artists, printers, and publishers embraced the new medium for its relative ease and economic advantages as compared with the established printmaking media of woodcut, engraving, and etching. Taking root in Paris around 1815 after the fall of Napoleon?s empire, the art and industry of lithography grew in tandem with the city, as it became Europe?s artistic and urban capital over the course of the nineteenth century. Lithographs played a distinct role in both documenting and advancing (and often satirizing) the various and competing art movements of the period as publishers responded to the unprecedented demand for printed images of all types.00Exhibition: Zimmerli Art Museum/Rutgers University, New Brunswick, USA (20.1. - 29.7.2018).

One of the foremost scholars of nineteenthâe"century England, Gash has written a new interpretation of the years 1815 to 1865 that takes industrialization off center stage as the great dramatic event in national life. Gash integrates other equally significant changes the postwar slump in trade and manufacturing, the unprecedented expansion of population, and the increasing urbanization. He argues that the singular ability of the industrial revolution to produce wealth and skills enabled England to cope with impending social catastrophe. Gash also reintroduces the importance of politics in explaining events, and he challenges the recent historical interpretations giving primacy to class history and class consciousness.

This book looks at the transition of wooden sailing fleets to the modern steel navy. It details the technological breakthroughs that brought about this change - steampower, armour, artillery and torpedoes, and looks at their affect on naval strategy and tactics. Part of the ever-growing and prestigious Warfare and History series, this book is a must for enthusiasts of military history.

A ground-breaking new anthology in the Art in Theory series, offering an examination of the changing relationships between the West and the wider world in the field of art and material culture Art in Theory: The West in the World is a ground-breaking anthology that comprehensively examines the relationship of Western art to the art and material culture of the wider world. Editors Paul Wood and Leon Wainwright have included over 350 texts, some of which appear in English for the first time. The anthologized texts are presented in eight chronological parts, which are then subdivided into key themes appropriate to each historical era. The majority of the texts are representations of changing ideas about the cultures of the world by European artists and intellectuals, but increasingly, as the modern period develops, and especially as colonialism is challenged, a variety of dissenting voices begin to claim their space, and a counter narrative to western hegemony develops. Over half the book is devoted to 20th and 21st century materials, though the book’s unique selling point is the way it relates the modern globalization of art to much longer cultural histories. As well as the anthologized material, Art in Theory: The West in the World contains: A general introduction discussing the scope of the collection Introductory essays to each of the eight parts, outlining the main themes in their historical contexts Individual introductions to each text, explaining how they relate to the wider theoretical and political currents of their time Intended for a wide audience, the book is essential reading for students on courses in art and art history. It will also be useful to specialists in the field of art history and readers with a general interest in the culture and politics of the modern world.

ECONOMIST BOOKS OF THE YEAR 2016 'A scintillating, encyclopaedic history, rich in detail from the arcane to the familiar... a veritable tour de force' Richard Overy, New Statesman 'Transnational history at its finest ... .. social, political and cultural themes swirl together in one great canvas of immense detail and beauty' Gerard DeGroot, The Times 'Dazzlingly erudite and entertaining' Dominic Sandbrook, The Sunday Times A masterpiece which brings to life an extraordinarly turbulent and dramatic era of revolutionary change. The Pursuit of Power draws on a lifetime of thinking about nineteenth-century Europe to create an extraordinarily rich, surprising and entertaining panorama of a continent undergoing drastic transformation. The book aims to reignite the sense of wonder that permeated this remarkable era, as rulers and ruled navigated overwhelming cultural, political and technological changes. It was a time where what was seen as modern with amazing speed appeared old-fashioned, where huge cities sprang up in a generation, new European countries were created and where, for the first time, humans could communicate almost instantly over thousands of miles. In the period bounded by the Battle of Waterloo and the outbreak of World War I, Europe dominated the rest of the world as never before or since: this book breaks new ground by showing how the continent shaped, and was shaped by, its interactions with other parts of the globe. Richard Evans explores fully the revolutions, empire-building and wars that marked the nineteenth century, but the book is about so much more, whether it is illness, serfdom, religion or philosophy. The Pursuit of Power is a work by a historian at the height of his powers: essential for anyone trying to understand Europe, then or now.

After the War of 1812 and the removal of the region's Indigenous peoples, the American Midwest became a paradoxical land for settlers. Even as many settlers found that the region provided the bountiful life of their dreams, others found disappointment, even failure--and still others suffered social and racial prejudice. In this broad and authoritative survey of midwestern agriculture from the War of 1812 to the turn of the twentieth century, R. Douglas Hurt contends that this region proved to be the country's garden spot and the nation's heart of agricultural production. During these eighty-five years the region transformed from a sparsely settled area to the home of large industrial and commercial cities, including Chicago, Milwaukee, Cleveland, and Detroit. Still, it remained primarily an agricultural region that promised a better life for many of the people who acquired land, raised crops and livestock, provided for their families, adopted new technologies, and sought political reform to benefit their economic interests. Focusing on the history of midwestern agriculture during wartime, utopian isolation, and colonization as well as political unrest, Hurt contextualizes myriad facets of the region's past to show how agricultural life developed for midwestern farmers--and to reflect on what that meant for the region and nation.