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.

Musings of a sophist ignorant of Cosmogony and Theogony.

During the successive reprints of the first edition of this work, published in 1871, I was able to introduce several important corrections; and now that more time has elapsed, I have endeavoured to profit by the fiery ordeal through which the book has passed, and have taken advantage of all the criticisms which seem to me sound. I am also greatly indebted to a large number of correspondents for the communication of a surprising number of new facts and remarks. These have been so numerous, that I have been able to use only the more important ones; and of these, as well as of the more important corrections, I will append a list. Some new illustrations have been introduced, and four of the old drawings have been replaced by better ones, done from life by Mr. T.W. Wood. I must especially call attention to some observations which I owe to the kindness of Prof. Huxley (given as a supplement at the end of Part I.), on the nature of the differences between the brains of man and the higher apes. I have been particularly glad to give these observations, because during the last few years several memoirs on the subject have appeared on the Continent, and their importance has been, in some cases, greatly exaggerated by popular writers. I may take this opportunity of remarking that my critics frequently assume that I attribute all changes of corporeal structure and mental power exclusively to the natural selection of such variations as are often called spontaneous; whereas, even in the first edition of the 'Origin of Species,' I distinctly stated that great weight must be attributed to the inherited effects of use and disuse, with respect both to the body and mind. I also attributed some amount of modification to the direct and prolonged action of changed conditions of life.

This is a print on demand book and is therefore non- returnable. This study in theological anthropology considers man as the image of God, the meaning of the image, immortality, and human freedom, dealing always with living, actual man and his inescapable relation to God.