A revealing, interdisciplinary exploration of the brilliant visual quotations in the work of the celebrated grand-manner portraitist The work of portraitist John Singer Sargent (1856-1925) has come to epitomize the glamour and anxiety of his age. In this innovative study, Bruce Redford reveals the web of visual quotations and references that informed Sargent's most ambitious paintings. Throughout his career, Sargent was recognized and rewarded as a "Young Master" whose bravura portraits inspired comparison with the likes of Vel zquez, Van Dyck, and Reynolds. At the same time, his paintings responded to the stylistic experiments and cultural preoccupations of a world on the cusp of modernity. Sargent achieved this complex synthesis through a pictorial language composed of witty acts of allusion. John Singer Sargent and the Art of Allusion offers the first sustained inquiry into the painter's practice of quotation--one that created a complex visual code. Through comparative analysis among thematic groupings of portraits and analogous literary texts, Redford shows how Sargent devised and transmitted that code. The result is an enhanced awareness of Sargent's daring gamesmanship, his place in the history of portraiture, and the dynamics of allusion in both art and literature.

Sargent's reputation is often defined by his remarkable achievements as a painter of sophisticated society portraits. However, as this innovative examination of his career reveals, he created a significant number of childrens portraits and genre paintings featuring children. The title of the book makes ironic reference to Charles Dickens's famous novel Great Expectations, and is used here to suggest how Sargents paintings of children related to the expectations associated with representations of childhood in the art and literature of Sargents day. The book also traces how Sargent ultimately advanced childhood as an artistic subject. The book contains five essays by three notable curators and professors of fine arts, is illustrated with Sargents truly stunning and often lesser-known paintings of children, and includes Sargent family photographs, some of which are previously unpublished.

This volume defines allusion then identifies the 23 likely allusions in the Elihu speeches (Job 32–37) to Job 1–31. The allusiveness of the unit is a compositional feature that explains the varied evaluations of Elihu throughout interpretive history.

Zuleika Dobson, or, an Oxford love story, is the only novel by English essayist Max Beerbohm, a satire of undergraduate life at Oxford published in 1911. It includes the famous line "Death cancels all engagements" and presents a corrosive view of Edwardian Oxford. The all-male campus of Oxford—Beerbohm’s alma mater—is a place where aesthetics holds sway above all else, and where witty intellectuals reign. Things haven’t changed for its privileged student body for years . . . until the beguiling music-hall prestidigitator Zuleika Dobson shows up. The book’s marvelous prose dances along the line between reality and the absurd as students and dons alike fall at Zuleika’s feet, and she cuts a wide swath across the campus—until she encounters one young aristocrat for whom she is astonished to find she has feelings. As Zuleika, and her creator, zero in on their targets, the book takes some surprising and dark twists on its way to a truly startling ending—an ending so striking that readers will understand why Virginia Woolf said that “Mr. Beerbohm in his way is perfect.” In 1998, the Modern Library ranked Zuleika Dobson 59th on its list of the 100 best English-language novels of the 20th century.

Le revers de la jaquette indique : "With the rise of museums in the 19th century, including the formation in 1824 of the National gallery in London, the art of the past became visible and accessible (in Victorian England) as never before. Inspired by the work of Sandro Botticelli, Jan van Eyck, Diego Velazquez, and others, British artists transformed contemporary art through a creative process that emphasized imitation and emulation. Elizabeth Prettejohn analyzes the ways in which the Old Masters were interpreted by artists, as well as critics, curators, and scholars, and argues that Victorian artists were, paradoxically, at their most original when they imitated the Old Masters most faithfully. Covering Victorian art from the Pre-Raphaelites through to the early modernists, she vividly traces the ways in wich artist such as Dante Gabriel Rossetti, Edward Burne-Jones, and William Orpen engaged with the art of the past to produce some of the greatest art of the late nineteenth and early twentieth centuries."

"An examination of how the work of the American painter John Singer Sargent was displayed, collected, and influential in the civic and cultural development of Chicago, Illinois during the late nineteenth and early twentieth centuries"--

History bleeds evil. 1899 Transylvania bleeds of history and evil. Young Solicitor Jonathan Harker braves ghosts, demons, living skeletons, and armies of rats, as he encounters Dracula of Transylvania, the Son of Satan. The demonic, shapeshifting vampire imposes his wrath, malice, and vengeance upon an England about to enter the Modern Era, crushing everything in his path. Dracula of Transylvania is a fresh, bold retelling of the classic Stoker dark fairy tale with the pulse-pounding pace of the modern thriller. It is a gripping new softcover novel lavished with incredible concept art from one of Hollywood's leading Conceptual Designers, Ricardo Delgado. Murder among English tombstones! Daring chases through the infamous underground Paris Ossuaries! A spectacular gladiatorial battle within Rome's Colosseum during the Witching Hour! All this topped by a fever-pitch chase through Europe to the most terrifying place on earth: Castle Dracula. Dracula of Transylvania is The Exorcist meets Peter Jackson's The Lord of the Rings, in a sprawling yet haunting adventure with the air of the Victorian Era Ghost story. It is a powerful, unrelenting, and fascinating new vision of one of literature's most feared characters. This edition is footnoted throughout with historical facts from the Ancient to the Modern World.

Ships and the sea through the eyes of one of the most remarkable painters of the early 20th century As a young man the American painter John Singer Sargent (1856-1925) was passionate about the sea and deeply knowledgeable about ships and seafaring. Between the ages of 18 and 23 he started his career as a professional painter with a remarkable range of maritime works that form the subject of this exhibition and book. The key works are the two versions of the Oyster Gatherers of Cancale, painted in 1878 on the northern coast of Brittany in France, and the group of studies and sketches around them. The authors relate Sargent's freely handled marine drawings, large and small, to his watercolors, oil sketches, and finished oil paintings of marine subjects. The works demonstrate his transition from a plein-air painter to a tonalist exploring interiors and urban scenes. Also presented is a unique scrapbook, held by the Metropolitan Museum of Art, that includes more than 50 drawings and sketches, mostly of sea scenes, and postcards and commercial photography of works of art, architecture, and tourist views. This scrapbook provides an intimate glimpse at the thoughts and experiences of the young artist on his first European voyage. Exhibition Schedule: Corcoran Gallery, Washington (9/12/09 - 1/3/10) The Museum of Fine Arts, Houston (2/14/10 - 5/23/10) Royal Academy of Arts, London (7/10/10 - 9/23/10)

This authoritative catalogue of the Corcoran Gallery of Art's renowned collection of pre-1945 American paintings will greatly enhance scholarly and public understanding of one of the finest and most important collections of historic American art in the world. Composed of more than 600 objects dating from 1740 to 1945.

Citizenship in a Republic is the title of a speech given by Theodore Roosevelt, former President of the United States, at the Sorbonne in Paris, France, on April 23, 1910. One notable passage from the speech is referred to as "The Man in the Arena": It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better.