From c.1750 to c.1810 the paths of music history and the history of painting converged with lasting consequences. The publication of Newton's Opticks at the start of the eighteenth century gave a 'scientific' basis to the analogy between sight and sound, allowing music and the visual arts to be defined more closely in relation to one another. This was also a period which witnessed the emergence of a larger and increasingly receptive audience for both music and the visual arts - an audience which potentially included all social strata. The development of this growing public and the commercial potential that it signified meant that for the first time it became possible for a contemporary artist to enjoy an international reputation. Nowhere is this better illustrated than in the career of Joseph Haydn. Although this phenomenon defies conventional modes of study, the book shows how musical pictorialism became a major creative force in popular culture. Haydn, the most popular living cultural personality of the period, proved to be the key figure in advancing the new relationship. The connections between the composer and his audiences and leading contemporary artists (including Tiepolo, Mengs, Kauffman, Goya, David, Messerschmidt, Loutherbourg, Canova, Copley, Fuseli, Reynolds, Gillray and West) are examined here for the first time. By the early nineteenth century, populism was beginning to be regarded with scepticism and disdain. Mozart was the modern Raphael, Beethoven the modern Michelangelo. Haydn, however, had no clear parallel in the accepted canon of Renaissance art. Yet his recognition that ordinary people had a desire to experience simultaneous aural and visual stimulation was not altogether lost, finding future exponents in Wagner and later still in the cinematic arts.

In this volume, Pop examines how art of the mid 1700s and early 1800s - inspired by translations of Greek tragedy - reveals a view of modern Europe attempting to recognize its own historical status as one culture among many. He analyses this broad view of culture through the lens of Anglo-Swiss artist Henry Fuseli's life and work.

Political Beethoven explores Beethoven's music as an active participant in political life from the Napoleonic Wars to the present day.

Opening with an account of print portraiture facilitating Franz Liszt's celebrity status and concluding with Riot Grrrl's noisy politics of feminism and performance, this interdisciplinary anthology charts the relationship between music and the visual arts from late Romanticism and the birth of modernism to 'postmodernism', while crossing from Western art to the Middle East. Focused on music as a central experience of art and life, these essays scrutinize 'the musicalisation of art' focusing on the visual and performing arts and detailing significant instances of intra-art relations between c. 1840 and the present day. Essays reflect on the aesthetic relationships of music to painting, performance and installation, sound-and- silence, time-and-space. The insistent influence of Wagner is considered as well as the work and ideas of Manet, Satie and Cage, Thomas Wilfred, La Monte Young and Eliasson. What distinguishes these studies are the convictions that music is never alone and that a full understanding of the “isms” of the last two hundred years is best achieved when music's influential presence in the visual arts is acknowledged and interrogated.

This volume brings together a selection of the most stimulating and influential writing on Haydn and his music in the English language. Written by a range of established and younger scholars it probes a variety of aesthetic, biographical, compositional, performance and reception issues. A specially written introduction summarizes the significance of each essay, directs the reader to appropriate complementary material and seeks the common ground between the essays; to assist with consistent referencing the individual essays retain their original pagination. This representative compendium of Haydn research provides the opportunity to explore the intellectual diversity of recent scholarship and is an indispensable publication for students of Haydn, whether new or old, amateur or professional.

Eighteenth-century Europe witnessed monumental upheavals in both the Catholic and Protestant faiths and the repercussions rippled down to the churches’ religious art forms. Nigel Aston now chronicles here the intertwining of cultural and institutional turmoil during this pivotal century. The sustained popularity of religious art in the face of competition from increasingly prevalent secular artworks lies at the heart of this study. Religious art staked out new spaces of display in state institutions, palaces, and private collections, the book shows, as well as taking advantage of patronage from monarchs such as Louis XIV and George III, who funded religious art in an effort to enhance their monarchial prestige. Aston also explores the motivations and exhibition practices of private collectors and analyzes changing Catholic and Protestant attitudes toward art. The book also examines purchases made by corporate patrons such as charity hospitals and religious confraternities and considers what this reveals about the changing religiosity of the era as well. An in-depth historical study, Art and Religion in Eighteenth-Century Europe will be essential for art history and religious studies scholars alike.

Introducing the concept of music and painting as 'rival sisters' during the nineteenth century, this interdisciplinary collection explores the productive exchange-from rivalry to inspiration to collaboration-between the two media in the age of Romanticism and Modernism. The volume traces the relationship between art and music, from the opposing claims for superiority of the early nineteenth century, to the emergence of the concept of synesthesia around 1900. This collection puts forward a more complex history of the relationship between art and music than has been described in earlier works, including an intermixing of models and distinctions between approaches to them. Individual essays from art history, musicology, and literature examine the growing influence of art upon music, and vice versa, in the works of Berlioz, Courbet, Manet, Fantin-Latour, Rodin, Debussy, and the Pre-Raphaelites, among other artists.

World War I had a profound influence on the aesthetics and politics of Russian culture, perhaps even more than the revolution. Looking at how the war changed Russian culture, especially visual art, Cohen shows how the wartime environment allowed iconoclastic modern art to flourish.