How the rise of book illustration affected the historic hegemony of the word is the topic of Keri Yousif's study of the complex relationship between the novelist Honoré de Balzac and the illustrator J. J. Grandville. As Yousif shows, the industrialisation of the illustrated book spawned a triadic relationship between publisher, writer and illustrator that transformed the book from a product of individual genius to a cooperative and commercial affair.

Examining how the rise of book illustration affected the historic hegemony of the word, Keri Yousif explores the complex literary and artistic relationship between the novelist Honoré de Balzac and the illustrator J. J. Grandville during the French July Monarchy (1830-1848). Both collaborators and rivals, these towering figures struggled for dominance in the Parisian book trade at the height of the Romantic revolution and its immediate aftermath. Both men were social portraitists who collaborated on the influential encyclopedic portrayal of nineteenth-century society, Les Français peints par eux-mêmes. However, their collaboration soon turned competitive with Grandville's publication of Scènes de la vie privée et publique des animaux, a visual parody of Balzac's Scènes de la vie privée. Yousif investigates Balzac's and Grandville's individual and joint artistic productions in terms of the larger economic and aesthetic struggles within the nineteenth-century arena of cultural production, showing how writers were forced to position themselves both in terms of the established literary hierarchy and in relation to the rapidly advancing image. As Yousif shows, the industrialization of the illustrated book spawned a triadic relationship between publisher, writer, and illustrator that transformed the book from a product of individual genius to a cooperative and commercial affair. Her study represents a significant contribution to our understanding of literature, art, and their interactions in a new marketplace for publication during the fraught transition from Romanticism to Realism.

Nineteenth-century Paris is often celebrated as the capital of modernity. However, this story is about cultural producers who were among the first to popularize and profit from that idea. Graphic Culture investigates the graphic artists and publishers who positioned themselves as connoisseurs of Parisian modernity in order to market new print publications that would amplify their cultural authority while distributing their impressions to a broad public. Jillian Lerner's exploration of print culture illuminates the changing conditions of vision and social history in July Monarchy Paris. Analyzing a variety of caricatures, fashion plates, celebrity portraits, city guides, and advertising posters from the 1830s and 1840s, she shows how quotidian print imagery began to transform the material and symbolic dimensions of metropolitan life. The author's interdisciplinary approach situates the careers and visual strategies of illustrators such as Paul Gavarni and Achille Devéria in a broader context of urban entertainments and social practices; it brings to light a rich terrain of artistic collaboration and commercial experimentation that linked the worlds of art, literature, fashion, publicity, and the theatre. A timely historical meditation on the emergence of a commercial visual culture that prefigured our own, Graphic Culture traces the promotional power of artistic celebrities and the crucial perceptual and social transformations generated by new media.

The nineteenth-century novelist, George Sand, is most famous today for her tumultuous love life and trouser-wearing days in Paris, but she achieved major commercial and critical success in her day and has gradually made her way back into the literary canon. Mainly known for her pastoral tales and allegedly simplistic idealism, Sand in fact produced around ninety novels which experiment with a wide range of themes, forms and aesthetic models. This book offers thefirst study of vision in Sand's works. It argues that, rather than rejecting reality in favour of the ideal, Sand integrates physical observation with internal forms of seeing such as the imaginationand visionary insights. The study maintains that Sand's understanding of vision provides the basis for her distinctive style and challenges conventional categorisations of the novel in this period.

Romanticism is multifaceted, and a wide range of nostalgic, emotional, and exotic concerns were expressed in such styles and movements as the Gothic Revival, Classical Revival, Orientalism, and the Pre-Raphaelite Brotherhood. Some movements were regional and subject-specific, such as the Hudson River School of landscape painting in the United States and the German Nazarene movement, which focused primarily on religious art in Rome. The movements range across Western Europe and include the United States. This dictionary will provide a fuller historical context for Romanticism and enable the reader to identify major trends and explore artists of the period. This second edition of Historical Dictionary of Romantic Art and Architecture contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 300 cross-referenced entries on major artists of the romantic era as well as entries on related art movements, styles, aesthetic philosophies, and philosophers. This book is an excellent resource for students, researchers, and anyone wanting to know more about Romantic art.

"Written by an international team of illustration historians, practitioners, and educators, History of Illustration covers image-making and print history from around the world, spanning from the prehistoric to the contemporary. With hundreds of color image, this book to contextualize the many types of illustrations within social, cultural, and technical parameters, presenting information in a flowing chronology. This essential guide is the first comprehensive history of illustration as its own discipline. Readers will gain an ability to critically analyze images from technical, cultural, and ideological standpoints in order to arrive at an appreciation of art form of both past and present illustration"--

Gustave Doré and the Modern Biblical Imagination explores the role of biblical imagery in modernity through the lens of Gustave Doré (1832-83), whose work is among the most reproduced and adapted scriptural imagery in the history of Judeo-Christianity. First published in France in late 1865, Doré's Bible illustrations received widespread critical acclaim among both religious and lay audiences, and the next several decades saw unprecedented dissemination of the images on an international scale. In 1868, the Doré Gallery opened in London, featuring monumental religious paintings that drew 2.5 million visitors over the course of a quarter-century; when the gallery's holdings travelled to the United States in 1892, exhibitions at venues like the Art Institute of Chicago drew record crowds. The United States saw the most creative appropriations of Doré's images among a plethora of media, from prayer cards and magic lantern slides to massive stained-glass windows and the spectacular epic films of Cecile B. DeMille. This book repositions biblical imagery at the center of modernity, an era that has often been defined through a process of secularization, and argues that Doré's biblical imagery negotiated the challenges of visualizing the Bible for modern audiences in both sacred and secular contexts. A set of texts whose veracity and authority were under unprecedented scrutiny in this period, the Bible was at the center of a range of historical, theological, and cultural debates. Gustave Doré is at the nexus of these narratives, as his work established the most pervasive visual language for biblical imagery in the past two and a half centuries, and constitutes the means by which the Bible has persistently been translated visually.

Odara, spirit warrior for the greater good of the universe, has continuously excelled in all of her assignments from the Sacred Council. She now has been offered a promotion to the highest level of ascension for any spirit warrior- to never have to assume a physical body again. Her promotion would put her among the elite ranks of spirit warriors that only do battle in the spirit realm. The problem is that she has become fond of the body that she inhabits as Odara. She is assigned by the Sacred Council to take a journey through her past to revisit how she became who she is before she is to respond to them with an answer. During the course of five full moons, Odara journeys back through several lifetimes with her companion Prentice, and Phillip, the messenger for the Sacred Council. Through these journeys, she is reminded of who she is and how she came to be.