This is the definitive biography of Emile Cohl (1857-1938), one of the most important pioneers of the art of the animated cartoon and an innovative contributor to popular graphic humor at a critical moment when it changed from traditional caricature to the modern comic strip. This profusely illustrated book provides not only a wealth of information on Cohl's life but also an analysis of his contribution to the development of the animation film in both France and the United States and an interpretation of how the new genre fit into the historical shift from a "primitive" to a "classical" cinema. "Beautiful in look and design, with stunning reproductions from films and newspapers, Emile Cohl, Caricature, and Film offers a biography of a figure who virtually created the European art of animation... In its theory and history, the book is one of the most important contributions to [the field of animated film]. But [it] is central for film study per se, offering a fresh, exciting look at the complicated world of early cinema."--Dana Polan, Film Quarterly Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Charles Philipon (1800-1862) was the founder of the satirical illustrated press in France. With the newspapers he owned and directed, La Caricature and Le Charivari, he led an unprecedentedly coherent and vitriolic campaign of disrespect against King Louis-Philippe and his regime. Using a group of young caricaturists (the most talented of whom were Daumier, Grandville, and Travies) and the collaboration of a gifted team of writers (including Balzac) he crafted a new language of opposition. This book is the first full scholarly study of the structure of the illustrated press in the 1830s, its contribution to political debate in France, the dissemination of caricature and its potential as political propaganda, and the links between caricature and other forms of political-cultural discourse under the July Monarchy.

Dealing Art on Both Sides of the Atlantic, 1860-1940 aims to bring the marketplace dynamic into sharper focus with its essays which examine the many functionaries who participate in the art market network, among them, agents, scouts, intermediaries, restorers, fakers, decorators, advisers and experts. All of the essays are rooted in case studies which give voice to the various aspects of supply−from branding to marketing, from inventory to display, from restoration to pastiche to fabrication. Each is incredibly rich in their marshalling of primary sources and archival materials; in sum, they present an impressive array of new research. Contributors are: Fae Brauer, Denise M. Budd, Patrizia Cappellini, Lynn Catterson, Sebastien Chaffour, Laura D. Corey, Flaminia Gennari-Santori, Jacqueline Marie Musacchio, Joanna Smalcerz, Alexandra Provo, AnnaLea Tunesi, and Leanne Zalewski.

Futurist Painting Sculpture (Plastic Dynamism), a truly radical book by Umberto Boccioni (1882–1916), claimed a central position in artistic debates of the 1910s and 1920s, exerting a powerful influence on the Italian Futurist movement as well as on the entire European historical avant-garde, including Dada and Constructivism. Today, Boccioni is best known as an artist whose paintings and sculptures are prized for their revolutionary aesthetic by American and European museums. But Futurist Painting Sculpture demonstrates that he was also the foremost avant-garde theorist of his time. In his distinctive, exhilarating prose style, Boccioni not only articulates his own ideas about the Italian movement’s underpinnings and goals but also systematizes the principles expressed in the vast array of manifestos that the Futurists had already produced. Featuring photographs of fifty-one key works and a large selection of manifestos devoted to the visual arts, Boccioni’s book established the canon of Italian Futurist art for many years to come. First published in Italian in 1914, Futurist Painting Sculpture has never been available in English—until now. This edition includes a critical introduction by Maria Elena Versari. Drawing on the extensive Futurist archives at the Getty Research Institute, Versari systematically retraces, for the first time, the evolution of Boccioni’s ideas and arguments; his attitude toward contemporary political, racial, philosophical, and scientific debates; and his polemical view of Futurism’s role in the development of modern art.

Gathers caricatures and portraits depicting royalty, politicians, artists, lawyers, journalists, and sportsmen of Victorian England and includes notes on each subject's life

British cartoonists and caricaturists are renowned worldwide. Originally published in 2000, this indispensable handbook offers a unique ‘who’s who’ of all the major artists working in Britain in the twentieth century and contains nearly 500 entries. Extensively illustrated, the book provides information on the work of artists such as Steve Bell, Gerald Scarfe, Posy Simmonds, Ronald Searle, Trog, mac and Larry as well as such past masters as David Low, Vicky, H. M. Bateman, Illingworth, Heath Robinson and more. The dictionary concentrates primarily on political cartoonists, caricaturists and joke or ‘gag’ cartoonists, actively working for the main Fleet Street national dailies and weeklies from 1900 to 1995. Each entry is cross-referenced and provides a concise biographical outline with an account of the artist’s style, influences and preferred medium. Where relevant the entry includes suggestions for further reading and notes solo exhibitions, books illustrated and works held in public collections. The Dictionary of Twentieth-Century British Cartoonists and Caricaturists offers an insight into the lives of satirical artists working during a century that provoked cartoonists and caricaturists to a pitch of comic and artistic invention that has rarely been matched.

This book presents a study of Juan Gris and Cubism. It is published to coincide with an exhibition at the Whitechapel Art Gallery in London on 18th September."

“A masterpiece . . . an indispensable source on the Royal Navy’s development in the decade before the First World War.” —War in History The five volumes that constitute Arthur Marder’s From the Dreadnought to Scapa Flow represented arguably the finest contribution to the literature of naval history since Alfred Mahan. A. J. P. Taylor wrote that “his naval history has a unique fascination. To unrivalled mastery of sources he adds a gift of simple narrative . . . He is beyond praise, as he is beyond cavil.” The five volumes were subtitled The Royal Navy in the Fisher Era, 1904–1919 and they are still, despite recent major contributions from Robert Massie and Andrew Gordan, regarded by many as the definitive history of naval events leading up to and including the Great War. This first volume covers many facets of the history of the Royal Navy during the pre-war decade, including the economic and political background such as the 1906 Liberal Government hostility towards naval spending. Inevitably, however, attention moves to the German naval challenge, the arms race and the subsequent Anglo-German rivalry, and, finally, the British plans for the blockade of the German High Seas Fleet. A new introduction by Barry Gough, the distinguished Canadian maritime and naval historian, assesses the importance of Marder’s work and anchors it firmly amongst the great naval narrative histories of this era. This ebook edition will bring a truly great work to a new generation of historians and general readers. “[An] extensive and masterly classic work of the Royal Navy in the Great War. A prodigious work of scholarship.” —Scuttlebutt (Friends of the RN Museum)