This book reframes the formative years of three significant artists: Henri Fantin-Latour, Alphonse Legros, and James McNeill Whistler. The trio’s coming together as the Société des trois occurred during the emergence of the artistic avant-garde—a movement toward individualism and self-expression. Though their oeuvres appear dissimilar, it is imperative that the three artists’ early work and letters be viewed in light of the Société, as it informed many of their decisions in both London and Paris. Each artist actively cultivated a translocal presence, creating artistic networks that transcended national borders. Thus, this book will serve as a comprehensive resource on the development, production, implications, and eventual end of the Société.

Compelling and troubling, colorful and dark, black figures served as the quintessential image of difference in nineteenth-century European art; the essays in this volume further the investigation of constructions of blackness during this period. This collection marks a phase in the scholarship on images of blacks that moves beyond undifferentiated binaries like ?negative? and ?positive? that fail to reveal complexities, contradictions, and ambiguities. Essays that cover the late eighteenth through the early twentieth century explore the visuality of blackness in anti-slavery imagery, black women in Orientalist art, race and beauty in fin-de-si?e photography, the French brand of blackface minstrelsy, and a set of little-known images of an African model by Edvard Munch. In spite of the difficulty of resurrecting black lives in nineteenth-century Europe, one essay chronicles the rare instance of an American artist of color in mid-nineteenth-century Europe. With analyses of works ranging from G?cault's Raft of the Medusa, to portraits of the American actor Ira Aldridge, this volume provides new interpretations of nineteenth-century representations of blacks.

This is the most thorough and detailed monograph on the artwork of Raymond Jonson. He is one of many artists of the first half of the twentieth-century who demonstrate the richness and diversity of an under-appreciated period in the history of American art. Visualizing the spiritual was one of the fundamental goals of early abstract painting in the years before and during World War I. Artists turned to alternative spirituality, the occult, and mysticism, believing that the pure use of line, shape, color, light and texture could convey spiritual insight. Jonson was steadfastly dedicated to this goal for most of his career and he always believed that modernist and abstract styles were the most effective and compelling means of achieving it.

Nineteenth-Century Choral Music is an in-depth examination of the rich repertoire of choral music and the cultural phenomenon of choral music making throughout the period. The book is divided into three main sections. The first details the attraction to choral singing and the ways it was linked to different parts of society, and to the role of choral voices in the two principal large-scale genres of the period: the symphony and opera. A second section highlights ten choral-orchestral masterworks that are a central part of the repertoire. The final section presents overview and focus chapters covering composers, repertoire (both small and larger works), and performance life in an historical context from over a dozen regions of the world: Britain and Ireland, the Czech Republic, France, Germany, Hungary, Italy, Latin America, the Philippines, Poland, Russia, Scandinavia and Finland, Spain, and the United States. This diverse collection of essays brings together the work of 25 authors, many of whom have devoted much of their scholarly lives to the composers and music discussed, giving the reader a lively and unique perspective on this significant part of nineteenth-century musical life.

How does coding change the way we think about architecture? This question opens up an important research perspective. In this book, Miro Roman and his AI Alice_ch3n81 develop a playful scenario in which they propose coding as the new literacy of information. They convey knowledge in the form of a project model that links the fields of architecture and information through two interwoven narrative strands in an “infinite flow” of real books. Focusing on the intersection of information technology and architectural formulation, the authors create an evolving intellectual reflection on digital architecture and computer science.

Marble is one of the great veins through the architectural tradition and fundamental building block of the Mediterranean world, from the Parthenon of mid-fifth century Athens, which was constructed of pentelic marble, to Justinian’s Hagia Sophia in Constantinople and the Renaissance and Baroque basilica of St. Peter’s in the Vatican. Scholarship has done much in recent years to reveal the ways and means of marble. The use of colored marbles in Roman imperial architecture has recently been the subject of a major exhibition and the medieval traditions of marble working have been studied in the context of family genealogies and social networks. In addition, architectural historians have revealed the meanings evoked by marble revetted and paved surfaces, from Heavenly Jerusalem to frozen water. The present volume builds upon the body of recent and emerging research - from antiquity to the present day - to embrace a global focus and address the more unusual (or at least unexpected) uses, meanings, and aesthetic appeal of marble. It presents instances where the use of marble has revolutionized architectural practice, suggested new meaning for the built environment, or defined a new aesthetic - moments where this well-known material has been put to radical use.

This book reframes the formative years of three significant artists: Henri Fantin-Latour, Alphonse Legros, and James McNeill Whistler. This book will serve as a comprehensive resource on the development, production, implications, and eventual end of the Société.

Publisher Description

Saint-Simonians were a group of young engineers and doctors who proposed original solutions to the social and banking crises of the early nineteenth century. Through an examination of the lives, ideals and activities of these men and women, the book analyses the influence of the Saint-Simonians on nineteenth-century French society.

In the Museum of Man offers new insight into the thorny relationship between science, society, and empire at the high-water mark of French imperialism and European racism. Alice L. Conklin takes us into the formative years of French anthropology and social theory between 1850 and 1900; then deep into the practice of anthropology, under the name of ethnology, both in Paris and in the empire before and especially after World War I; and finally, into the fate of the discipline and its practitioners under the German Occupation and its immediate aftermath. Conklin addresses the influence exerted by academic networks, museum collections, and imperial connections in defining human diversity socioculturally rather than biologically, especially in the wake of resurgent anti-Semitism at the time of the Dreyfus Affair and in the 1930s and 1940s. Students of the progressive social scientist Marcel Mauss were exposed to the ravages of imperialism in the French colonies where they did fieldwork; as a result, they began to challenge both colonialism and the scientific racism that provided its intellectual justification. Indeed, a number of them were killed in the Resistance, fighting for the humanist values they had learned from their teachers and in the field. A riveting story of a close-knit community of scholars who came to see all societies as equally complex, In the Museum of Man serves as a reminder that if scientific expertise once authorized racism, anthropologists also learned to rethink their paradigms and mobilize against racial prejudice—a lesson well worth remembering today.