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Description: Back to the Drawing Board: Ed Ruscha, Art, and Design in the 1960s
Ed Ruscha (b. 1937) emerged onto the Los Angeles art scene with paintings that incorporated consumer products, such as Spam and Sun-Maid raisins. In this revelatory book, Jennifer Quick looks at and beyond the consumer imagery in Ruscha’s work, examining it through the tools, techniques, and habits of mind of commercial art and design. Quick shows how his training and early work as a commercial artist helped him become an incisive commentator on the presence and role of design in the modern world.

Back to the Drawing Board explores how Ruscha mobilized commercial design techniques of scale, paste-up layout, and perspective as he developed his singular artistic style. Beginning with his formative design education and focusing on the first decade of his career, Quick analyzes previously unseen works from the Ruscha archives alongside his celebrated paintings, prints, and books, demonstrating how Ruscha’s engagement with commercial art has been foundational to his practice. Through this insightful lens, Quick affirms Ruscha as a powerful and witty observer of the vast network of imagery that permeates visual culture and offers new perspectives on Pop and conceptual art.

*This eBook is available exclusively on the A&AePortal.*
Print publication date May 2022 (in print)
Print ISBN 9780300256925
EISBN 9780300272611
Illustrations 131
Print Status in print
Description: Yield: The Journal of an Artist
In the spring of 1974, the artist Anne Truitt (1921–2004) committed herself to keeping a journal for a year. She would continue the practice, sometimes intermittently, over the next six years, writing in spiral-bound notebooks and setting no guidelines other than to “let the artist speak.” These writings were published as Daybook: The Journal of an Artist (1982). Two other journal volumes followed: Turn (1986) and Prospect (1996). This book, the final volume, comprises journals the artist kept from the winter of 2001 to the spring of 2002, two years before her death.

In Yield, Truitt’s unflinching honesty is on display as she contemplates her place in the world and comes to terms with the intellectual, practical, emotional, and spiritual issues that an artist faces when reconciling her art with her life, even as that life approaches its end. Truitt illuminates a life and career in which the demands, responsibilities, and rewards of family, friends, motherhood, and grandmotherhood are ultimately accepted, together with those of a working artist.
Print publication date June 2022 (in print)
Print ISBN 9780300260403
EISBN 9780300272772
Illustrations 2
Print Status in print
Description: Implication: An Ecocritical Dictionary for Art History
Ecocriticism is an interdisciplinary mode of inquiry that examines the environmental significance of art, literature, and other creative endeavors. In Implication: An Ecocritical Dictionary for Art History, Alan C. Braddock, a pioneer in art historical ecocriticism, presents a fascinating group of key terms and case studies to demonstrate that all art is ecological in its interconnectedness with the world.

The book adopts a dictionary-style format, although not in a conventional sense. Drawing inspiration from French surrealist writer Georges Bataille, this dictionary presents carefully selected words that link art history to the environmental humanities—not only ecocriticism, but also environmental history, science, politics, and critical animal studies. A wide array of creative works from different cultures and time periods reveal the import of these terms and the inescapable entanglement of art with ecology. Ancient Roman mosaics, Song dynasty Taihu rocks, a Tlaxcalan lienzo, early modern European engravings and altarpieces, a Kongo dibondo, nineteenth-century landscape paintings by African American artist Edward Mitchell Bannister, French Impressionist urban scenes, and contemporary activist art, among other works, here disclose the intrinsic ecological conditions of art.

This born-digital book will be available in early 2023 exclusively on the A&AePortal.
Print publication date March 2023 (in print)
EISBN 9780300271881
Print Status in print
Description: Ingres in Fashion: Representations of Dress and Appearance in Ingres’s Images...
For more than half of the nineteenth century, French artist Jean-Auguste-Dominique Ingres (1780–1867) depicted the rapidly changing appearance of the fashionable woman with meticulous attention to detail and with rare perception and empathy. Working in a period that witnessed the development of a consumer society and the beginnings of couture, Ingres charted in his portraits how clothes were worn and what part they played in definitions of identity and status. This book explores for the first time the ways in which clothing, accessories, and fabrics define and display women in Ingres’s portraits. With more than 150 illustrations that include the artist’s portraits, fashion plates, portraits by contemporaries, and surviving items of costume, the book illuminates Ingres’s work and its relation to the social and artistic discourse of his time.

Eminent dress historian Aileen Ribeiro analyzes in detail Ingres’s attitudes, his skill in depicting clothing, and how he portrays the real and idealized woman in his paintings and drawings of the fashionable mainstream—the grandes dames of elite society, the newly opulent bourgeoisie, English visitors to Italy, and family and friends. Ribeiro also devotes a section of the book to the part played by textiles and accessories in Ingres’s images of bathers and odalisques.

Some editorial changes have been made by the author to this electronic version.

*This eBook is available exclusively on the A&AePortal.*
Print publication date March 1999 (out of print)
Print ISBN 9780300079272
EISBN 9780300272369
Illustrations 173
Print Status out of print
Description: Wearing Propaganda: Textiles on the Home Front in Japan, Britain, and the United...
Protest fashion from the Vietnam War years is widely familiar, but today few are aware that dramatic fashion and textile designs served as patriotic propaganda for the Japanese, British, and Americans during the Asia-Pacific War (1931–1945). This fascinating book presents hundreds of examples of how fashion was employed by those on all sides of the conflict to boost morale and fan patriotism.

From a kimono lined with images of U.S. planes blowing up to a British scarf emblazoned with hopeful anti-rationing slogans, Wearing Propaganda documents the development of the role of fashion as propaganda first in Japan and soon thereafter in Britain and the United States. The book discusses traditional and contemporary Japanese styles and what they revealed about Japanese domestic attitudes to war, and it shows how these attitudes echoed or contrasted with British and American fashions that were virulently anti-Japanese in some instances, humorously upbeat about wartime deprivations in others. With insights into style and design, fashion history, material culture, and the social history of Japan, the United States, and Britain, this book offers unexpected riches for every reader.

*This eBook is available exclusively on the A&AePortal.*
Author
Print publication date December 2005 (out of print)
Print ISBN 9780300109252
EISBN 9780300272260
Illustrations 356
Print Status out of print
Description: Emulation: David, Drouais, and Girodet in the Art of Revolutionary France
This fascinating and important book puts the life of artists at the center of innovative art history, narrating a biography of five painters at the heart of events in Revolutionary France: Jacques-Louis David and his extraordinarily precocious students Drouais, Girodet, Gérard, and Gros. Their shared ambition was to build an alternative, exalted life in art, one committed to rigorous classical erudition while suffused with the emotional depth of familiar bonds. In this experiment of enlightened teaching, the roles of master and pupil were frequently reversed.

Distinguished scholar Thomas Crow tells how the personal histories and aesthetic choices of these artists were played out within the larger arena in which a whole social order was being overturned, a king embodying all patriarchal authority was put to death, and a republic of equal male brotherhood was proclaimed.

*This eBook is available exclusively on the A&AePortal.*
Print publication date June 2006 (out of print)
Print ISBN 9780300117394
EISBN 9780300272390
Illustrations 204
Print Status out of print
Description: Painters and Public Life in Eighteenth-Century Paris
It was at the free, open Salon exhibitions of the French Academy that artists were first consistently confronted by a "public"—a large and broadly based audience encouraged to look on works of art in an attitude of aesthetic contemplation. This book discusses the growth of public opinion about the arts in eighteenth-century France and the reciprocal effect of that opinion on official institutions and differing styles of painting.

As he analyzed the history of the Salon under the Old Regime, Crow discovers that it encompassed a complex process in which a number of groups of very different social character and political outlook sought to enlist painting as an expressive vehicle for their various agendas. Even the art of Watteau—seemingly so private in character—was decisively informed by new urban forms of artistic culture. The most important artists of the later eighteenth century—Greuze and David—were initially useful to the state in their common ability to grasp official priorities and embody them in a narrative art that was accessible to a broad public audience. But both artists, stimulated by the vigorous, new interest being shown in the Salons by Painters and public alike, also broke new ground with works that announced the advent of modernism.

Tracing the patterns and interplays between the ambitions of the artist and the wishes and tastes of the authorities, collectors, and crowds of salon visitors, Crow makes a fascinating and highly original contribution to art history.

*This eBook is available exclusively on the A&AePortal.*
Print publication date February 1985 (out of print)
Print ISBN 9780300033540
EISBN 9780300272376
Illustrations 125
Print Status out of print
Description: Necklines: The Art of Jacques-Louis David after the Terror
Twice imprisoned after the fall of Robespierre, French painter Jacques-Louis David (1748–1825) faced an artistic and personal crisis as the political and cultural values he had embraced crumbled in the mid-1790s. This strikingly original book examines the crucial period of David’s artistic career as he struggled both to "save his neck" and to recast his identity in the aftermath of the Reign of Terror. Ewa Lajer-Burcharth examines David’s work in the context of the larger cultural and social formations emerging in France and offers a fascinating new perspective on his paintings and on French artistic culture at an important moment in its history.

The book begins with a close examination of the work David produced while in prison. Lajer-Burcharth first considers the artist’s self-representations, focusing on Self-Portrait and Abandoned Psyche, and addresses his crisis of individual identity. She goes on to look at David’s effort to redefine himself as a history painter after the Terror and at his engagement with the collective memory of the Revolution. In her analysis of the broader search for a new republican identity, the author frames her discussion around David’s Sabine Women, the sketches for which he had prepared in prison, and places special attention on the privileged role of women and femininity as signs that both David and other citizens employed to establish distance and difference from the Terror. The book concludes with a brilliant interpretation of David’s unfinished portrait of Juliette Récamier and its complex relation to the process of cultural reinvention of the self as a function of desire.

*This eBook is available exclusively on the A&AePortal.*
Print publication date October 1999 (out of print)
Print ISBN 9780300074215
EISBN 9780300272314
Illustrations 172
Print Status out of print
Description: The Other Modern Movement: Architecture, 1920–1970
Usually associated with Mies and Le Corbusier, the Modern Movement was instrumental in advancing new technologies of construction in architecture, including the use of glass, steel, and reinforced concrete. Renowned historian Kenneth Frampton offers a bold look at this crucial period, focusing on architects less commonly associated with the movement in order to reveal the breadth and complexity of architectural modernism. The Other Modern Movement profiles nineteen architects, each of whom consciously contributed to the evolution of a new architectural typology through a key work realized between 1922 and 1962.

Frampton’s account offers new insights into iconic buildings like Eileen Gray’s E-1027 House in France and Richard Neutra’s Kaufmann House in Palm Springs, California, as well as lesser-known works such as Antonin Raymond’s Tokyo Golf Club and Alejandro de la Sota’s Maravillas School Gymnasium in Madrid. Foregrounding the ways that these diverse projects employed progressive models, advanced new methods in construction techniques, and displayed a new sociocultural awareness, Frampton shines a light on the rich legacy of the Modern Movement and the enduring potential of the unfinished modernist project.

*This eBook is available exclusively on the A&AePortal.*
Print publication date January 2022 (in print)
Print ISBN 9780300238891
EISBN 9780300272055
Illustrations 404
Print Status in print
Description: Naked Authority: The Body in Western Painting, 1830–1908
The human body, particularly the female body in the nineteenth century, is central to Western painting. Images such as Delacroix's Liberty on the Barricades and Manet's Le Déjeuner sur l'herbe are so well known that the question of how the gendered body functions in them is often overlooked. In this feminist art-historical study of the body in general and the nude in particular, Marcia Pointon explores the narrative structures of a series of major European and American paintings and other images, mapping her interpretations on the historiography of nineteenth-century painting and employing an innovative theoretical methodology to demonstrate how the visual representation of gendered bodies works to articulate power relations that are to be understood in terms of the symbolic and the psychic as part of the historical.

*This eBook is available exclusively on the A&AePortal. *
Print publication date January 1990 (out of print)
Print ISBN 9780521385282
EISBN 9780300272024
Illustrations 48
Print Status out of print
Description: Painted Love: Prostitution in French Art of the Impressionist Era
Prostitution was widespread in nineteenth-century Paris, and as French streets filled with prostitutes, French art and literature of the period paralleled this development. In this engrossing book, Hollis Clayson explains why. She provides the first description and analysis of French artistic interest in women prostitutes, examining how the subject was treated in the art of the 1870s and 1880s by such avant-garde painters as Cézanne, Degas, Manet, and Renoir, as well as by academic and low-brow painters who were their contemporaries.

Clayson illuminates not only the imagery of prostitution—with its contradictory connotations of disgust and fascination—but also issues and problems relevant to women and men in patriarchal society. She discusses the conspicuous sexual commerce during this era and the resulting public panic about the deterioration of social life and mores. She describes the system that evolved of regulating prostitutes and the subsequent rise of clandestine prostitutes who escaped police regulation and who were condemned both for blurring social boundaries and for spreading sexual licentiousness in their moral and social superiors. Clayson argues that the subject of covert prostitution was especially attractive to vanguard painters because it embodied key notions of modernity: it exemplified the commercialization and the ambiguity of modern life.
Print publication date December 1991 (out of print)
Print ISBN 9780300047301
EISBN 9780300270822
Illustrations 91
Print Status out of print
Description: Poisoned Abstraction: Kurt Schwitters between Revolution and Exile
This fascinating book offers a definitive new assessment of the oeuvre of Kurt Schwitters (1887–1948), a central figure of the interwar European avant-garde. Active as an artist, designer, publisher, performer, critic, poet, and playwright, Schwitters is best known for intimately scaled, materially rich collages and assemblages made from found objects—often refuse—that the artist described as having lost all contact with their role and history in the world at large. But as Graham Bader explores, such simple separation of art from life is precisely what Schwitters's "poisoned abstraction" calls into question.

Considering works reaching from Schwitters’s earliest collage-based pieces of 1918–19, through his 1920s advertising designs, to his seminal environmental installation the Merzbau, Bader carefully unpacks the meaning behind such projects and sheds new light on the tumultuous historical conditions in which they were made. In the process, he reveals a new Schwitters—aesthetically committed and politically astute—for our time. This authoritative account reframes our understanding of Schwitters’s multifaceted artistic practice and explores the complex entwinement of art, politics, and history in the modern period.

*This eBook is available exclusively on the A&AePortal.*
Print publication date November 2021 (in print)
Print ISBN 9780300257083
EISBN 9780300270600
Illustrations 130
Print Status in print
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