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The present volume builds upon the body of recent and emerging research - from antiquity to the present day - to embrace a global focus and addressing the more unusual (or at least unexpected) uses, meanings, and aesthetic appeal of marble.

This volume examines the visual culture of Japan's transition to modernity, from 1868 to the first decades of the twentieth century.

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.

This volume examines the visual culture of Japan¿s transition to modernity, from 1868 to the first decades of the twentieth century.

This book offers microhistories related to the transnational circulations of impressionism in the late nineteenth and early twentieth centuries.

This book explores the ways in which statues have been experienced in public in different cultures and the role that has been played by statues in defining publicness itself.

This book uses intermedial theories to study collage and montage, tracing the transformation of visual collage into photomontage in the early avant-garde period.

Chinese-Islamic studies have concentrated thus far on the arts of earlier periods with less attention paid to works from the Qing Dynasty (1644-1912). This book focuses on works of Chinese-Islamic art from the late seventeenth century to the present day and bring to the reader's attention several new areas for consideration.

This edited volume examines the history of abstract art across Latin America after 1945. The book aims to expand the map and consider this phenomenon as it developed in neglected regions such as Central America, the Caribbean, and the Andes, investigating how this style came to stand in for Latin American contemporary art.

Fueled by a flourishing capitalist economy, undergirded by advancements in architectural design and urban infrastructure, and patronized by growing bourgeois and elite classes, New York's built environment was dramatically transformed in the 1870s and 1880s.

This edited collection reassesses East-Central European art by offering transnational perspectives on its regional or national histories, while also inserting the region into contemporary discussions of global issues.

This book offers an innovative and interdisciplinary approach to Pop art scholarship through a recuperation of popular music into art historical understandings of the movement.

This book introduces the subject of international exhibitions to art and design historians and a wider audience as a resource for understanding the broad and varied political meanings of design during a period of rapid industrialization, developing nationalism, imperialism, expanding trade, and the emergence of a consumer society.

This volume provides a stimulating and adventurous exploration of the theme of travel from an art-historical perspective.

The book argues that images of the Paris urchin addressed transformations at the heart of modernity, including the decline of patriarchal, monarchical social structures and the rise of industrial capitalism and colonialism. It parses a contested national archetype that emerged from repeated, recycled representations of revolutions (1830, 1832, 1848, 1871).

Combining approaches from art history, museum studies, and contemporary curating, this collection focuses on the artist's studio and its legacies. Through a series of case studies on some of the major figures of modern art, contributors examine how and why artists' studios have been exhibited in the art gallery and museum. Among the artists discussed are Donald Judd, Frieda Kahlo, Constantin Brancusi, Francis Bacon, Eduardo Paolozzi, and Piet Mondrian.

Through a rereading of the available textual and visual sources of Symbolist theater and of the work of Nabi artists, as well as through an analysis of sources and paintings previously unexamined in the existing literature, this book rewrites the history of the cross-fertilization between Nabi art and Symbolist theater.

Focusing on the first four films about Moore's sculpture in the 1940s and 1950s, The Making of Henry Moore on Film: A Cultural History considers how these films played a role in the consolidation of the sculptor's public identity and broke new ground in the exploration of sculptural aesthetics through film. The book draws on extensive archival research in the production files of these films and on detailed contextual research.

Through a series of cross-disciplinary and interdisciplinary interventions, leading international scholars of history and art history explore ways in which the study of images enhances knowledge of the past and informs our understanding of the present.

This edited collection reassesses East-Central European art by offering transnational perspectives on its regional or national histories, while also inserting the region into contemporary discussions of global issues.

This book explores the history and continuing relevance of melancholia as an amorphous but richly suggestive theme in literature, music, and visual culture, as well as philosophy and the history of ideas.

This book illuminates the original functions of seventeenth and early eighteenth-century mural paintings in Britain and is intended to be read primarily by specialists, graduate and undergraduate students with an interest in new approaches to British art of the seventeenth and eighteenth centuries.

The mid-twentieth century saw a change in paradigms of art history: iconology. The main claim of this novel trend in art history was that renown Renaissance artists (such as Botticelli, Leonardo or Michelangelo) created imaginative syntheses between their art and contemporary cosmology, philosophy, theology and magic.

This book explores how the Medici Grand Dukes pursued ways to expand their political, commercial, and cultural networks beyond Europe, cultivating complex relations with the Ottoman Empire and other Islamicate regions, and looking further east to India, China, and Japan.