Enfilade

From Cambridge UP:

Ian Haywood, Susan Matthews, and Mary Shannon, eds., Romanticism and Illustration (New York: Cambridge University Press, 2019), 360 pages, ISBN: 978-1108425711, $120.

This collection of essays takes a fresh look at the important role of illustration in Romantic literature. The late eighteenth century saw an explosion of illustrated editions of literary classics and the emergence of a new culture of literary art, including the innovative literary galleries. The impact of these developments on the reading and viewing of literary texts is explored in a series of case studies covering poetry, historical texts, drama, painting, reproductive prints, magazines and ephemera. Romanticism and Illustration argues for a more detailed study of illustration which includes the context of a wider circulation of images across different media. The modern understanding of the word ‘illustration’ fails to convey the complex relationship between the artist, the engraver, the publisher, the text and the audience in Romantic Britain. In teasing out the implications of this dynamic cultural matrix, this book opens up a new field of Romantic studies.

C O N T E N T S

Figures
Notes on Contributors
Acknowledgements

Editors’ Introduction

Part I. Illustrating Poetry
1  Peter Otto, The Ends of Illustration: Explanation, Critique, and the Political Imagination in Blake’s Title-pages for Genesis
2  Sophie Thomas, ‘With a Master’s Hand and Prophet’s Fire’: Blake, Gray, and the Bard
3  Dustin Frazier Wood, Seeing History: Illustration, Poetic Drama, and the National Past
4  Martin Priestman, ‘Fuseli’s Poetic Eye’: Prints and Impressions in Fuseli and Erasmus Darwin
5  Susan Matthews, Henry Fuseli’s Accommodations: ‘Attempting the Domestic’ in the Illustrations to Cowper
6  Sandro Jung, Reading the Romantic Vignette: Stothard Illustrates Bloomfield, Byron, and Crabbe for The Royal Engagement Pocket Atlas
7  Maureen McCue, Intimate Distance: Thomas Stothard’s and J. M. W. Turner’s Illustrations of Samuel Rogers’s Italy

Part II. The Business of Illustration
8  Ian Haywood, Illustration, Terror, and Female Agency: Thomas Macklin’s Poets Gallery in a Revolutionary Decade
9  Luisa Calè, Maria Cosway’s Hours: Cosmopolitan and Classical Visual Culture in Thomas Macklin’s Poets Gallery
10  Mary Shannon, Artists’ Street: Thomas Stothard, R. H. Cromek, and Literary Illustration on London’s Newman Street
11  Brian Maidment, The Development of Magazine Illustration in Regency Britain: The Example of Arliss’s Pocket Magazine, 1818–1833

Coda, Martin Myrone, Romantic Illustration and the Privatization of History Painting

Bibliography
Index

Distributed in the US and Canada by The University of Chicago Press:

Sue Laurence, The Hand that Rocked the Cradle: The Art of Birth and Infancy (London: Unicorn Publishing, 2019), 192 pages, ISBN: 978-1911604556, $30.

Throughout the history of art, artists have been drawn to images of birth and infancy. After all, who doesn’t want to look at a baby? This book uses that bounty of imagery to offer a fresh perspective on the history of birth and the early years of life through a rich array of images and objects, including paintings, prints, sculptures, metalwork, jewelry, textiles, ceramics, furniture, and woodwork—as well as images from medical and social history collections.

Exploring a long chronological scope, from around 1300 to the turn of the twentieth century, Sue Laurence provides insight into the enduring nature of many traditions and experiences related to childhood and infancy—many of which we tend to assume are of recent vintage, but turn out, when examined closely, to have roots in the medieval era. Packed with beautiful images, and offering surprising new interpretations and contextualization, The Hand That Rocked the Cradle is a treasure trove for any lover of art—or doting parent.

Sue Laurence has served as Head of the V&A Museum of Childhood, where she created many innovative exhibitions as well as securing significant acquisitions. She has also been head of interpretation at the National Archives and a curator at the Florence Nightingale Museum.

From Bloomsbury:

Susan Doyle, Jaleen Grove, and Whitney Sherman, eds., History of Illustration (London: Fairchild Books, 2018), 592 pages, ISBN: 978-1501342110 (hardback), $240 / ISBN: 978-1501342103 (paperback), $90.

History of Illustration covers image-making and print history from around the world, spanning from the ancient to the modern. Hundreds of color images show illustrations within their social, cultural, and technical context, while they are ordered from the past to the present. Readers will be able to analyze images for their displayed techniques, cultural standards, and ideas to appreciate the art form. This essential guide is the first history of illustration written by an international team of illustration historians, practitioners, and educators.

Susan Doyle is Chair and Associate Professor at Rhode Island School of Design in Providence.
Jaleen Grove is a Post-Doctoral Fellow at the Douglas B. Dowd Modern Graphic History Library at Washington University.
Whitney Sherman is Director of the MFA in Illustration Practice at Maryland Institute College of Art.

C O N T E N T S

Preface
Acknowledgements
Introduction

I. Illustrative Traditions in Europe, Asia, and Africa
1  Image and Meaning, Prehistory to 1500 by Robert Brinkerhoff and Margot McIlwin Nishimura
2  Illustration in Printed Matter in Early Modern Europe, 1400–1660 by Susan Doyle
3  Pluralistic View of Indian Images: 2nd BCE to the 1990s by Binita Desai and Nina Sabnani
4  Illustrative Traditions in the Muslim Context by Irvin Cemil Schick
5  Chinese Illustration before 1900 by Sonja Kelley and Frances Wood
6  Prints and Books in Japan’s Floating World by Daphne Rosenzweig
7  Illustration in Latin America from Pre-Columbian to Modern 1990s by Maya Stanfield-Mazzi
8  Illustration in the African Context by Bolaji Campbell with contributions by Winifred Lambrecht

II. Images as Knowledge, Ideas as Power
9  Observation and the Representation of Natural Science Illustration, 1450–1900 by Shelley Wall
10  Visualizing Bodies: Anatomical and Medical Illustration from the Renaissance to the Nineteenth Century by Shelley Wall
11  Dangerous Pictures: Social Commentary in Europe, 1720–1860 by Robert Lovejoy
12  From Reason to Romanticism by Hope Saska

III. The Advent of Mass Media
13  Illustration on British and North American Printed Ephemera of the Nineteenth and Early Twentieth Centuries by Graham Hudson
14  Illustration in the Expansion of the Graphic Journalism and Magazine Fiction in Europe and North America, 1830–1900 by Brian Kane and Page Knox
15  Beautifying Books and Popularizing Posters: Illustration in the Later Nineteenth Century by Susan Ashbrook and Alison Syme
16  Fantasy and Children’s Book Illustration Nineteenth and Early Twentieth-Century England by Alice Carter
17  Six Centuries of Fashion Illustration by Pamela Parmal

IV. Diverging Paths in 20th-Century American and European Illustration
18  American Narratives: Periodical Illustration in the Late Nineteenth and Early Twentieth Century by Mary Holahan with contributions by Alice Carter and Joyce Schiller
19  Avant-garde Illustration, 1900–1950 by Jaleen Grove
20  Diverse American Illustration Trends in Periodicals, 1915–1940 by Roger Reed
21  Wartime Imagery and Propaganda, 1890–1950 by Thomas LaPadula
22  Illustrating Alternate Realities in Pulps and Other Popular Fiction by Nicholas Egon Jainschigg with contributions by Robert Lovejoy
23  Overview of Comics and Graphic Narratives by Brian M. Kane with contributions by Loren Goodman and Michelle Nolan

V. The Evolution of Illustration in an Electronic Age
24  The Shifting Postwar Marketplace: Illustration Competes with Growing Media Options in the United States and Canada, 1940–1970 by Stephanie Plunkett
25  Children’s Book Illustration, 1920–2000 by H. Nichols B. Clark
26  Countercultures: Underground Comix, Rock Posters, and Protest Art, 1960–1990 by Robert Lovejoy
27  Print Illustration in the Postmodern World by Whitney Sherman
28  Medical Illustration after Gray’s Anatomy: 1859 to the Present by David M. Mazierski
29  Digital Forms by Nanette Hoogslag and Whitney Sherman

Bibliography
Glossary
Index

From Prestel:

Thomas Murray and Virginia Soenksen, with a foreword by Anna Jackson, Textiles of Japan (London: Prestel, 2018), 520 pages, ISBN: 978-3791385204, $85 / £65.

From rugged Japanese firemen’s ceremonial robes and austere rural work-wear to colorful, delicately-patterned cotton kimonos, this lavishly illustrated volume explores Japan’s rich tradition of textiles.

Textiles are an eloquent form of cultural expression and of great importance in the daily life of a people, as well as in their rituals and ceremonies. The traditional clothing and fabrics featured in this book were made and used in the islands of the Japanese archipelago between the late 18th and the mid 20th century. The Thomas Murray collection featured in this book includes daily dress, work-wear, and festival garb and follows the Arts and Crafts philosophy of the Mingei Movement, which saw that modernization would leave behind traditional art forms such as the hand-made textiles used by country people, farmers, and fisherman. It presents subtly patterned cotton fabrics, often indigo dyed from the main islands of Honshu and Kyushu, along with garments of the more remote islands: the graphic bark cloth, nettle fiber, and fish skin robes of the aboriginal Ainu in Hokkaido and Sakhalin to the north, and the brilliantly colored cotton kimonos of Okinawa to the far south. Numerous examples of these fabrics, photographed in exquisite detail, offer insight into Japan’s complex textile history as well as inspiration for today’s designers and artists. This volume explores the range and artistry of the country’s tradition of fiber arts and is an essential resource for anyone captivated by the Japanese aesthetic.

Thomas Murray is a dealer of Asian and tribal art and has an extensive personal collection of Japanese and Indonesian textiles. He is a past president of the Antique Tribal Art Dealers Association (ATADA), and served on President Obama’s Cultural Property Advisory Committee at the Department of State in Washington, D.C.
Virginia Soenksen is Associate Director of the Madison Art Collection at James Madison University in Virginia.
Anna Jackson is Keeper of the Asian Department at The Victoria and Albert Museum in London, where she is responsible for the museum’s collection of Japanese textiles and dress.

From Routledge:

Shun-liang Chao and John Michael Corrigan, eds., Romantic Legacies: Transnational and Transdisciplinary Contexts (London: Routledge, 2019), 336 pages, ISBN: 978-0367076726, £115 / $145.

Romantic Legacies: Transnational and Transdisciplinary Contexts presents the most wide-ranging treatment of Romantic regenerations, covering the cross-pollination between the arts or between art and thought within or across the borders of Germany, Britain, France, the US, Russia, India, China, and Japan. Each chapter examines a legacy or afterlife in a comparative context to demonstrate ongoing Romantic legacies as fully as possible in their complexity and richness. The volume provides a lens through which to understand Romanticism not merely as an artistic heritage but as a dynamic site of intellectual engagement that crosses nations and time periods and entails no less than the shaping of our global cultural currents.

Shun-liang Chao is Associate Professor of English and Comparative Literature at National Chengchi University, Taiwan. He’s the author of Rethinking the Concept of the Grotesque: Crashaw, Baudelatire, Magritte (Legenda/Routledge, 2010) and co-editor of Humour in the Arts: New Perspectives (Routledge, 2018).

John Michael Corrigan is Associate Professor of English and Digital Humanities at National Chengchi University, Taiwan. He’s the author of American Metempsychosis: Emerson, Whitman, and the New Poetry (Fordham UP, 2012).

C O N T E N T S

Foreword, James Engell

Introduction, Shun-liang Chao and John Michael Corrigan

I. Realist Romanticism
1  Romantic Walking and Railway Realism, Rachel Bowlby
2  The Use and Abuse of Romance: Realist Revisions of Walter Scott in England, France, and Germany, Geoffrey Baker
3  Chekhov on the Meaning of Life: After Romanticism and Nihilism, Yuri Corrigan

II. Fin-de-Siècle Romanticism
4  Keats Gone Wilde: Wilde’s Romantic Self-Fashioning at the Fin de Siècle, Ya-Feng Wu
5  Delacroix, Signac, and the Aesthetic Revolution in Fin-de-siècle France, Shao-Chien Tseng
6  Mediating Richard Wagner and Henry Bishop: Frederick Corder and the Different Legacies of German and English Romantic Opera, David Chandler

III. (Post)Modern Romanticism
7  Platonism, Its Heirs, and the Last Romantic, Arthur Versluis
8  Vexed Meditation: Romantic Idealism in Coleridge and Its Afterlife in Bataille and Irigaray, Justin Prystash
9  ‘You have to be a transparent eyeball’: Transcendental Afterlives in Matthew Weiner’s Mad Men, John Michael Corrigan

IV. Environmental Romanticism
10  Tracing Romanticism in the Anthropocene: An Ecocritical Reading of Ludwig Tieck’s Rune Mountain, Caroline Schaumann
11  The Eye of the Earth: Nonhuman Vision from Blake to Contemporary Ecocriticism, Sophie Laniel-Musitelli
12  ‘Indistinctness is my forte’: Turner, Ruskin, and the Climate of Art, Carmen Casaliggi

V. Oriental Romanticism
13  ReOrienting Romanticism: The Legacy of Indian Romantic Poetry in English, Steve Clark
14  Grafting German Romanticism onto the Chinese Revolution: Goethe, Guo Morou, and the Pursuit of Self-Transcendence, Johannes Kaminski
15  Two Chinese Wordsworths: The Reception of Wordsworth in Twentieth-Century China, Li Ou
16  ‘The world must be made Romantic’: The Sentimental Grotesque in Tetsuya Ishida’s ‘Self-Portraits of Others’, Shun-liang Chao

Index

The publication resulting from the 64th annual Mellon Lectures in the Fine Arts delivered at the National Gallery of Art in 2015 by Thomas Crow is now available from Princeton UP:

Thomas Crow, Restoration: The Fall of Napoleon in the Course of European Art, 1812–1820 (Princeton: Princeton University Press, 2018), 208 pages, ISBN: 978-0691181646, $40 / £30.

As the French Empire collapsed between 1812 and 1815, artists throughout Europe were left uncertain and adrift. The final abdication of Emperor Napoleon, clearing the way for a restored monarchy, profoundly unsettled prevailing national, religious, and social boundaries. In Restoration, Thomas Crow combines a sweeping view of European art centers—Rome, Paris, London, Madrid, Brussels, and Vienna—with a close-up look at pivotal artists, including Antonio Canova, Jacques-Louis David, Théodore Géricault, Francisco Goya, Jean-Auguste-Dominique Ingres, Thomas Lawrence, and forgotten but meteoric painters François-Joseph Navez and Antoine Jean-Baptiste Thomas. Whether directly or indirectly, all were joined in a newly international network, from which changing artistic priorities and possibilities emerged out of the ruins of the old.

Crow examines how artists of this period faced dramatic circumstances, from political condemnation and difficult diplomatic missions to a catastrophic episode of climate change. Navigating ever-changing pressures, they invented creative ways of incorporating critical events and significant historical actors into fresh artistic works. Crow discusses, among many topics, David’s art and influence during exile, Géricault’s odyssey through outcast Rome, Ingres’s drive to reconcile religious art with contemporary mentalities, the titled victors over Napoleon all sitting for portraits by Lawrence, and the campaign to restore art objects expropriated by the French from Italy, prefiguring the restitution controversies of our own time.

Beautifully illustrated, Restoration explores how cataclysmic social and political transformations in nineteenth-century Europe reshaped artists’ lives and careers with far-reaching consequences. Published in association with the National Gallery of Art, Washington, D.C.

Thomas Crow is the Rosalie Solow Professor of Art History at the Institute of Fine Arts, New York University. His many books include Emulation: David, Drouais, and Girodet in the Art of Revolutionary France; The Long March of Pop: Art, Music, and Design 1930–1995; and No Idols: The Missing Theology of Art. He lives in New York City and in Old Saybrook, Connecticut.

From Princeton UP:

Nancy Shatzman Steinhardt, Chinese Architecture: A History (Princeton: Princeton University Press, 2019), 400 pags, ISBN: 978-0691169989, $65 / £50.

Throughout history, China has maintained one of the world’s richest built civilizations. The nation’s architectural achievements range from its earliest walled cities and the First Emperor’s vision of city and empire, to bridges, pagodas, and the twentieth-century constructions of the Socialist state. In this beautifully illustrated book, Nancy Shatzman Steinhardt presents the first fully comprehensive survey of Chinese architecture in any language. With rich political and historical context, Steinhardt covers forty centuries of architecture, from the genesis of Chinese building through to the twenty-first century and the challenges of urban expansion and globalism.

Steinhardt follows the extraordinary breadth of China’s architectural legacy—including excavation sites, gardens, guild halls, and relief sculpture—and considers the influence of Chinese architecture on Japan, Korea, Mongolia, and Tibet. Architectural examples from Chinese ethnic populations and various religions are examined, such as monasteries, mosques, observatories, and tombs. Steinhardt also shows that Chinese architecture is united by a standardized system of construction, applicable whether buildings are temples, imperial palaces, or shrines. Every architectural type is based on the models that came before it, and principles established centuries earlier dictate building practices. China’s unique system has allowed its built environment to stand as a profound symbol of Chinese culture.

With unprecedented breadth united by a continuous chronological narrative, Chinese Architecture offers the best scholarship available on this remarkable subject for scholars, students, and general readers.

Nancy Shatzman Steinhardt is professor of East Asian art and curator of Chinese art at the University of Pennsylvania. She has written, edited, or translated ten books, including China’s Early Mosques and Traditional Chinese Architecture: Twelve Essays (Princeton).