Published in conjunction with an exhibition at the Walker Art Gallery (Liverpool) and Van Gogh Museum (Amsterdam), this volume explores the life and work of nineteenth-century English painter Dante Gabriel Rossetti. It features 190 illustrations (many in color) of works from all periods of the artist's life, including watercolors, drawings of his wife, and his contributions to the decorative arts. Three essays examine Rossetti's career as co-founder of the Pre-Raphaelites, discuss his portrayal of women, and assess his impact on 19th- and 20th-century art. Oversize: 9.5x11.5

Dante Gabriel Rossetti

Treuherz, Julian

Becker, Edwin

Prettejohn, Liz

Reference

Thames&Hudson

This book brings the beautiful and controversial images of the esoteric camera artist Fred Holland Day back to the attention of the international audience which was both thrilled and scandalized by this same work in 1900. Fred Holland Day (1864-1933) was born in South Dedham, Massachusetts, into a family of wealth and social responsibility. By 1900 he was, with Alfred Stieglitz, the most influential champion and practitioner of art photography in America and Europe. Day, because of the challenging nature of much of his subject matter--sacred religious themes, draped and nude male figures--enjoyed a slightly edgier and more heightened reputation. Influenced by William Morris, Day established a publishing house in Boston in 1893 encouraging young and unusual authors, among them Aubrey Beardsley and Oscar Wilde. At the same time he was becoming ever more involved in photography, sometimes using as models the talented immigrant boys whose education he sponsored, most notably the young Lebanese immigrant Kahlil Gibran. In 1904 Day's studio burned, destroying his negatives; the photographs in museums today are from Day's home or friends' collections, especially Stieglitz and the British photographer Frederick Evans. The book includes essays by Pam Roberts, Anne E. Havinga, Verna Posever Curtis, and Edwin Becker.

F. Holland Day

Arts & Photography

Museum Of Fine Arts, Boston

Museum Villa Stuck

Roberts, Pam

Van Gogh Museum, Amsterdam

Havinga, Anne E.

Curtis, Verna Posever

Day, F. Holland

Photography & Video

W-Books

Franz Von Stuck, 1863-1928: Eros and Pathos

Individual Artists

The Origins Of L'art Nouveau - The Bing Empire

Weisberg, Gabriel P.

Rijksmuseum Vincent Van Gogh

Possémé, Évelyne

Bing, Siegfried

Musée Des Arts Décoratifs (france)

Caixaforum (barcelona, Spain)

Art Nouveau Bing (firm)

Mercatorfonds

Capturing realistic images on canvas has been a staple aspiration of western art since the Renaissance development of scientific perspective. At the end of the nineteenth century, however, animated by the invention of photography and cinema, artists began attempting not only to paint realistically but also to create images that projected the ethical content of the world around them. Illusions of Reality: Naturalist Painting, Photography and Cinema, 1875-1918 traces the development of Naturalism within painting, literature, theater, photography and film, and the relationship among these art forms, paying attention to the way painters such as Jules Adler, Thomas Anshutz, Jules Bastien-Lepage, Emile Claus, Thomas Eakins, Christian Krohg, Gari Melchers, Jules-Alexis Muenier, Fernand Pelez, Jean-André Rixens and Anders Zorn, filmmakers such as André Antoine, Albert Capellani and Léon Lhermitte and photographers such as Peter Henry Emerson, used Naturalism as a vehicle for understanding the lives of ordinary people at a time of great social transformation. Practitioners of Naturalism frequently concerned themselves with the social ills created by industrialization, as well as the social responses to these problems in both public education and religion. Likewise, the transformation brought about by industrialization led many artists to focus on the loss of traditional agrarian culture as well as the political upheaval caused by working conditions in the factories. Technological advances in art, from the development of photography in the first half of the nineteenth century to the emergence of film toward the end of the century, contributed to the interaction among art forms and the attention toward social conditions. Edited by Gabriel P. Weisberg, Professor of Art History at the University of Minnesota, with essays by Weisberg, David Jackson, Willa Silverman and Maartje de Haan, Illusions of Reality offers a fresh interpretation of how Naturalist artists, and the aesthetic they espoused, attempted to understand and explain the rapid and profound changes of their time.

Illusions of Reality: Naturalist Painting, Photography, Theatre and Cinema, 1875-1918

Jackson, David

de Haan, Maartje

Silverman, Willa

Weisberg, Gabriel

History & Criticism

Mercatorfonds/Van Gogh Museum

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Books by Becker, Edwin