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The Paris of the 1860s and 1870s was supposedly a brand-new city, equipped with boulevards, cafes, parks, and suburban pleasure grounds--the birthplace of those habits of commerce and leisure that constitute "modern life." Questioning those who view Impressionism solely in terms of artistic technique, T. J. Clark describes the painting of Manet, Degas, Seurat, and others as an attempt to give form to that modernity and seek out its typical representatives--be they bar-maids, boaters, prostitutes, sightseers, or "petits bourgeois" lunching on the grass. The central question of "The Painting of Modern Life" is this: did modern painting as it came into being celebrate the consumer-oriented culture of the Paris of Napoleon III, or open it to critical scrutiny? The revised edition of this classic book includes a new preface by the author.
Why do we keep returning to certain pictures? What is it we are looking for? How does our understanding of an image change over time? This investigates the nature of visual complexity, the capacity of certain images to sustain repeated attention, and how pictures respond and resist their viewers' wishes.
This is a timely study of the life and work of L.S. Lowry, as well as his contribution to the development of 20th-century British art.
In this pioneering study, Clark looked at the inextricable links between modern art and history.
People die. Secrets don’t. Sam Hutchings was looking for a writing muse. She hoped that the family cabin at Bird Lake would spark her keyboard, a fire that had been smothered by self-loathing, cheap wine, and her daughter Meg’s summer vacation. An innocent stroll down memory lane begins to unravel the story Sam had heard about her father: What did he do for a living? How did he actually die? Those who know the truth are nearer than she imagines, and protecting their secrets is worth killing for. As the old family stories begin to disintegrate, can Sam and Meg figure out the actual story? And can they uncover the dangerous plot by ex-U.S. military men — before it’s too late?
T. J. Clark's classic work of art history refuses to separate art from its social and political context in revolutionary France.
Modern Art and Modernism offers firsthand material for the study of issues central to the development of modern art, its theory, and criticism. The history of modern art is not simply a history of works of art, it is also a history of ideas interpretations. The works of critics and theorists have not merely been influential in deciding how modern art is to be seen and understood, they have also influenced the course it has taken. The nature of modern art cannot be understood without some analysis of the concept of Modernism itself.Modern Art and Modernism presents a selection of texts by the major contributors to debate on this subject, from Baudelaire and Zola in the nineteenth century to G...
What are the imagined communities that compel men to kill or to die for an idea of a nation? This notion of nationhood had its origins in the founding of the Americas, but was then adopted and transformed by populist movements in nineteenth-century Europe. It became the rallying cry for anti-Imperialism as well as the abiding explanation for colonialism. In this scintillating, groundbreaking work of intellectual history Anderson explores how ideas are formed and reformulated at every level, from high politics to popular culture, and the way that they can make people do extraordinary things. In the twenty-first century, these debates on the nature of the nation state are even more urgent. As new nations rise, vying for influence, and old empires decline, we must understand who we are as a community in the face of history, and change.