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Aestheticism in Art by
William Hogarth wrote his Analysis of Beauty in 1753, during the Age of Enlightenment. Through this captivating text, he tends to define the notion of beauty in painting and states that it is linked, per se, to the use of the serpentine lines in pictorial compositions. He calls it the line of beauty . His essay is thus dedicated to the study of the composition of paintings, depending on the correct use of the pictorial lines, light, colour, and the figure's attitudes. These timeless concepts have been applied by several artists through the centuries. Paintings from every period have here been chosen to support this demonstration. They allow us to explore the various manners in which beauty can be expressed in painting.
American Visions: The Epic History of Art in America by
Writing with all the brilliance, authority, and pungent wit that have distinguished his art criticism for Time magazine and his greatly acclaimed study of modern art, The Shock of the New, Robert Hughes now addresses his largest subject: the history of art in America. The intense relationship between the American people and their surroundings has been the source of a rich artistic tradition. American Visions is a consistently revealing demonstration of the many ways in which artists have expressed this pervasive connection. In nine eloquent chapters, which span the whole range of events, movements, and personalities of more than three centuries, Robert Hughes shows us the myriad associations between the unique society that is America and the art it has produced: "O My America, My New Founde Land"nbsp;nbsp;explores the churches, religious art, and artifacts of the Spanish invaders of the Southwest and the Puritans of New England; the austere esthetic of the Amish, the Quakers, and the Shakers; and the Anglophile culture of Virginia. "The Republic of Virtue"nbsp;nbsp;sets forth the ideals of neo-classicism as interpreted in the paintings of Benjamin West, John Singleton Copley, and the Peale family, and in the public architecture of Thomas Jefferson, Benjamin Latrobe, and Charles Bulfinch. "The Wilderness and the West"nbsp;nbsp;discusses the work of landscape painters such as Thomas Cole, Frederick Church, and the Luminists, who viewed the natural world as "the fingerprint of God''s creation,"nbsp;nbsp;and of those who recorded America''s westward expansion--George Caleb Bingham, Albert Bierstadt, and Frederic Remington--and the accompanying shift in the perception of the Indian, from noble savage to outright demon. "American Renaissance" describes the opulent era that followed the Civil War, a cultural flowering expressed in the sculpture of Augustus Saint-Gaudens; the paintings of John Singer Sargent, Mary Cassatt, and Childe Hassam; the Newport cottages of the super-rich; and the beaux-arts buildings of Stanford White and his partners. "The Gritty Cities"nbsp;nbsp;looks at the post-Civil War years from another perspective: cast-iron cityscapes, the architecture of Louis Henri Sullivan, and the new realism of Thomas Eakins, Winslow Homer, the trompe-l''oeil painters, and the Ashcan School. "Early Modernism" introduces the first American avant garde: the painters Arthur Dove, Marsden Hartley, Joseph Stella, Charles Demuth, Charles Sheeler, and Georgia O''Keeffe, and the premier architect of his time, Frank Lloyd Wright. "Streamlines and Breadlines"nbsp;nbsp;surveys the boom years, when skyscrapers and Art Deco were all the rage . . . and the bust years that followed, when painters such as Edward Hopper, Stuart Davis, Thomas Hart Benton, Diego Rivera, and Jacob Lawrence showed Americans "the way we live now." "The Empire of Signs"nbsp;nbsp;examines the American hegemony after World War II, when the Abstract Expressionists (Jackson Pollock, Willem de Kooning, Mark Rothko, et al.) ruled the artistic roost, until they were dethroned by Jasper Johns, Robert Rauschenberg, the Pop artists, and Andy Warhol, while individualists such as David Smith and Joseph Cornell marched to their own music. "The Age of Anxiety"nbsp;nbsp;considers recent events: the return of figurative art and the appearance of minimal and conceptual art; the speculative mania of the 1980s, which led to scandalous auction practices and inflated reputations; and the trends and issues of art in the 90s. Lavishly illustrated and packed with biographies, anecdotes, astute and stimulating critical commentary, and sharp social history, American Visions was originally published in association with a new eight-part PBS television series. Robert Hughes has called it "a love letter to America."nbsp;nbsp;This superb volume, which encompasses and enlarges upon the series, is an incomparably entertaining and insightful contemplation of its splendid subject.
The Architecture of the French Enlightenment by
Allan Braham's comprehensive treatment of this brilliant and complex period introduces the reader to the major buildings, architects, and architectural patrons of the day. At the same time, it explores the broader determinants of architectural production: the rapid economic expansion of Paris and the main provincial centers and the increasing demand for improved public amenities--theaters, schools, markets, and hospitals. This generously illustrated book provides a vivid commentary on society and manners in pre-Revolutionary France.
Art in the White House: A Nation's Pride by
Presents all of the nearly 450 works of art in the White House collection.
Baroque Visual Rhetoric by
Baroque Visual Rhetoric probes the Baroque's combination of style and message and the methodological basis on which the critical art historian comes to establish that meaning.
Classical Taste in America, 1800-1840 by
"During the first four decades of the last century, America was mesmerized by the classical world. And never before has a book so thoroughly examined the period's diversity of thought and material production to demonstrate the variety of ways that nineteenth-century Americans used, misused, and even abused the lessons of antiquity in the arts and decorative arts." "To an extraordinary extent, Americans embraced classicism at the beginning of the nineteenth century both as a fashionable new international style, which had its European beginnings in the eighteenth-century excavations at Pompeii and Herculaneum, and as a distinctive expression of America's own emulation of classical precedents in government, ideal beauty, education, and the decorative arts." "This book charmingly investigates the multifaceted impact of classical political, intellectual, and aesthetic values on early nineteenth-century American culture through a close examination of approximately 225 representative objects from this aesthetically brilliant period, including paintings, sculpture, furniture, silver, glass, ceramics, textiles, and printed materials. Focusing particularly on the type of objects with which Americans decorated and furnished their homes, this book examines not only the superbly designed and fashioned products made for the well-to-do, but also those objects that were mass-produced and more widely sought by a burgeoning middle class. From elegant Grecian couches with Roman paw feet, to diminutive pressed glass salts ornamented with classical chariots and cornucopia, few aspects of American material life escaped the classical craze." "The text of this fascinating volume delves into the symbolic and material significance of classicism in American life, the adaptation antique forms and motifs by American craftsmen and consumers, and the vernacularization of classicism. The material production of this lavish and visually exciting period provides an illuminating look at the lives and homes of a wide range of Americans in the early days of our republic."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Classic America by
Principal photography by Paul Rocheleau. "...lush color photographs accompanied by helpful commentary on this rich era."--Library Journal.
Denis Diderot: Rameau's Nephew by
In a famous Parisian chess caf , a down-and-out, HIM, accosts a former acquaintance, ME, who has made good, more or less. They talk about chess, about genius, about good and evil, about music, they gossip about the society in which they move, one of extreme inequality, of corruption, of envy, and about the circle of hangers-on in which the down-and-out abides. The down-and-out from time to time is possessed with movements almost like spasms, in which he imitates, he gestures, he rants. And towards half past five, when the warning bell of the Opera sounds, they part, going their separate ways. Probably completed in 1772-73, Denis Diderot's Rameau's Nephew fascinated Goethe, Hegel, Engels and Freud in turn, achieving a literary-philosophical status that no other work by Diderot shares. This interactive, multi-media edition offers a brand new translation of Diderot's famous dialogue, and it also gives the reader much more. Portraits and biographies of the numerous individuals mentioned in the text, from minor actresses to senior government officials, enable the reader to see the people Diderot describes, and provide a window onto the complex social and political context that forms the backdrop to the dialogue. Links to musical pieces specially selected by Pascal Duc and performed by students of the Conservatoire national sup rieur de musique et de danse de Paris, illuminate the wider musical context of the work, enlarging it far beyond its now widely understood relation to op ra comique. This new edition includes: * Introduction * Original text * English translation * Embedded audio-files * Explanatory notes * Interactive material
Diderot and Descartes: A Study of Scientific Naturalism in the Enlightenment by
A study of scientific naturalism in the Enlightenment. In tracing the materialism of Diderot, La Mettrie, Buffon, and D'Holbach to its sources, it offers a fresh appraisal of the total influence of Descartes on the Enlightenment. Originally published in 1953. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Elisabeth Louise Vigée-Lebrun by
Élisabeth Vigée-Lebrun (1755-1842) was not only the rare woman of her time who integrated herself into the French Royal Academy of Painting, but also beloved portraitist to the aristocracy. Her paintings are testament to a key period of history: she was appointed painter and friend to Marie Antoinette before the French Revolution, and took flight across Europe before returning under the reign of Napoleon, all the while continuing to paint. Self-taught, Vigée-Lebrun knew how to get the best from her models, mastering painting effects to perfection and making use of a delicate and refined style.
Elisabeth Vigee le Brun: The Odyssey of an Artist in an Age of Revolution by 
England in the Age of Hogarth by
Widely acclaimed when first published, this lively social history of Hogarth's England is now reissued in paperbound with a new preface and updated bibliography and notes.
European Architecture 1750-1890 by
This comprehensive examination of eighteenth and nineteenth-century architecture explores its extreme diversity within the context of tremendous social, economic and political upheaval. Bergdolls offers a penetrating analysis of the very ways issues of style functioned to make architecture oneof the most vitally experimental of art forms in a period of sweeping political, social, and economic change.Never before had the functional requirements and expressive capacities of architecture been tested so thoroughly and with such diversity of invention. Bergdoll traces this experimentation in a broad range of contexts, focusing in particular on the relation of architectural design to new theories ofhistory, new categories of scientific inquiry, and the broadening audience for architecture in this period of transformation. Unlike traditional surveys with long lists of buildings and architects, the themes are elucidated by in-depth coverage of key buildings which in turn are situated in boththeir local and European context.
From Hogarth to Rowlandson: Medicine in Art in Eighteenth-Century Britain by
From Hogarth to Rowlandson shows how medicine and medical practitioners were portrayed by some of the artists of the eighteenth century. Medical imagery is a forceful component of eighteenth-century art and, taken as a corpus, the works of artists such as Hogarth and Rowlandson provide a lay view of some of the contemporary medical developments and of the attitudes held towards members of the medical profession. Eighteenth-century medical imagery does not only appear overtly as illustrations of medical men with their patients being purged, bled, 'given a vomit' and so forth, but also appears indirectly as part of a `language' based upon symbolism, allegory and the use of emblems in a traditional manner still commonly employed in the eighteenth century. Haslam places 'the art of medicine' of the eighteenth century in its social, historical and political context and shows how this, together with a knowledge of the lives of the artists themselves, is necessary for a better understanding of that art in an age in which hope was often raised by medical innovation, but all too often dashed. Among the aspects considered are: medical images in Hogarth's early satires, the innovation of vaccination, death, madness, fashion in medicine, midwifery and birth, blood-letting, the role and practice of the itinerant quack, surgery, and medicine and morality. This book provides an insight into the use of highly charged and often complicated representations of medicine and doctors in graphic and literary art. It will be of interest to social, medical and art historians as well as to general readers.
Gainsborough's Vision by
Thomas Gainsborough, one of the most popular British painters, has been celebrated as a landscapist, a portrait painter, and a man of feeling whose impetuous character is revealed in his art, life and letters. This book reveals that the style, themes and ideas of GainsboroughOCOs paintings constitute purposeful expressions of an intellectual and visual culture whose importance in the development of eighteenth-century British art has gone unrecognised."
German Architecture and the Classical Ideal by
German Classicism is a powerful architectural force that is only now being fully studied. As this extensively illustrated book shows, palaces, private houses, public buildings, and urban planning all received patronage on a scale that could not be paralleled in other countries. Of the host of architects whose genius was given such superb opportunities in the years 1740 to 1840, only Karl Freidrich Schinkel's name has become widely known; yet this book points out, all over Germany rulers were dramatically transforming their capitals, and the achievements of Weinbrenner at Karlsruhe, Moller at Darmstadt, or Klenze at Munich are by any standards astonishing. The first part of the book is by David Watkin, a leading British authority on the Classical Revival. He provides a historical account that sets German Neoclassicism in its regional and political context, and notes the impact of France and England and the Franco-Prussian style before Schinkel. He discusses Schinkel's own work, that of Leo von Klenze, and Neoclassicism in North and South Germany. The book's second part consists of an index of buildings prepared by Tilman Mellinghoff. Here every important Neoclassical building (both existing and destroyed) is listed and described under its location. The index is an invaluable source of information available nowhere else in English. David Watkin is a Fellow of Peterhouse and a University Lecturer in History of Art at Cambridge University. Tilman Mellinghoff is an Assistant Lecturer at the Universities of Cologne and Bonn.
Giambattista Tiepolo, 1696-1770 by
Catalog of an exhibition opening at the Museum of Ca' Rezzonico, Venice on Sept. 5, 1996, and on view at the Metropolitan Museum of Art, New York from Jan. 22 through Apr. 27, 1997.#Includes bibliographical references and index.
Giambattista Tiepolo: Fifteen Oil Sketches by
Giambattista Tiepolo (1696-1770) was the greatest Italian painter of the eighteenth century, best known for his monumental frescoes and epic altarpieces. The scale of these paintings is immense, even overpowering. Yet some of Tiepolo's finest work can be found in the small oil sketches that he often made in preparation for these grand commissions. Published to coincide with an exhibition at the J. Paul Getty Museum, Giambattista Tiepolo: Fifteen Oil Sketches brings together a group of the artist's oil sketches from the Courtauld Institute in London that spans his entire career and reveals the amazing confidence and fluidity with which he created these paintings. The unusual intimacy of these preparatory sketches-made directly on the canvas with no preliminary underdrawing-reveals a great artist's vigorous imagination at work. The exhibit will run from May 3, 2005, to September 4, 2005. An introductory essay situates these works within the context of eighteenth-century art and Tiepolo's life and career.
Historical Dictionary of Neoclassical Art and Architecture by
Neoclassicism refers to the revival of classical art and architecture beginning in Europe in the 1750s and lasting until around 1830, with late Neoclassicism lingering through the 1870s. Neoclassicism is a highly complex movement that brought together seemingly disparate issues into a new and culturally rich era, one that was, however, remarkably unified under the banner of classicism. This movement was born in Italy and France and then spread across Europe to Russia and across the ocean to the United States. The Historical Dictionary of Neoclassical Art and Architecture provides an overview of Neoclassicism, focusing on its major artists, architects, stylistic subcategories, ideas, and historical framework of the 18th century style found mainly in Europe and the United States. This is done through a chronology, an introductory essay, an extensive bibliography, and over 200 dictionary entries on famous artists, sculptors, architects, patrons, and other historical figures and events.
Historical Dictionary of Rococo Art by
The Rococo emerged in France around 1700 as a playful revolt against the grandeur of the Baroque and the solemnity of Classicism. It flourished during the reign of Louis XV and began to go out of fashion in the second half of the 18th century. During this brief period of less than a century, it spread throughout the courts and cities of Europe, with significant regional variations on the style developing in Bavaria, Potsdam, Venice, and Great Britain. The period produced an extraordinary number of artistic innovators, who challenged received conventions, developed novel subject categories, and eroded hierarchical distinctions between the arts. The Historical Dictionary of Rococo Art covers all aspects of Rococo art history through a chronology, an introductory essay, a review of the literature, an extensive bibliography, and over 350 cross-referenced dictionary entries on prominent Rococo painters, sculptors, decorative artists, architects, patrons, theorists, and critics, as well as major centers of artistic production. This book is an excellent access point for students, researchers, and anyone wanting to know more about Rococo art.
Identity and Ideology: Diderot, Sade, and the Serious Genre by 
Jacques-Louis David: The Farewell of Telemachus and Eucharis by
Jacques-Louis David's brilliant painting of the young lovers Telemachus and Eucharis was created during the artist's last years, when the defeat of Napoleon and the return of the monarchy in France forced him into exile in Brussels. Several of his paintings from this period show his preoccupation with the psychology of love, but none depicts the emotions of parting more tenderly than this painting from 1818. Dorothy Johnson discusses how David's political involvement affected his personal life and career, taking him from history painter to revolutionary to living in exile. The effects of these experiences came together at the end of his life in the creation of some of his richest and most complex works.
Jean-Baptiste Greuze: The Laundress by
Jean-Baptiste Greuze's diminutive picture of a rosy-cheeked girl wringing out her linen was one of fourteen works that he exhibited at the Salon of 1761 in Paris. This lively and engrossing book traces the history of the Getty Museum's painting, compares the work to other laundresses painted by Greuze, and explores social mores and the role of artists model in the eighteenth century. It provides an enlightening account of Greuze's life and times and the influences on his work.
Joseph Wright, Esq. Painter and Gentleman by
Andrew Graciano s thorough study is a re-evaluation of Joseph Wright s career and social status that demonstrates how his later landscapes, portraits and historical pictures are connected to a broader historical context, including contemporary science, industry and economics. In doing so, Graciano reinforces the idea that Wright was an intellectual painter, very much engaged with current ideas in these realms, as well as a gentleman of means beyond his artistic income, which gave him a social standing that has often been ignored by previous scholars."
New Essays on Diderot by
The great eighteenth-century French thinker Denis Diderot (1713 1784) once compared himself to a weathervane, by which he meant that his mind was in constant motion. In an extraordinarily diverse career he produced novels, plays, art criticism, works of philosophy and poetics, and also reflected on music and opera. Perhaps most famously, he ensured the publication of the Encyclopedie, which has often been credited with hastening the onset of the French Revolution. Known as one of the three greatest philosophes of the Enlightenment, Diderot rejected the Christian ideas in which he had been raised. Instead, he became an atheist and a determinist. His radical questioning of received ideas and established religion led to a brief imprisonment, and for that reason, no doubt, some of his subsequent works were written for posterity. This collection of essays celebrates the life and work of this extraordinary figure as we approach the tercentenary of his birth.
The Origins of Comics: From William Hogarth to Winsor McCay by
In The Origins of Comics: From William Hogarth to Winsor McCay, Thierry Smolderen presents a cultural landscape whose narrative differs in many ways from those presented by other historians of the comic strip. Rather than beginning his inquiry with the popularly accepted "sequential art" definition of the comic strip, Smolderen instead wishes to engage with the historical dimensions that inform that definition. His goal is to understand the processes that led to the twentieth-century comic strip, the highly recognizable species of picture stories that he sees crystallizing around 1900 in the United States. Featuring close readings of the picture stories, caricatures, and humoristic illustrations of William Hogarth, Rodolphe Töpffer, Gustave Doré, and their many contemporaries, Smolderen establishes how these artists were immersed in a very old visual culture in which images--satirical images in particular--were deciphered in a way that was often described as hieroglyphical. Across eight chapters, he acutely points out how the effect of the printing press and the mass advent of audiovisual technologies (photography, audio recording, and cinema) at the end of the nineteenth century led to a new twentieth-century visual culture. In tracing this evolution, Smolderen distinguishes himself from other comics historians by following a methodology that explains the present state of the form of comics on the basis of its history, rather than presenting the history of the form on the basis of its present state. This study remaps the history of this influential art form.
The Palladian Revival: Lord Burlington, his Villa and Garden at Chiswick by
In 1726 Richard Boyle, 3rd Earl of Burlington, built an addition to his modest country house on the river Thames at Chiswick. Influenced by the architecture of the sixteenth-century Italian Andrea Palladio and by the British architects from Inigo Jones to James Gibbs and Colen Campbell who followed in Palladio's footsteps, Lord Burlington raised a freestanding "villa," an English response to Palladio's famous Villa Rotonda. The villa, with sumptuous interiors designed by William Kent, was as distinguished as any designed by Palladio or Jones. The building became the touchstone of Neo-Palladian architecture; its architect became known as the "Modern Vitruvius," the "Apollo of the Arts." This lavishly illustrated book focuses on the creation of this famous "Villa by the Thames." John Harris explores the villa's architectural sources of inspiration and the evolution of its design, examining and reproducing paintings, watercolors, drawings (including those of Palladio and Inigo Jones owned by Lord Burlington), plans and elevations, and books and prints. He also charts the transformation of the grounds from seventeenth-century formality to eighteenth-century variety, reproducing rare garden studies by Kent, as well as numerous topographical views that record the transformation into an arcadian landscape. The book, which serves as the catalogue of an exhibition to be seen in Montreal, Pittsburgh, and London, is richly illustrated with material still largely in the collection of Burlington's heirs, the dukes of Devonshire, at Chatsworth.
The Power of Satire by
Satire is clearly one of today's most controversial socio-cultural topics. In this edited volume, The Power of Satire, it is studied for the first time as a dynamic, discursive mode of performance with the power of crossing and contesting cultural boundaries. The collected essays reflect the fundamental shift from literary satire or straightforward literary rhetoric with a relatively limited societal impact, to satire's multi-mediality in the transnational public space where it can cause intercultural clashes and negotiations on a large scale. An appropriate set of heuristic themes - space, target, rhetoric, media, time - serves as the analytical framework for the investigations and determines the organization of the book as a whole. The contributions, written by an international group of experts with diverse disciplinary backgrounds, manifest academic standards with a balance between theoretical analyses and evaluations on the one hand, and in-depth case studies on the other.
Reflections on Baroque by
From its beginnings in the seventeenth century, the Baroque embraced the whole of Catholic Europe and infiltrated Protestant England, Orthodox Russia and even Muslim Turkey. Architecture, paintings, poetry, music, natural science and new forms of piety all have their places on the Baroque map. In this surprising reinterpretation of the Baroque, Robert Harbison offers new readings that stress its eccentric and tumultuous forms, in which a destablized sense of reality is often projected onto the viewer. This strange, subjectively inclined world is manifested in such bizarre phenomena as the small stuccoed universes of Giacomo Serpotta, the Sacred Mounts of Piedmont and the grimacing heads of F. X. Messerschmidt. Harbison explores the Baroque's metamorphoses into later styles, particularly the Rococo, and, in an unexpected twist, pursues the Baroque idea into the nineteenth and twentieth centuries, proposing provocative analyses of pastiches or imitations (in Der Rosenkavalier and the work of Aubrey Beardsley) or resemblances (deliberate or not) in Czech Cubism and Frank Gehry's architecture. Reflections on Baroque demonstrates that the Baroque impulse lives on in the twenty-first century imagination.
Rococo by
Deriving from the French word rocaille, in reference to the curved forms of shellfish, and the Italian barocco, the French created the term Rococo. Appearing at the beginning of the 18th century, it rapidly spread to the whole of Europe. Extravagant and light, Rococo responded perfectly to the offhandedness of the aristocracy of the time. In many aspects, this art was linked to its Baroque predecessor, and is thus also referred to as late Baroque style. While artists such as Tiepolo, Boucher and Reynolds carried the style to its apogee, the movement was often condemned for its superficiality. In the second half of the 18th century, Rococo began its decline. At the end of the century, facing the advent of Neoclassicism, it was plunged into obscurity. It had to wait nearly a century before art historians could restore it to the radiance of its golden age, which is rediscovered in this work by Klaus H. Carl and Victoria Charles.
Rousseau, Robespierre and English Romanticism by
This book re-opens the question of Rousseau's influence on the French Revolution and on English Romanticism, by examining the relationship between his confessional writings and his political theory. Gregory Dart argues that by looking at the way in which Rousseau's writings were mediated by the speeches and actions of the French Jacobin statesman Maximilien Robespierre, we can gain a clearer and more concrete sense of the legacy he left to English writers. He shows how the writings of William Godwin, Mary Wollstonecraft, William Wordsworth and William Hazlitt rehearse and reflect upon the Jacobin tradition in the aftermath of the French revolutionary Terror.
Rousseau, the Age of Enlightenment, and their Legacies by
Robert Wokler was one of the world's leading experts on Rousseau and the Enlightenment, but some of his best work was published in the form of widely scattered and difficult-to-find essays. This book collects for the first time a representative selection of his most important essays on Rousseau and the legacy of Enlightenment political thought. These essays concern many of the great themes of the age, including liberty, equality and the origins of revolution. But they also address a number of less prominent debates, including those over cosmopolitanism, the nature and social role of music and the origins of the human sciences in the Enlightenment controversy over the relationship between humans and the great apes. These essays also explore Rousseau's relationships to Rameau, Pufendorf, Voltaire and Marx; reflect on the work of important earlier scholars of the Enlightenment, including Ernst Cassirer and Isaiah Berlin; and examine the influence of the Enlightenment on the twentieth century. One of the central themes of the book is a defense of the Enlightenment against the common charge that it bears responsibility for the Terror of the French Revolution, the totalitarian regimes of the twentieth-century and the Holocaust.
Rousseau and Desire by
Rousseau and Desire is the first examination of the eighteenth-century philosopher's conceptualization of desire in relation to his understanding of modernity.
Symbolic Space: French Enlightenment Architecture and its Legacy by
Richard A. Etlin explores the social and cultural hierarchies established in eighteenth-century France to illustrate how the conceptual basis of the modern house and the physical layout of the modern city emerged from debates among theoretically innovative French architects of the eighteenth-century. Examining a broad range of topics from architecture and urbanism to gardening and funerary monuments, he shows how the work of these architects was informed by considerations of symbolic space. For Etlin, the eighteenth-century city was a place in which actual physical space was subjected to a complex mental layering of conceptual spaces. He focuses on the design theory of Boullée and Durand and charts their legacy through the architecture of Paul Philippe Cret, Frank Lloyd Wright, and Louis Kahn. He defines the distinctive features of neoclassicism and outlines the new grammar for classical architecture articulated by theorists and architects such as Laugier, Leroy, and Ledoux. After discussing the eighteenth-century hôtel, revolutionary space, and the transformation of the image of the cemetery, Etlin examines the space of absence as embodied in commemorative architecture from Boullée and Gilly to Cret, Wright, and Terragni. His book provides an accessible introduction to a century of architecture that transformed the classical forms of the Renaissance and Baroque periods into building types still familiar today.
Thomas Jefferson's Academical Village: The Creation of an Architectural Masterpiece by
Thomas Jefferson's design for the University of Virginia is widely hailed as a masterpiece. It is his greatest architectural accomplishment, the summation of his quest for intellectual freedom. The story of the University encompasses the political and architectural worlds, as Jeffeson struggled against great opposition to establish a new type of educational institution. Thomas Jefferson's Academical Village offers a comprehensive look at Jefferson's design for the University, at how it came into being, at the different perecptions of its successes and failures, and at the alterations that have taken place down through the years. The revised edition incorporates research that has been ongoing since the book first appeared in 1993, and includes a preface by Richard Guy Wilson, essays on architecture and education and the Lawn, additional architectural drawings and historic photographs, a foreword by President John T. Casteen III, and numerous color illustrations.
Thomas Jefferson's Architectural Drawings by
This is a collection of the architectural drawings of American President, Thomas Jefferson. The sketches demonstrate how the imaginative and mathematical mind of Jefferson took shape.
Thomas Jefferson, the Classical World, and Early America by
Thomas Jefferson read Latin and Greek authors throughout his life and wrote movingly about his love of the ancient texts, which he thought should be at the core of America's curriculum. Yet at the same time, Jefferson warned his countrymen not to look to the ancient world for modern lessons and deplored many of the ways his peers used classical authors to address contemporary questions. As a result, the contribution of the ancient world to the thought of America's most classically educated Founding Father remains difficult to assess. This volume brings together historians of political thought with classicists and historians of art and culture to find new approaches to the difficult questions raised by America's classical heritage. The essays explore the classical contribution to different aspects of Jefferson's thought and taste, as well as examining the significance of the ancient world to America in a broader historical context. The diverse interests and methodologies of the contributors suggest new ways of approaching one of the most prominent and contested of the traditions that helped create America's revolutionary republicanism. Contributors:Gordon S. Wood, Brown University * Peter S. Onuf, University of Virginia * Michael P. Zuckert, University of Notre Dame * Caroline Winterer, Stanford University * Richard Guy Wilson, University of Virginia * Maurie D. McInnis, University of Virginia * Nicholas P. Cole, University of Oxford * Peter Thompson, University of Oxford * Eran Shalev, Haifa University * Paul A. Rahe, Hillsdale College * Jennifer T. Roberts, City University of New York, Graduate Center * Andrew Jackson O'Shaughnessy, University of Virginia
