Henry Louis Gates

Jacqueline Francis

David Bindman

Richard J. Powell

Karen C. C. Dalton

The Twentieth Century - The Rise of Black Artists

Image of the Black in Western Art Vol. V

Dawn Ades

Petrine Archer-Shaw

The Twentieth Century - The Impact of Africa

Image of the Black in Western Art Vol. V, Pt. 1

Hugh Honour

Victor Stoichita

From the American Revolution to World War I - Black Models and White Myths

Image of the Black in Western Art Vol. IV, Pt. 2

The image of the Black in western art

"A pioneering work in the field of art history, The Image of the Black in Western Art is a comprehensive series of ten books which offers a lavishly illustrated history of the representations of people of African descent from antiquity to the present. Each book includes a series of essays by some of the most distinguished names in art history. Ranging from images of Pharaohs created by unknown hands almost 3,500 years ago to the works of the great masters of European and American art such as Bosch, Dürer, Mantegna, Rembrandt, Rubens, Watteau, Hogarth, Copley, and Goya to stunning new media creations by contemporary black artists, these books are generously illustrated with beautiful, moving, and often little-known images of black people. Black figures-queens and slaves, saints and soldiers, priests and prisoners, dancers and athletes, children and gods-are central to the visual imagination of Western civilization. Written in accessible language, the extensive and insightful commentaries on the illustrations by distinguished art historians make this series invaluable for the general reader and the specialist alike."--Résumé de l'éditeur.

The Image of the Black in Western Art

Henry Louis Gates (Jr.)

In The 1960s, as a response to segregation in the United States, the influential art patron Dominique de Menil began a research project and photo archive called The Image of the Black in Western Art. Now, fifty years later, as the first American president of African American descent serves his historic term in office, her mission has been re-invigorated through the collaboration of Harvard University Press and the W.E.B. Du Bois Institute for African and African American Research to present new editions of the coveted five original books and the anticipated new volumes which shall complete the series. The completed set will include ten sumptuous books in five volumes with up-to-date introductions and more full-color illustrations, printed on high-quality art stock for books that will last a lifetime. This monumental publication offers expert commentary and a lavishly illustrated history of the representations of people of African descent ranging from the ancient images of Pharaohs created by unknown hands to the works of the great European masters such as Bosch, Rembrandt, Rubens, and Hogarth to stunning new creations by contemporary black artists. Featuring thousands of beautiful, moving, and often little-known images of black people, including queens and slaves, saints and soldiers, children and gods, The Image of the Black in Western Art provides a treasury of masterpieces from four millennia--a testament to the black experience in the West and a tribute to art's enduring power to shape our common humanity. Volume II, Part 1, written largely by the noted French scholar Jean Devisse, has established itself as a classic in the field of medieval art. It surveys as never before the presence of black people, mainly mythical, in art from the early Christian era to the fourteenth century. The extraordinary transformation of Saint Maurice into a black African saint, the subject of many noble and deeply touching images, is a highlight of this volume. The new introduction by Paul Kaplan provides a fresh perspective on the image of the black in medieval European art and contextualizes the classic essays on the subject. --Book Jacket.

The Image of the Black in Western Art: From the "Age of Discovery" to the Age of Abolition : artists of the Renaissance and Baroque

Tim Ayers

600-1600

The History of British Art

David Watkin

Jeannie Chapel

Martin Chapman

Philip Hewat-Jaboor

Daniella Ben-Arie

Bard graduate center for studies in the decorative arts (New York, N.Y.).

This title presents a comprehensive study of Thomas Hope, focusing on his multifaceted role as designer and patron. The contributors examine his wide-ranging and intriguing contribution to the arts as well as his extensive writings.

Regency Designer

Thomas Hope

William Blake

Deirdre Toomey

All of Blake's printed designs and major variants, from his apprenticeship work to his last efforts, are accompanied by authoritative notes which detail his developing artistry and genius

The Complete Graphic Works of William Blake

‘Race’ was essentially a construction of the 18th century, a means by which the Enlightenment could impose rational order on human variety. In this book, the art historian David Bindman argues that ideas of beauty were from the beginning inseparable from race, as Europeans judged the civility and aesthetic capacity of other races by their appearance. These judgements were combined with a conflict between those who wished to order humanity into separate races, and those who believed in a common humanity whose differences were due to climatic and geographical variations. Central to this debate was the work of Linnaeus and Buffon, but it was also driven by the writings of the German art historian J. J. Winckelmann, who argued for the supremacy of the ancient Greeks, the Swiss physiognomist J. C. Lavater, who believed that moral character could be deduced from the study of a person’s face, and by two scientists – the father and son Reinhold and Georg Forster – who had been on Captain Cook’s second voyage to the South Seas in 1772–5.During this time the philosopher Immanuel Kant attempted the first modern definition of race, a definition which was challenged by Georg Forster and the philosopher J. G. von Herder, sparking a lively but astonishingly little-known controversy that went on through the next decade and beyond. The 1770s also saw the beginnings of a more scientific yet also profoundly aesthetic approach to race in the work of Johann Friedrich Blumenbach and Pieter Camper, whose notorious classification of skulls was, despite their own liberalism, to become the basis of 19th-century ‘racial science’.Ape to Apollo provides a refreshing and original view of a highly contentious subject. It will be essential reading for anyone seeking the origins of today’s controversies over race and ideas of beauty.

Ape to Apollo

This brilliant book focuses on the aesthetic concerns of the two most important sculptors of the early 19th century, the great Italian sculptor Antonio Canova (1757-1822) and his illustrious Danish rival Bertel Thorvaldsen (1770-1844). Rather than comparing their artistic output, the distinguished art historian David Bindman addresses the possible impact of Kantian aesthetics on their work. Both artists had elevated reputations, and their sculptures attracted interest from philosophically minded critics. Despite the sculptors’ own apparent disdain for theory, Bindman argues that they were in dialogue with and greatly influenced by philosophical and critical debates, and made many decisions in creating their sculptures specifically in response to those debates. Warm Flesh, Cold Marble considers such intriguing topics as the aesthetic autonomy of works of art, the gender of the subject, the efficacy of marble as an imitative medium, the question of color and texture in relation to ideas and practices of antiquity, and the relationship between the whiteness of marble and ideas of race.

Canova, Thorvaldsen, and Their Critics

Warm Flesh, Cold Marble

A new, updated edition of this illuminating study on William Hogarth, one of the eighteenth century’s most famous artists and satirists. William Hogarth (1697–1764) was one of the great eighteenth-century painters, a marvelous colorist, and an innovator at all levels of artistic expression. In this updated volume, art historian and Hogarth scholar David Bindman surveys the works of this artist whose wry humor and sharp wit was reflected in his prolific paintings and prints, including The Rake’s Progress and Marriage A-la-Mode. Hogarth was also a master of pictorial satire, highlighting the moral and political issues of the day with delightful detail and comedy—themes that resonate deeply with our times. This new edition has been specially updated to include a discussion of Hogarth’s representation of Black people in eighteenth-century Britain, a subject that has long been overlooked in his many works. Now revised with additional material and illustrated in color throughout, this is a vivid and incisive study of the artist.

Hogarth (Second) (World of Art)

Britain and the French Revolution

The Shadow of the Guillotine

Includes history and illustrations of architecture, sculpture, paintings, medieval manuscripts and books, wall murals and frescoes.

The History of British Art: The history of British art, 600-1600

Peter Wagner

Frédéric Ogée

By focusing on the artist's most famous works, this collection of essays applies studies of science and philosophy from the period to give a more accurate sense of the meanings in Hogarth's art.

Representing Nature's Machines

Hogarth

Angela Rosenthal

In the wake of the Charlie Hebdo attacks, this collection - which gathers scholars in the fields of race, ethnicity, and humor - seems especially urgent. Inspired by Denmark's Muhammad cartoons controversy, the contributors inquire into the role that racial and ethnic stereotypes play in visual humor and the thin line that separates broad characterization as a source of humor from its power to shock or exploit. The authors investigate the ways in which humor is used to demean or give identity to racial, national, or ethnic groups and explore how humor works differently in different media, such as cartoons, photographs, film, video, television, and physical performance. This is a timely and necessary study that will appeal to scholars across disciplines.

Visual Humor in Ideas of Race, Nationality, and Ethnicity

No Laughing Matter

In his illuminated books,William Blake combined his handwritten text with his exuberant imagery on pages the like of which had not been seen since the great decorated books of the Middle Ages. To read such books as Jerusalem, America and Songs of Innocence and of Experience in cold letterpress bears no comparison to seeing and reading them as Blake conceived them, infused with his sublime and exhilarating colours. At times tiny figures and forms dance among the lines of the text, flames appear to burn up the page, and dense passages of Biblical-sounding text are brought to a jarring halt by startling images of death, destruction and liberation. This edition, produced together with The William Blake Trust, contains all the pages of Blakes twenty or so illuminated books reproduced in true size, an appendix with all Blakes text set in type and an introduction by the noted Blake scholar, David Bindman. They can at last become part of the lives of all lovers of art and poetry.

David Bindman

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