A Companion to Impressionism Presenting an expansive view of the study of Impressionism, this pioneering volume breaks new thematic ground while also reconsidering questions concerning the defini­tion, chronology, and membership of the impressionist movement. In 34 original essays from established and emerging scholars, this collection offers a diverse range of developing topics and new critical approaches to the interpretation of impressionist art. Focusing on the 1860s to 1890s, A Companion to Impressionism explores artists who are well-represented in impressionist studies, including Monet, Renoir, Degas, and Cassatt, as well as Morisot, Caillebotte, Bazille, and other significant yet lesser-known artists. The essays cover a wide variety of methodologies in addressing such topics as Impressionism’s global predominance at the turn of the 20th century, the relationship between Impressionism and the emergence of new media, the materials and techniques of the Impressionists, as well as the movement’s exhibition and reception history. This innovative volume also includes new discussions of modern identity in Impressionism in the contexts of race, nationality, gender, and sexuality and through its explorations of the international reach and influence of Impressionism. Part of the acclaimed Wiley Blackwell Companions to Art History series, this important addition to scholarship in this field stands as the 21st century’s first major and large-scale academic reassessment of Impressionism. Featuring essays by academics, curators, and conservators from around the world, including those from France, Germany, the United States, the United Kingdom, Japan, Turkey, and Argentina, this is an invaluable text for students and scholars studying Impressionism and late 19th-century European art, Post-Impressionism, modern art, and modern French cultural history.

A Companion to Contemporary Art in a Global Framework explores the ways specialists and institutions in the fine arts, curation, cultural studies, and art history have attempted to situate art in a more global framework since the 1980s. Offering analyses of the successes and setbacks of these efforts to globalize the art world, this innovative volume presents a new and exciting way of considering art in its global contexts. Essays by an international panel of leading scholars and practicing artists assert that what we talk about as ‘art’ is essentially a Western concept, thus any attempts at understanding art in a global framework require a revising of established conceptual definitions. Organized into three sections, this work first reviews the history and theory of the visual arts since 1980 and introduces readers to the emerging area of scholarship that seeks to place contemporary art in a global framework. The second section traces the progression of recent developments in the art world, focusing on the historical and cultural contexts surrounding efforts to globalize the art world and the visual arts in particular global and transnational frameworks. The final section addresses a wide range of key themes in contemporary art, such as the fundamental institutions and ontologies of art practice, and the interactions among art, politics, and the public sphere. A Companion to Contemporary Art in a Global Framework is essential reading for undergraduate and graduate students, scholars, researchers, and general readers interested in exploring global art beyond the traditional Euro-American context.

In-depth scholarship on the central artists, movements, and themes of Latin American art, from the Mexican revolution to the present A Companion to Modern and Contemporary Latin American and Latinx Art consists of over 30 never-before-published essays on the crucial historical and theoretical issues that have framed our understanding of art in Latin America. This book has a uniquely inclusive focus that includes both Spanish-speaking Caribbean and contemporary Latinx art in the United States. Influential critics of the 20th century are also covered, with an emphasis on their effect on the development of artistic movements. By providing in-depth explorations of central artists and issues, alongside cross-references to illustrations in major textbooks, this volume provides an excellent complement to wider surveys of Latin American and Latinx art. Readers will engage with the latest scholarship on each of five distinct historical periods, plus broader theoretical and historical trends that continue to influence how we understand Latinx, Indigenous, and Latin American art today. The book’s areas of focus include: The development of avant-garde art in the urban centers of Latin America from 1910-1945 The rise of abstraction during the Cold War and the internationalization of Latin American art from 1945-1959 The influence of the political upheavals of the 1960s on art and art theory in Latin America The rise of conceptual art as a response to dictatorship and social violence in the 1970s and 1980s The contemporary era of neoliberalism and globalization in Latin American and Latino Art, 1990-2010 With its comprehensive approach and informative structure, A Companion to Modern and Contemporary Latin American and Latinx Art is an excellent resource for advanced students in Latin American culture and art. It is also a valuable reference for aspiring scholars in the field.

A Companion to Australian Art is a thorough introduction to the art produced in Australia from the arrival of the First Fleet in 1788 to the early 21st century. Beginning with the colonial art made by Australia’s first European settlers, this volume presents a collection of clear and accessible essays by established art historians and emerging scholars alike. Engaging, clearly-written chapters provide fresh insights into the principal Australian art movements, considered from a variety of chronological, regional and thematic perspectives. The text seeks to provide a balanced account of historical events to help readers discover the art of Australia on their own terms and draw their own conclusions. The book begins by surveying the historiography of Australian art and exploring the history of art museums in Australia. The following chapters discuss art forms such as photography, sculpture, portraiture and landscape painting, examining the practice of art in the separate colonies before Federation, and in the Commonwealth from the early 20th century to the present day. This authoritative volume covers the last 250 years of art in Australia, including the Early Colonial, High Colonial and Federation periods as well as the successive Modernist styles of the 20th century, and considers how traditional Aboriginal art has adapted and changed over the last fifty years. The Companion to Australian Art is a valuable resource for both undergraduate and graduate students of the history of Australian artforms from colonization to postmodernism, and for general readers with an interest in the nation’s colonial art history.

This book offers microhistories related to the transnational circulations of impressionism in the late nineteenth and early twentieth centuries. The contributors rethink the role of "French" impressionism in shaping these iterations by placing France within its global and imperialist context and arguing that impressionisms might be framed through the mobility studies’ concept of "constellations of mobility." Artists engaging with impressionism in France, as in other global contexts, relied on, responded to, appropriated, and resisted elements of form and content based on fluid and interconnected political realities and market structures. Written by scholars and curators, the chapters demand reconsideration of impressionism as a historical construct and the meanings assigned to that term. This project frames future discussion in art history, cultural studies, and global studies on the politics of appropriating impressionism.

Diversifying the current art historical scholarship, this edited volume presents the untold story of modern art by exposing global voices and perspectives excluded from the privileged and uncontested narrative of “isms.” This volume tells a worldwide story of art with expanded historical narratives of modernism. The chapters reflect on a wide range of issues, topics, and themes that have been marginalized or outright excluded from the canon of modern art. The goal of this book is to be a starting point for understanding modern art as a broad and inclusive field of study. The topics examine diverse formal expressions, innovative conceptual approaches, and various media used by artists around the world and forcefully acknowledge the connections between art, historical circumstances, political environments, and social issues such as gender, race, and social justice. The book will be of interest to scholars working in art history, imperial and colonial history, modernism, and globalization.

This invigorating volume explores the literary worlds inhabited by the pioneering Irish author George Moore (1852–1933). With an eye to Moore’s innovative embrace of visual art, feminism and literary history, and in the spirit of his feisty resistance to ‘orthodoxy’, it investigates his influences and inventive strategies in novel, short story and memoir. Amongst the names emerging from the disparate spheres of impressionism, literary coteries, the paratextual and the music world are those of Manet, Mallarmé, Wilde, Héloïse, Elgar and Bourdieu, all with Moorian links. Contested depictions of religion and nationalism simmer; France and French influences encompass fin-de-siècle stories and medieval texts; epistolary details evidence vital parental support; contemporary authors write back to Moore. These voyages of discovery enter the fields of feminist scholarship and the New Woman, life writing and letters, fin-de-siècle aesthetics, intersections between art, music and literature, and literary transitions from Victorian to Modern. Valuably, the authors suggest numerous opportunities for additional research in these areas, as well as within Moore studies. This collection, with contributions from an international set of established and new scholars, delivers fresh and original findings as it builds on the substantial and ever-growing corpus of Moore studies.

Embark on a journey that transcends the boundaries of art and technology in the groundbreaking realm of Creative Convergence: The AI Renaissance in Art and Design. This isn't just another book on art and technology- it's a journey that sparks curiosity, fuels innovation, and challenges traditional artistic boundaries. Discover the power of generative Artificial Intelligence (AI) as it melds with human expression, propelling artistry into uncharted territories and redefining traditional notions of both originality and creativity. The text is not just about art or AI; it is about the fusion of both, catalyzing a creative revolution that challenges previous assumptions about human-machine collaboration and how ideation, conceptualization, process and execution are radically rethought. Have you ever wondered how/will AI revolutionize training, education and execution in art and design? Delve into this captivating treatment that contextualizes the disruptions we are experiencing today in the technological innovations and artistic responses and integrations of the past five hundred years. Human creativity has always struggled against technological advance, but ultimately integrated and redefined what "art" is in each era. As such, you will see how AI can be incorporated in various artistic disciplines in this study. Explore real-world case studies that showcase AI's practical impact on 3D design, drawing, digital art, and even web design. The book also addresses the controversial question: Can AI be a co-creator in the creative and artistic process, even assisting in creating an original, signature style? Brace yourself for revelations that will challenge your perceptions of traditional artistry.

The real represents to my perception the things that we cannot possibly not know, sooner or later, in one way or another', wrote Henry James in 1907. This description, riven with double negatives, hesitation, and uncertainty, encapsulates the epistemological difficulties of realism, for underlying its narrative and descriptive apparatus as an aesthetic mode lies a philosophical quandary. What grounds the 'real' of the realist novel? What kind of perception is required to validate the experience of reality? How does the realist novel represent the difficulty of knowing? What comes to the fore in James's account, as in so many, is how the forms of realism are constituted by a relation to unknowing, absence, and ineffability. Realism, Form, and Representation in the Edwardian Novel recovers a neglected literary history centred on the intricate relationship between fictional representation and philosophical commitment. It asks how—or if—we can conceptualize realist novels when the objects of their representational intentions are realities that might exist beyond what is empirically verifiable by sense data or analytically verifiable by logic, and are thus irreducible to conceptual schemes or linguistic practices—a formulation Charlotte Jones refers to as 'synthetic realism'. In new readings of Edwardian novels including Conrad's Nostromo and The Secret Agent, Wells's Tono-Bungay, and Ford's The Good Soldier, this volume revises and reconsiders key elements of realist novel theory—metaphor and metonymy; character interiority; the insignificant detail; omniscient narration and free indirect discourse; causal linearity—to uncover the representational strategies by which realist writers grapple with the recalcitrance of reality as a referential anchor, and seek to give form to the force, opacity, and uncertain scope of realities that may lie beyond the material. In restoring a metaphysical dimension to the realist novel's imaginary, Realism, Form, and Representation in the Edwardian Novel offers a new conceptualization of realism both within early twentieth-century literary culture and as a transhistorical mode of representation.

Henry James criticized the impressionism that was revolutionizing French painting and fiction. He satirized the British aesthetic movement whose keystone was impressionist criticism. So why, time and again in important parts of his literary work, did James use the word 'impression'? Henry James and the Art of Impressions argues that James tried to wrest the impression from the impressionists and to recast it in his own art of the novel. Interdisciplinary in its range, philosophical and literary in its focus, the book shows the place of James's work within the wider cultural history of impressionism. It draws on painting, philosophy, psychology, literature, and critical theory to examine James's art criticism, early literary criticism, travel writing, reflections on his own fiction, and the three great novels of his major phase, The Ambassadors, The Wings of the Dove, and The Golden Bowl. It shows how the language of impressions enables James to represent the most intense moments of consciousness of his characters. It argues that the Jamesian impression is best understood as a family of related ideas bound together by James's attempt to reconcile the novel's value as a mimetic form with its value as a transformative creative activity.