Leyendecker and Georgia O'Keeffe, the Metropolitan Museum of Art and Pepsi-Cola, the avant garde and the Famous Artists Schools, Inc.

“An extraordinary work of intellectual history as well as a scholarly tour de force, a bracing polemic, and a work of Christian prophecy...McCarraher challenges more than 200 years of post-Enlightenment assumptions about the way we live and work.” —The Observer At least since Max Weber, capitalism has been understood as part of the “disenchantment” of the world, stripping material objects and social relations of their mystery and magic. In this magisterial work, Eugene McCarraher challenges this conventional view. Capitalism, he argues, is full of sacrament, whether one is prepared to acknowledge it or not. First flowering in the fields and factories of England and brought to America by Puritans and evangelicals, whose doctrine made ample room for industry and profit, capitalism has become so thoroughly enmeshed in the fabric of our society that our faith in “the market” has become sacrosanct. Informed by cultural history and theology as well as management theory, The Enchantments of Mammon looks to nineteenth-century Romantics, whose vision of labor combined reason, creativity, and mutual aid, for salvation. In this impassioned challenge to some of our most firmly held assumptions, McCarraher argues that capitalism has hijacked our intrinsic longing for divinity—and urges us to break its hold on our souls. “A majestic achievement...It is a work of great moral and spiritual intelligence, and one that invites contemplation about things we can’t afford not to care about deeply.” —Commonweal “More brilliant, more capacious, and more entertaining, page by page, than his most ardent fans dared hope. The magnitude of his accomplishment—an account of American capitalism as a religion...will stun even skeptical readers.” —Christian Century

Chronicles the vibrant partnership between literary and visual African American artists that resulted in the image of the New Negro. In the process, demonstrates that commercial illustration represents the largest and, in some cases, most progressive body of visual art associated with the Harlem Renaissance.

Despite the voluminous historical literature on the First World War, a volume devoted to the theme of communication has yet to appear. From the communication of war aims and objectives to the communication of war call-up and war experience and knowledge, this volume fills the gap in the market, including the work of both established and newly emerging scholars working on the First World War across the globe. The volume includes chapters that focus on the experience of belligerent and also neutral powers, thus providing a genuinely representative dimension to the subject.

First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.

This fascinating book highlights the artist’s early career as an illustrator and how it influenced his work as a painter and shaped his response to modernism.

Winner of the 2019 Eisner Award for the Best Comics-Related Book Published in partnership with the Library of Congress, Drawn to Purpose: American Women Illustrators and Cartoonists presents an overarching survey of women in American illustration, from the late nineteenth into the twenty-first century. Martha H. Kennedy brings special attention to forms that have heretofore received scant notice—cover designs, editorial illustrations, and political cartoons—and reveals the contributions of acclaimed cartoonists and illustrators, along with many whose work has been overlooked. Featuring over 250 color illustrations, including eye-catching original art from the collections of the Library of Congress, Drawn to Purpose provides insight into the personal and professional experiences of eighty women who created these works. Included are artists Roz Chast, Lynda Barry, Lynn Johnston, and Jillian Tamaki. The artists' stories, shaped by their access to artistic training, the impact of marriage and children on careers, and experiences of gender bias in the marketplace, serve as vivid reminders of social change during a period in which the roles and interests of women broadened from the private to the public sphere. The vast, often neglected, body of artistic achievement by women remains an important part of our visual culture. The lives and work of the women responsible for it merit much further attention than they have received thus far. For readers who care about cartooning and illustration, Drawn to Purpose provides valuable insight into this rich heritage.

This book discusses the mechanisms and patterns of staging in nineteenth-century France. Often associated with theatre and performance, staging also applies to visual arts. It is thoroughly embedded in a more general cultural development comprising the dissemination of knowledge, political awareness and consumerism. The notion of staging applies to a process of appearing, revealing and disappearing that puts forward new ways for the individual to be seen and to make the self (and the other) visible. Staging determines and questions the process of appearing and disappearing by generating connections and interactions between multiple layers of reality (i.e., artistic, theatrical, literary, and visual) – but according to what criteria, through what mechanisms and with what materials? What are the repercussions of staging, and, even more important, what does staging not show? This book argues that the notion of staging goes beyond interdisciplinarity. Looking at the different ways staging was used and conceived introduces new approaches to understanding visual culture in nineteenth-century France.

Written by some of the most respected and accomplished scholars working in their fields, this volume illuminates the often contradictory impulses that have shaped the historical intersection of the arts, public culture, and the state in modern America.

Women, Art and Money in England establishes the importance of women artists' commercial dealings to their professional identities and reputations in the late nineteenth and early twentieth centuries. Grounded in economic, social and art history, the book draws on and synthesises data from a broad range of documentary and archival sources to present a comprehensive history of women artists' professional status and business relationships within the complex and changing art market of late-Victorian England. By providing new insights into the routines and incomes of women artists, and the spaces where they created, exhibited and sold their art, this book challenges established ideas about what women had to do to be considered 'professional' artists. More important than a Royal Academy education or membership to exhibiting societies was a woman's ability to sell her work. This meant that women had strong incentive to paint in saleable, popular and 'middlebrow' genres, which reinforced prejudices towards women's 'naturally' inferior artistic ability – prejudices that continued far into the twentieth century. From shining a light on the difficult to trace pecuniary arrangements of little researched artists like Ethel Mortlock to offering new and direct comparisons between the incomes earned by male and female artists, and the genres, commissions and exhibitions that earned women the most money, Women, Art and Money is a timely contribution to the history of women's working lives that is relevant to a number of scholarly disciplines.