Bücher der Reihe Studies in Art Historiography

Hailed as a brilliant theoretician, Voldemars Matvejs was a Latvian artist who spearheaded the Union of Youth, a dynamic group championing artistic change in Russia, 1910-14. This volume introduces Markov as an innovative and pioneering art photographer and assembles for the first time five of his most important essays.

Offering cultural, historical and literary readings of the responses to Italian Old Master art by early nineteenth-century writers, McCue illuminates the important role these artworks played in shaping the themes that are central to our understanding of Romanticism. She argues that they informed the writing of Romantic period authors.

In Alois Riegl in Vienna 1875-1905, Diana Cordileone applies standard methods of cultural and intellectual history for close readings of Riegl's published texts, several of which are still unavailable in English.

Without question, the tache (blot, patch, stain) is a central and recurring motif in nineteenth-century modernist painting. Manet's and the Impressionists' rejection of academic finish produced a surface where the strokes of paint were presented directly, as patches or blots, then indirectly as legible signs. Cezanne, Seurat.

Repainting the work of another into one's own canvas is a deliberate and often highly fraught act of reuse. This book examines the creation, display, and reception of such images.

Essays in this volume emphasize questions of transcultural encounters and exchanges as circulations, and provide an overview of current research on issues of circulation in relation to global art history and the globalization of art past and present. They offer a variety of approaches to the treatment of different periods, regions, and objects, surveying both questions of historiography and methodology and presenting individual case studies.

In the mid-1880s, an influential British architectural journal published an article characterizing Renaissance architecture as a corruption of classical architecture. By the turn of the century, however, the same journal praised the Renaissance architect Filippo Brunelleschi as the 'Christopher Columbus of modern architecture.

This book is devoted to the concept of horizontal art history¿a proposal of a paradigm shift formulated by the Polish art historian Piotr Piotrowski (1952¿2015)¿that aims at undermining the hegemony of the discourse of art history created in the Western world.