In the late 1880s Gauguin, Van Gogh and Bernard, fledgling members of the subculture we call the avant-garde, abandoned Paris, the capital of modernity, to seek out in rural Brittany, Provence - and later in Tahiti - what Van Gogh called "a purer nature of the countryside". Griselda Pollock challenges art history's usual interpretations of this search in the distant and exotic regions by arguing that these artists were cultural colonizers. They exhibited the modern tourist's attachment to home - modern Paris and its art worlds - while being fascinated by what they imagined was a pre-modern "other". Through a thorough textual and social reading of Gauguin's 1892 painting of his Tahitian wife, Manao Tupapau, the author proposes a new theory about the avant-garde as a series of gambits, a game of reference, deference and difference. This painting refers and defers to Manet's Olympia (1863), a notorious avant-garde image of prostitution in the modern city. Where it was seen to differ was in the color of the nude: critics named it a "brown Olympia". Careful deconstruction of this epithet allows Professor Pollock to explore the ways in which racist discourse structures art and art history, posing questions of cultural, sexual and ethnic difference in order to make us all self-critical, not only in regard to the gender, but also to the color of art history.

Union general, federal judge, presidential contender, and cabinet officer—Walter Q. Gresham of Indiana stands as an enigmatic character in the politics of the Gilded Age, one who never seemed comfortable in the offices he sought. This first scholarly biography not only follows the turns of his career but seeks also to find the roots of his disaffection. Entering politics as a Whig, Gresham shortly turned to help organize the new Republican Party and was a contender for its presidential nomination in the 1880s. But he became popular with labor and with the Populists and closed his political career by serving as secretary of state under Grover Cleveland. In reviewing Gresham's conduct of foreign affairs, Charles W. Calhoun disputes the widely held view that he was an economic expansionist who paved the way for imperialism. Gresham, instead, is seen here as a traditionalist who tried to steer the country away from entanglements abroad. It is this traditionalism that Calhoun finds to be the clue to Gresham's career. Troubled with self-doubt, Gresham, like the Cato of old, sought strength in a return to the republican virtues of the Revolutionary generation. Based on a thorough use of the available resources, this will stand as the definitive biography of an important figure in American political and diplomatic history, and in its portrayal of a man out of step with his times it sheds a different light on the politics of the Gilded Age.

The classic reference work that provides annually updated information on the countries of the world.

Jay Gould was an individual who for a century has been singled out as the most unscrupulous of the turn-of-the-century robber barons. In this splendid biography Maury Klein paints the most complete portrait of the notorious Gould ever written. Klein's Gould is a brilliant but ruthless businessman who merged dying railroads into expansive, profit-making lines, including the giant Union Pacific. 40 illustrations.