Alexandre Cabanel was a French painter who painted historical, classical and religious subjects in the academic style. He was also famous as a portrait painter. According to Diccionario Enciclopedico Salvat, Cabanel is the best representative of the L'art pompier and Napoleon III's preferred painter. His work displays originality and sincerity fixed with a deep sense of respect for the great art of the past. His drawing is excellent, expressive and informed by personal selection, knowledge and a quest for both natural and ideal beauty. His design is sophisticated and his color is pleasant, natural, and ornamental, as needed. His method varies from smooth naturalistic to virtuoso paint handling. He was an artist of truth, a positive and competent master of his art.

Alexandre Cabanel (1823 – 1889) was a French painter who painted historical, classical and religious subjects in the academic style. He was also famous as a portrait painter. According to Diccionario Enciclopedico Salvat, Cabanel is the best representative of the L'art pompier and Napoleon III's preferred painter. His work displays originality and sincerity fixed with a deep sense of respect for the great art of the past. His drawing is excellent, expressive and informed by personal selection, knowledge and a quest for both natural and ideal beauty. His design is sophisticated and his color is pleasant, natural, and ornamental, as needed. His method varies from smooth naturalistic to virtuoso paint handling. He was an artist of truth, a positive and competent master of his art. Cabanel entered the Ecole des Beaux-Arts in Paris at the age of seventeen, studied with François-Edouard Picot and exhibited at the Paris Salon for the first time in 1844. He won the Prix de Rome scholarship in 1845 at the age of twenty two was elected a member of the Institute in 1863. Cabanel was appointed professor at the Ecole des Beaux-Arts in 1864 and taught there until his death. He won the Grande Medaille d'Honneur at the Salons of 1865, 1867, and 1878 and was closely connected to the Paris Salon: "He was elected regularly to the Salon jury and his pupils could be counted by the hundred at the Salons. Through them, Cabanel did more than any other artist of his generation to form the character of belle epoque French painting". His refusal together with William-Adolphe Bouguereau to allow the impressionist painter Edouard Manet and many other painters to exhibit their work in the Salon of 1863 led to the establishment of the Salon des Refuses by the French government. A successful academic painter, his 1863 painting The Birth of Venus is one of the best known examples of 19th century academic painting. The picture was bought by the emperor Napoleon III; there is also a smaller replica (painted in 1875 for a banker, John Wolf) at the Metropolitan Museum of Art in New York City. It was gifted to them by Wolf in 1893.

"A vibrant artistic milieu emerged in the late-nineteenth century Istanbul that was extremely heterogeneous, including Ottoman, Ottoman-Armenian, French, Italian, British, Polish and Ottoman-Greek artists. Roberts analyzes the ways artistic output intersected with the broader political agenda of a modernizing Ottoman state. She draws on extensive original research, bringing together sources in Turkey, England, France, Italy, Armenia, Poland and Denmark. Five chapters each address a particular issue related to transcultural exchange across the east-west divide that is focused on a particular case study of art, artistic patronage, and art exhibitions in nineteenth-century Istanbul"--Provided by publisher.

Dealing Art on Both Sides of the Atlantic, 1860-1940 aims to bring the marketplace dynamic into sharper focus with its essays which examine the many functionaries who participate in the art market network, among them, agents, scouts, intermediaries, restorers, fakers, decorators, advisers and experts. All of the essays are rooted in case studies which give voice to the various aspects of supply−from branding to marketing, from inventory to display, from restoration to pastiche to fabrication. Each is incredibly rich in their marshalling of primary sources and archival materials; in sum, they present an impressive array of new research. Contributors are: Fae Brauer, Denise M. Budd, Patrizia Cappellini, Lynn Catterson, Sebastien Chaffour, Laura D. Corey, Flaminia Gennari-Santori, Jacqueline Marie Musacchio, Joanna Smalcerz, Alexandra Provo, AnnaLea Tunesi, and Leanne Zalewski.

The Art of Understanding Art reveals to students and other readers new and meaningful ways of developing personal ideas and opinions about art and how to express them with confidence. Offers an inquiry—unique among introductory art texts—into the learning process of understanding and appreciating art Examines the multiple issues and processes essential to making, analyzing and evaluating art Uses cross-cultural examples to help readers develop comprehensive, yet personal, ways of looking at and thinking about art Includes an annotated glossary of the 'Art World', institutions and individuals that play a role in defining art as well as diagrams, textboxes callouts and other visual elements to highlight information and enhance learning Richly illustrated with over 40 images Suggests innovative class assignments and projects useful for developing lesson plans, and offers an online companion site for additional illustrations and information