Rochelle Ziskin explores two remarkable private gatherings generating significant art criticism during the middle of the eighteenth century, assessing how the sites harboring them embodied and disseminated their judgments.

Eighteenth-century France witnessed an unprecedented proliferation of materially unstable art, from oil paintings that cracked within years of their creation to enormous pastel portraits vulnerable to the slightest touch or vibration. In A Delicate Matter, Oliver Wunsch traces these artistic practices to the economic and social conditions that enabled them: an ascendant class of art collectors who embraced fragile objects as a means of showcasing their disposable wealth. While studies of Rococo art have traditionally focused on style and subject matter, this book reveals how the physical construction of paintings and sculptures was central to the period’s reconceptualization of art. Drawing on sources ranging from eighteenth-century artists’ writings to twenty-first-century laboratory analyses, Wunsch demonstrates how the technical practices of eighteenth-century painters and sculptors provoked a broad transformation in the relationship between art, time, and money. Delicacy, which began the eighteenth century as a commodified extension of courtly sociability, was by century’s end reimagined as the irreducible essence of art’s autonomous value. Innovative and original, A Delicate Matter is an important intervention in the growing body of scholarship on durability and conservation in eighteenth-century French art. It challenges the art historical tendency to see decay as little more than an impediment to research, instead showing how physical instability played a critical role in establishing art’s meaning and purpose.

Mass Enlightenment uncovers the tensions and contradictions associated with the rise of capitalism and mass culture as they were already making themselves felt during the second half of the eighteenth century and shows that the works of Rousseau and Diderot display a manifest awareness of the negative side of "enlightenment" and "progress." Simon explores the themes of individual freedom and moral autonomy, the growth of a consumer market, alienated social relations, the split between the public and private spheres, and the appearance of commodification as they are articulated in the writings of Rousseau and Diderot. Her careful readings of these Enlightenment theorists expose concerns over the crisis tendencies associated with capitalism and a consumer market similar to those diagnosed by the writers of the Frankfurt School.

Arguing that the question of Jean-Jacques Rousseau's relationship to the Enlightenment has been eclipsed and seriously distorted by his association with the French Revolution, Graeme Garrard presents the first book-length case that shows Rousseau as the pivotal figure in the emergence of Counter-Enlightenment thought. Viewed in the context in which he actually lived and wrote—from the middle of the eighteenth century to his death in 1778—it is apparent that Rousseau categorically rejected the Enlightenment "republic of letters" in favor of his own "republic of virtue." The philosophes, placing faith in reason and natural human sociability and subjecting religion to systematic criticism and doubt, naively minimized the deep tensions and complexities of collective life and the power disintegrative forces posed to social order. Rousseau believed that the ever precarious social order could only be achieved artificially, by manufacturing "sentiments of sociability," reshaping individuals to identify with common interests instead of their own selfish interests.

A study of musical salons in Europe and North America between 1760 and 1800 and the salon hostesses who shaped their musical worlds. In eighteenth-century Europe and America, musical salons—and the women who hosted and made music in them—played a crucial role in shaping their cultural environments. Musical salons served as a testing ground for new styles, genres, and aesthetic ideals, and they acted as a mediating force, bringing together professional musicians and their audiences of patrons, listeners, and performers. For the salonnière, the musical salon offered a space between the public and private spheres that allowed her to exercise cultural agency. In this book, musicologist and historical keyboardist Rebecca Cypess offers a broad overview of musical salons between 1760 and 1800, placing the figure of the salonnière at its center. Cypess then presents a series of in-depth case studies that meet the salonnière on her own terms. Women such as Anne-Louise Brillon de Jouy in Paris, Marianna Martines in Vienna, Sara Levy in Berlin, Angelica Kauffman in Rome, and Elizabeth Graeme in Philadelphia come to life in multidimensional ways. Crucially, Cypess uses performance as a tool for research, and her interpretations draw on her experience with the instruments and performance practices used in eighteenth-century salons. In this accessible, interdisciplinary book, Cypess explores women’s agency and authorship, reason and sentiment, and the roles of performing, collecting, listening, and conversing in the formation of eighteenth-century musical life.

Everyone who looks at contemporary art is familiar with galleries. But visual features of these mysterious temples tend to be taken for granted. The basic purpose of this book is to enliven the reader’s latent knowledge of galleries, including architectural motifs, the intended impression that is conveyed to the visitor, and human interactions within them. The contemporary art world system includes artists’ studios, art galleries, homes of collec-tors and public art museums. To comprehend art, one needs to understand these settings and how it travels through them. The contemporary art gallery is a store where luxury goods are sold. What distinguishes it from stores selling other luxuries – upscale clothing, jewelry, and posh cars – is the nature of the merchandise. While much has been written about the art, this book uncovers the secretive culture of the galleries themselves. The gallery is the public site where art is first seen – anyone can come and look for free. This store, a commercial site, is where aesthetic judgments are made. Art’s value is determined in this marketplace by the consensus formed by public opinion, professional re-viewers and sales. The gallery, then, is the nexus of the enigmatic, billion dollar art world, and it is that space that is dissected here. The first chapter briefly describes the beginnings of the present contemporary art gallery. The second presents the experience of gallery going, presenting summary accounts of vis-its to some contemporary galleries. The third expands and extends that analysis, with de-tailed close up descriptions and comparative evaluations of many diverse contemporary galleries, in order to identify the challenges provided by these marvelous places. Then the fourth chapter indicates why, in the near future, due to the proliferation of myriad art fairs and online platforms extant today, such galleries might disappear altogether.

This work examines the intersection of science and politics in the work of Francois Arago and Jean-Baptiste Biot, the principle architects of the optical revolution of early 19th-century France. Their disagreement over the optical accessibility of the world played out across a wide range of French culture.