Describes how late Victorian culture encouraged the evolution of art as a career, discussing such "inventions" as art therapy and bohemianism, and exploring artists' complicated and confused gender roles

The first striking thing about this book is its elegant dust jacket made to look like a copper plate. But the eye candy stretches past the front cover, nearly every page with either color illustrations or distinctive frames, fleurons, and figures around the text. Not surprising to those who've taken some literature classes, the annotations following a page of text are often far longer than whatever bit of text they illustrate. But if the reader should find academicism beside the point, annotations are easy to skip because Baum's story is written in larger type. This edition is for both kids and kiddie litters, the latter interested in such tidbits as the Dorothy-type farmgirl character called Dot, Dolly, and Doris in other works by Frank Baum, and the reigning theory that Dorothy lived in Kansas, yes, but more specifically, Topeka. Reprinted from the 1900 edition with many of the original drawings by W.W. Denslow. Oversize: 9.5x10.5". Annotation copyrighted by Book News Inc., Portland, OR

Situated at the crossroads of visual culture and consumerism, this essay collection examines visual merchandising as both a business and an art. It seeks to challenge that scholarly ambivalence that often celebrates the spectacle but denies the agenda of consumerism. The volume considers strategies in the imaging of selling from the mid nineteenth century to the present, in terms of the visual interaction that occurs between the commodity and the consumer and between body and space. Under the categories of Promotion, Product and Place, contributors to the volume examine the strategies in the presentation of retail goods and environments that range from print advertising to product design to store display and architecture. Visual Merchandising: The Image of Selling is located directly at the nexus of business practice and cultural myth, where the spectator never loses sight of their status as buyer and the object of desire is always still a commodity.

Swartz reminds us in that various stage and screen dramatizations of Baum's story preceded and influenced the 1939 film. This richly illustrated book contains many rare photographs, film stills, sketches, theater programs, and movie advertisements from the different productions. Piecing together the Chicago and Broadway stage productions (1902-3) from contemporary reviews, surviving script pages, and published song lyrics, Swartz shows how Baum and his many collaborators worked to transform the book into a popular theatrical attraction -- often requiring significant alterations to the original story.

This book provides the first comprehensive history of window display as a practice and profession in Britain during the dynamic period of 1919 to 1939. In recent decades, the disciplines of retail history, business history, design and cultural history have contributed to the study of department stores and other types of shops. However, these studies have only made passing references to window display and its role in retail, society and culture. Kerry Meakin investigates the conditions that enabled window display to become a professional practice during the interwar period, exploring the shift in display styles, developments within education and training, and the international influence on methods and techniques. Piecing together the evidence, visual and written, about people, events, organisations, exhibitions and debates, Meakin provides a critical examination of this vital period of design history, highlighting major display designers and artists. The book reveals the modernist aesthetic developments that influenced high street displays and how they introduced passers-by to modern art movements.