John Lewis Krimmel was the first professional artist in the United States to base his reputation on the genre subject. The author's study documents the artist's career from three points of view: Krimmel's life in Europe and the United States from his birth in 1786 to his drowning in 1821; an analysis of his surviving works; and an interpretation of his relationship to contemporary American esthetic and intellectual movements. American Art Series. Illustrated.

Art Crossing Borders offers a thought-provoking analysis of the internationalisation of the art market during the long nineteenth century. Twelve experts, dealing with a wide variety of geographical, temporal, and commercial contexts, explore how the gradual integration of art markets structurally depended on the simultaneous rise of nationalist modes of thinking, in unexpected and ambiguous ways. By presenting a radically international research perspective Art Crossing Borders offers a crucial contribution to the field of art market studies.

Updated to 2020, BOOKS ON COLOUR 1495-2015 offers quick and easy reference to 2,500 authors and editors and over 3,000 titles published by them. Following a concise historical survey of colour literature, authors are listed in an A-Z directory, together with titles, dates and places of publication, and translations for non-English titles. Biographical references are included where known. Chronological indexes of authors precede the bibliographical listing and alphabetical indexes of authors follow it. Publications are categorised under 27 general headings: Architecture, Chemistry, Classification, Colorants, Computing & Television, Decoration, Design, Dress & Cosmetics, Dyeing, Flora & Fauna, Food, Glass, History, Lighting, Metrology, Music, Optics, Painting, Perception, Philosophy, Photography & Cinema, Printing, Psychology, Symbolism, Terminology, Therapy, and Vision.

Realist novels are celebrated for their detailed attention to ordinary life. But two hundred years before the rise of literary realism, Dutch painters had already made an art of the everyday--pictures that served as a compelling model for the novelists who followed. By the mid-1800s, seventeenth-century Dutch painting figured virtually everywhere in the British and French fiction we esteem today as the vanguard of realism. Why were such writers drawn to this art of two centuries before? What does this tell us about the nature of realism? In this beautifully illustrated and elegantly written book, Ruth Yeazell explores the nineteenth century's fascination with Dutch painting, as well as its doubts about an art that had long challenged traditional values. After showing how persistent tensions between high theory and low genre shaped criticism of novels and pictures alike, Art of the Everyday turns to four major novelists--Honoré de Balzac, George Eliot, Thomas Hardy, and Marcel Proust--who strongly identified their work with Dutch painting. For all these writers, Dutch art provided a model for training themselves to look closely at the particulars of middle-class life. Yet even as nineteenth-century novelists strove to create illusions of the real by modeling their narratives on Dutch pictures, Yeazell argues, they chafed at the model. A concluding chapter on Proust explains why the nineteenth century associated such realism with the past and shows how the rediscovery of Vermeer helped resolve the longstanding conflict between humble details and the aspirations of high art.