How an ingenious printmaking technique became a cross-cultural phenomenon in Enlightenment Europe Driven by a growing interest in collecting and multiplying drawings, artists and amateurs in the eighteenth century sought a new technique capable of replicating the subtlety of ink, wash, and watercolor. They devised an innovative and versatile new medium—aquatint—which would spread in use across Europe within a few decades, its distinctive dark tones making possible a remarkable variety of ingenious imagery. In this illuminating book, Rena M. Hoisington traces how the aquatint technique flourished as a cross-cultural and cosmopolitan phenomenon that contributed to the rise of art publishing, connoisseurship, leisure travel, drawing instruction, and the popularity of neoclassicism. She offers new insights into sophisticated experiments by artists such as Francisco de Goya, Katharina Prestel, Paul Sandby, and Jean-Baptiste Le Prince. Marvelously illustrated with rare works from the National Gallery of Art’s collection of early aquatints, this engaging book provides a fresh look at how printmaking contributed to a vibrant exchange of information and ideas in Europe during the Enlightenment. Published in association with the National Gallery of Art, Washington, DC Exhibition Schedule National Gallery of Art, Washington, DC October 24, 2021–February 21, 2022

An illuminating investigation of how aquatint travel books transformed the way Britons viewed the world and their place within it In the late 18th century, British artists embraced the medium of aquatint for its ability to produce prints with rich and varied tones that became even more stunning with the addition of color. At the same time, the expanding purview of the British empire created a market for images of far-away places. Book publishers quickly seized on these two trends and began producing travel books illustrated with aquatint prints of Indian cave temples, Chinese waterways, African villages, and more. Offering a close analysis of three exceptional publications--Thomas and William Daniell's Oriental Scenery (1795-1808), William Alexander's Costume of China (1797-1805), and Samuel Daniell's African Scenery and Animals (1804-5)--this volume examines how aquatint became a preferred medium for the visual representation of cultural difference, and how it subtly shaped the direction of Western modernism. Distributed for the Paul Mellon Centre for Studies in British Art

The idea of Utopia springs from a natural desire of transformation, of evolution pertaining to humankind and, therefore, one can find expressions of “utopian” desire in every civilization. Having to do explicitly with human condition, Utopia accompanies closely cultural evolution, almost as a symbiotic organism. Maintaining its roots deeply attached to ancient myths, utopian expression followed, and sometimes preceded cultural transformation. Through the next almost five hundred pages (virtually one for each year since Utopia was published) researchers in the fields of Architecture and Urbanism, Arts and Humanities present the results of their studies within the different areas of expertise under the umbrella of Utopia. Past, present, and future come together in one book. They do not offer their readers any golden key. Many questions will remain unanswered, as they should. The texts presented in Proportion Harmonies and Identities - UTOPIA(S) WORLDS AND FRONTIERS OF THE IMAGINARY were compiled with the intent to establish a platform for the presentation, interaction and dissemination of researches. It aims also to foster the awareness and discussion on the topics of Harmony and Proportion with a focus on different utopian visions and readings relevant to the arts, sciences and humanities and their importance and benefits for the community at large.

Things change. Broken and restored, reused and remade, objects transcend their earliest functions, locations, and appearances. While every era witnesses change, the eighteenth century experienced artistic, economic, and demographic transformations that exerted unique pressures on material cultures around the world. Locating material objects at the heart of such phenomena, Material Cultures of the Global Eighteenth Century expands beyond Eurocentric perspectives to discover the mobile, transcultural nature of eighteenth-century art worlds. From porcelain to betel leaves, Chumash hats to natural history cabinets, this book examines how objects embody imperialism, knowledge, and resistance in various ways. By embracing things both elite and everyday, this volume investigates physical and technological manipulations of objects while attending to the human agents who shaped them in an era of accelerating global contact and conquest. Featuring ten essays, the volume foregrounds diverse scholarly approaches to chart new directions for art history and cultural history. Ranging from California to China, Bengal to Britain, Material Cultures of the Global Eighteenth Century illuminates the transformations within and between artistic media, follows natural and human-made things as they migrate across territories, and reveals how objects catalyzed change in the transoceanic worlds of the early modern period.

As he prepared to embark for India in 1774, Alexander Mackrabie's excitement at the sights to be seen and novelties to be experienced was palpable. Mackrabie's journey was conducted under the auspices of the London-based East India Company and was one of the many thousands of Company voyages that brought Europeans into contact with Asian countries and cultures, as well as numerous people and places along the way. Atlantic Voyages tells the story of travellers like Mackrabie as they navigated the waters of the Atlantic Ocean, reflecting on who and what they had left behind in Europe, looking forward to new challenges in Asia, and evaluating the sights and smells, sounds and tastes, hopes and expectations, fears and regrets, that regaled their senses and played on their minds as they sailed along the way. It charts the tension between tedium and terror on the one hand, and exhilaration and excitement on the other, attempting to understand the maritime space of the Atlantic as it was experienced by the people who traversed its waters. The lives of the people carried by East Indiamen were deeply affected by their Atlantic experiences. They confronted the reality of shipboard life: its seasickness and boredom, its cramped living conditions, its questionable dining fare, and its severely restricted privacy. They acclimatised to the rhythms of the ocean and the vicissitudes of the weather. They encountered rites of passage and ceremonies of initiation on the high seas. They prepared themselves for cultural disorientation and a host of unusual sights and sensations. And they wondered at the extraordinary beauty of the elements around them - the sea, the sky, the islands - and the strangeness of their inhabitants, human and animal alike. The ship's passage played a crucial role in shaping the responses and experiences of those individuals surrounded by its wooden walls. Their words bring to life this maritime journey, illuminate the experiences of the people who undertook it, and contribute to our understanding of the place of the Atlantic Ocean in wider histories of the East India Company and the British Empire in this period.

The World Upside Down: Australia 1788-1830 draws on the National Library of Australia’s collections to explore some of the many fascinating aspects of life and art in colonial Australia.