A groundbreaking approach to Rococo religious d?r and spirituality in Europe and South America, The Spiritual Rococo addresses three basic conundrums that impede our understanding of eighteenth-century aesthetics and culture. Why did the Rococo, ostensibly the least spiritual style in the pre-Modern canon, transform into one of the world?s most important modes for adorning sacred spaces? And why is Rococo still treated as a decadent nemesis of the Enlightenment when the two had fundamental characteristics in common? This book seeks to answer these questions by treating Rococo as a global phenomenon for the first time and by exploring its moral and spiritual dimensions through the lens of populist French religious literature of the day-a body of work the author calls the ?Spiritual Rococo? and which has never been applied directly to the arts. The book traces Rococo?s development from France through Central Europe, Portugal, Brazil, and South America by following a chain of interlocking case studies, whether artistic, literary, or ideological, and it also considers the parallel diffusion of the literature of the Spiritual Rococo in these same regions, placing particular emphasis on unpublished primary sources such as inventories. One of the ultimate goals of this study is to move beyond the clich?f Rococo?s frivolity and acknowledge its essential modernity. Thoroughly interdisciplinary, The Spiritual Rococo not only integrates different art historical fields in novel ways but also interacts with church and social history, literary and post-colonial studies, and anthropology, opening up new horizons in these fields.

Wie kaum ein anderer Künstler hat Pierre-Auguste Renoir unser Verständnis von den stimmungsvollen Figurenbildern des Impressionismus geprägt. Sein Gemälde La fin du déjeuner, das sich seit 1910 im Städel Museum in Frankfurt befindet, ist nun Ausgangspunkt für eine weitreichende Auseinandersetzung mit einer für ihn zeitlebens bedeutenden Inspirationsquelle: dem Rokoko. Galt diese Malerei nach der französischen Revolution als frivol und unmoralisch, so erlebte sie im 19. Jahrhundert eine Renaissance und war zu Lebzeiten Renoirs überaus präsent. Dieser umfangreiche Band erscheint anlässlich der großangelegten Ausstellung des Städel Museums und untersucht Renoirs facettenreiche Traditionsverbundenheit ausgehend von erhellenden Gegenüberstellungen seiner Kunst mit Werken des 18. Jahrhunderts sowie von Zeitgenossen.

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Flow combines cutting-edge scholarship with practitioner perspectives to address the concept of 'flow' and how it connects interiors, landscapes and buildings, expanding on traditional notions of architectural prominence. Contributors explore the transitional and intermediary relationships between inside/outside. Through a range of case studies, authors extend the notion of flow beyond the western industrialised world and embrace a wider geography while engaging with the specificity of climate and place. Accompanied by stunning colour illustration and photography, Flow brings together historical, theoretical and practice-based approaches to consider themes of nature, mobility, continuity and frames.

Through both longer essays and shorter case studies, this book examines the relationship of European women from various countries and backgrounds to collecting, in order to explore the social practices and material and visual cultures of collecting in eighteenth-century Europe. It recovers their lives and examines their interests, their methodologies, and their collections and objects—some of which have rarely been studied before. The book also considers women’s role as producers, that is, creators of objects that were collected. Detailed examination of the artefacts—both visually, and in relation to their historical contexts—exposes new ways of thinking about collecting in relation to the arts and sciences in eighteenth-century Europe. The book is interdisciplinary in its makeup and brings together scholars from a wide range of fields. It will be of interest to those working in art history, material and visual culture, history of collecting, history of science, literary studies, women’s studies, gender studies, and art conservation.

Offering a broad and vivid survey of the culture of collecting from the French Revolution to the Belle Époque, The Purchase of the Past explores how material things became a central means of accessing and imagining the past in nineteenth-century France. By subverting the monarchical establishment, the French Revolution not only heralded the dawn of the museum age, it also threw an unprecedented quantity of artworks into commercial circulation, allowing private individuals to pose as custodians and saviours of the endangered cultural inheritance. Through their common itineraries, erudition and sociability, an early generation of scavengers established their own form of 'private patrimony', independent from state control. Over a century of Parisian history, Tom Stammers explores collectors' investments – not just financial but also emotional and imaginative – in historical artefacts, as well as their uncomfortable relationship with public institutions. In so doing, he argues that private collections were a critical site for salvaging and interpreting the past in a post-revolutionary society, accelerating but also complicating the development of a shared national heritage.

However shared the Roman inheritance may be, it hardly unifies. Which Rome is the model, the Republic or the Empire? The Rome of imperial conquest or of civil war? By whom is it ruled? By the glorious conqueror who extended universal peace, the rule of law, and infrastructure – roads and aqueducts – or by the detested tyrant who imposed domination? Or worse, the corruptor of republican liberty and source of putrefying decadence? Rome always returns, but which Rome? France presents itself as a privileged locus for Rome’s return since the beginnings of its history. The perennial recourse to ancient Rome – as model or anti-model – binds together a cohesive tradition. The logic of this gesture asserts a unity beyond modern identity politics, which depend on defining a “them” against “us,” to resist nativist assumptions about national character, French, German, Italian, American, etc. All share the same polysemous inheritance, for good or ill. All are Roman and all resist Rome without needing to agree on what exactly is shared. The unity underlying the discourse, however, no longer depends on defining Rome as an origin. Instead, Rome’s figuration persists discursively, as a translation: to be translated time and time again.