This book explores the history and continuing relevance of melancholia as an amorphous but richly suggestive theme in literature, music, and visual culture, as well as philosophy and the history of ideas. Inspired by Albrecht Dürer’s engraving Melencolia I (1514)—the first visual representation of artistic melancholy—this volume brings together contributions by scholars from a variety of disciplines. Topics include: Melencolia I and its reception; how melancholia inhabits landscapes, soundscapes, figures and objects; melancholia in medical and psychological contexts; how melancholia both enables and troubles artistic creation; and Sigmund Freud’s essay "Mourning and Melancholia" (1917).

Why the art historian's craft is a uniquely melancholy art Melancholy is not only about sadness, despair, and loss. As Renaissance artists and philosophers acknowledged long ago, it can engender a certain kind of creativity born from a deep awareness of the mutability of life and the inevitable cycle of birth and death. Drawing on psychoanalysis, philosophy, and the intellectual history of the history of art, The Melancholy Art explores the unique connections between melancholy and the art historian's craft. Though the objects art historians study are materially present in our world, the worlds from which they come are forever lost to time. In this eloquent and inspiring book, Michael Ann Holly traces how this disjunction courses through the history of art and shows how it can give rise to melancholic sentiments in historians who write about art. She confronts pivotal and vexing questions in her discipline: Why do art historians write in the first place? What kinds of psychic exchanges occur between art objects and those who write about them? What institutional and personal needs does art history serve? What is lost in historical writing about art? The Melancholy Art looks at how melancholy suffuses the work of some of the twentieth century's most powerful and poetic writers on the history of art, including Alois Riegl, Franz Wickhoff, Adrian Stokes, Michael Baxandall, Meyer Schapiro, and Jacques Derrida. A disarmingly personal meditation by one of our most distinguished art historians, this book explains why to write about art is to share in a kind of intertwined pleasure and loss that is the very essence of melancholy.

Pop art was essential to the Americanization of global art in the 1960s, yet it engendered resistance and adaptation abroad in equal measure, especially in Paris. From the end of the Algerian War of Independence and the opening of Ileana Sonnabend’s gallery for American Pop art in Paris in 1962, to the silkscreen poster workshops of May ’68, this book examines critical adaptations of Pop motifs and pictorial devices across French painting, graphic design, cinema and protest aesthetics. Liam Considine argues that the transatlantic dispersion of Pop art gave rise to a new politics of the image that challenged Americanization and prefigured the critiques and contradictions of May ’68.

Chinese-Islamic studies have concentrated thus far on the arts of earlier periods with less attention paid to works from the Qing Dynasty (1644-1912). This book focuses on works of Chinese-Islamic art from the late seventeenth century to the present day and bring to the reader’s attention several new areas for consideration. The book examines glass wares which were probably made for a local Chinese-Muslim clientele, illustrating a fascinating mixture of traditional Chinese and Muslim craft traditions. While the inscriptions on them can be related directly to the mosque lamps of the Arab world, their form and style of decoration is characteristically that of Han Chinese. Several contemporary Chinese Muslim artists have succeeded in developing a unique fusion of calligraphic styles from both cultures. Other works examined include enamels, porcelains, and interior painted snuff bottles, with emphasis on either those with Arabic inscriptions, or on works by Chinese Muslim artists. The book includes a chapter written by Dr. Shelly Xue and an addendum written by Dr. Riccardo Joppert. This book will appeal to scholars working in art history, religious studies, Chinese studies, Chinese history, religious history, and material culture.

This book centres on four Portuguese artists’ journeys between Portugal and Britain and aims at rethinking the cultural and artistic interactions in the post-war Europe, the shaping of new identities within a context of creative experimentalism and transnational dynamics and the artistic responses to political troubles. Leonor de Oliveira examines the contributions of the work of Paula Rego, Barto dos Santos, João Cutileiro and Jorge Vieira, among other artists, to shape referential images of Portuguese identity that not only responded to the purpose of breaking with dominant iconographic and aesthetic representations but also incorporated a critical perspective on contemporaneity. This title will appeal to scholars interested in art history, Portuguese and European art, and the mid-twentieth-century art scene.

For centuries artists, diplomats, and merchants served as cultural intermediaries in the Mediterranean. Stationed in port cities and other entrepôts of the Mediterranean, these go-betweens forged intercultural connections even as they negotiated and sometimes promoted cultural misunderstandings. They also moved objects of all kinds across time and space. This volume considers how the mobility of art and material culture is intertwined with greater Mediterranean networks from 1580 to 1880. Contributors see the movement of people and objects as transformational, emphasizing the trajectory of objects over single points of origin, multiplicity over unity, and mutability over stasis.

The first book to systematically combine the two vibrant yet hitherto unconnected fields of memory and affect in Shakespeare's England.