V Form Lion Term: Arts

With 250 illustrations to accompany his text, Bainbridge Bunting focuses on a significant architectural form - the town house - and chronicles its development throughout the period of Back Bay's greatest growth.

When many Americans think of the Gilded Age, they picture the mansions at Newport, Rhode Island, or the tenements of New York City. Indeed, the late 19th century was a period of extreme poverty thinly veiled by fabulous wealth. However, we should not remember the era only for the strides madeby steel magnate Andrew Carnegie or social reformer Jane Addams. All Americans had to adjust to the dynamic social and economic changes of the Gilded Age--the booming industries, growing cities, increased ethnic and cultural diversity. African American W. E. B. Du Bois, Native American Sitting Bull,and Chinese American Saum Song Bo spoke out against racial injustice. European immigrants Mary Antin and Robert Ferrari suffered the pitfalls and praised the opportunities found in their new country. Pioneer Phoebe Judson lamented the loneliness of making a life out West. And workers at HomesteadSteel lost their lives in an attempt to improve labor conditions. Drawing from the letters, memoirs, newspaper articles, journals, and speeches of Gilded Age Americans, author Janette Greenwood arranges all of these voices to tell a story more vibrant and textured than the simple tale of robberbaron versus starving poor. In addition to these voices, visuals--such as advertisements, maps, political cartoons, and a picture essay on Jacob Riiss urban photographs--create a kaleidoscopic view of the quarter century when diverse Americans struggled for the same goal: a better way of life, withmore justice and democracy for each and all. PAGES FROM HISTORY General Editors: Sarah Deutsch, University of Arizona, Carol Karlsen, University of Michigan, Robert G. Moeller, University of California, Irvine, and Jeffrey N. Wasserstrom, Indiana University, Bloomington Textbooks may interpret history, but the books in the Pages from History series are history. Each title, compiled and edited by a prominent historian, is a collection of primary sources relating to a particular topic of historical significance. Documentary evidence including news articles,government documents, memoirs, letters, diaries, fiction, photographs, and facsimiles allows history to speak for itself and turns every reader into a historian. Headnotes, extended captions, sidebars, and introductory essays provide the essential context that frames the documents. All the books areamply illustrated and each includes a documentary picture essay, chronology, further reading, source notes, and index.

"A searching, sensitive, and engagingly witty meditation." --Lyndall Gordon   "What a great pleasure this gorgeous little book has given me! It should be offered everywhere indeed, and at every museum shop on earth."--Honor Moore   A fascinating meditation on art and personality, Patricia Vigderman's exploration of Isabella Stewart Gardner's famous Boston museum radiates out from its subject to investigate Garnder's legacy of luxury and willfulness.  Isabella Gardner's high spirits and aesthetic pleasure, her women friends and female power, her friendships with the adventurers and aesthetes of her world, are gathered into this engrossing investigation of patronage and passion.  Blending biography, memoir, philosophy, and detective story,The Memory Palace is more than a tribute to the museum and the woman; it is an altogether new genre.  Vigderman's witty and intimate quest for her subject sets a literary precedent for the appreciation of artistic imagination.  Loosening up the past, entering its mysteries and its memories, she reminds us that we change our lives when we begin a relationship with art.   Patricia Vigderman grew up in Washington, D.C., and Europe. She graduated from Vassar College, after which a circuitous course led her through editing, translating, freelance journalism, teaching, marriage, motherhood, divorce, a doctoral dissertation (on nineteenth-century novels as film, as history, and as autobiography), and a lot of time in museums. Her recent writing has appeared inThe Georgia Review, Harvard Review, The Iowa Review, The Kenyon Review, Mid-American Review, Northwest Review, Raritan, Seneca Review, andSouthwest Review. She divides her year between Cambridge, Massachusetts, and Gambier, Ohio, where she teaches in the English department at Kenyon College. She is married to the writer Lewis Hyde.

The official companion book to the Isabella Stewart Gardner Museum’s hundredth anniversary celebration During her lifetime (1840–1924) Isabella Stewart Gardner was at the heart of Victorian Boston’s liveliest salon. Henry and William James, Henry Adams, Oliver Wendell Holmes, John LaFarge, James McNeill Whistler, Bernard Berenson, and John Singer Sargent all gathered at Fenway Court, in the company of works by Giotto, Fra Angelico, Titian, Raphael, Rubens, and Rembrandt. One hundred years after its completion, the Isabella Stewart Gardner Museum remains as intrepid and idiosyncratic as its creator. The embodiment of one woman’s vision, the Venetian palazzo turned inside out and its wildly eclectic collection of twenty-four centuries of paintings, sculpture, furnishings, and books nonetheless speak very personally to all who enter. At once grand and intimate, the garden courtyard and the terrazzo galleries invite discovery: every visitor (and there have been literally hundreds of thousands), it seems, has a secret corner of the Gardner. In celebration of its centenary, the Gardner Museum has asked artists and thinkers of our own time to go public with their private visions of the Gardner. In this book, filled with 120 color plates, their voices are joined and juxtaposed with those of Mrs. Gardner’s contemporaries, allowing readers to see the Gardner’s most beloved works through the eyes of such nineteenth- and twentieth-century thinkers as William James and Bill T. Jones, T. S. Eliot and Henry Louis Gates Jr., Julia Ward Howe and Sister Wendy. Robert Campbell takes as his subject the museum’s architecture, while Wayne Koestenbaum offers a homoerotic reading of works in the collection. Beautifully designed and extravagantly illustrated, Eye of the Beholder offers a richly textured exploration of one of the world’s great art collections.

Boasting well over 6,000 contributors from 12 countries, the Dictionary offers its readers authoritative and comprehensive global coverage. A resource for both art and cultural studies, the Dictionary serves as a unique guide to all the visual arts: painting, sculpture, architecture, photography, drawing, printmaking, as well as the decorative arts. The Dictionary ranges far both geographically and historically; it features unparalleled coverage of Africa, Southeast Asia, Central Asia and Mongolia, China, India, the Islamic world, Japan, Korea, Native North America, Pacific and Aboriginal Australia, Pre-Columbian America, Ancient Egypt, Ancient Greece, the Ancient Near East, and Ancient Rome. Providing depth as well as breadth, The Dictionary of Art examines important art forms and key issues of design, taste, function, and patronage, illuminating them in light of the cultural context in which they developed.

When the late Spiro Kostof's A History of Architecture appeared in 1985, it was universally hailed as a masterpiece--one of the finest books on architecture ever written. The New York Times Book Review, in a front cover review, called it "a magnificent guided tour through mankind'sarchitecture," and The San Francisco Chronicle wrote that "Kostof...has enthralled a generation of students.... Now he has done the same thing for the public at large, in an extraordinary book that is a new kind of architectural history." This magisterial work has now been revised and expanded by Greg Castillo, Kostof's colleague and literary executor. Insightful, engagingly written, and graced with almost a thousand superb illustrations, the Second Edition of this classic volume offers a sweeping narrative that examinesarchitecture as it reflects the social, economic, and technological systems of human history. The scope of the book is astonishing. No mere survey of famous buildings, Kostof's History examines a surprisingly wide variety of manmade structures: prehistoric huts and the TVA, the pyramids at Giza andthe Rome railway station, the ziggurat and the department store. Indeed, Kostof considered every building worthy of attention, every structure or shelter a potential source of insight, whether it be the prehistoric hunting camps at Terra Amata, or the caves at Lascaux with their magnificentpaintings, or a twenty-story hotel on the Las Vegas strip. The Second Edition features a new concluding chapter, "Designing the Fin de Siecle," based on Kostof's last lecture notes and prepared by Castillo, as well as an all-new 16-page color section. Many of the original line drawings by RichardTobias, as well as some 50 photographs, have also been updated or replaced, for improved clarity. Visually and intellectually stimulating, this book is at once a compelling history and an indispensable reference on all aspects of our built environment. It achieves for architecture what Janson's history accomplished for visual art.

This text examines the concept of freedom in the context of American labour history. Nine essays develop themes in this history which show that "liberty of contract" and "inalienable rights" form two contradictory traditions concerning freedom.

This highly regarded, consistently well-selling and extremely well-written book brings to life architectural history and its canon of great buildings through a lively approach that is both insightful and accurate. This story of architecture moves back and forth between long views of historical trends and close-ups of major works and crucial architectural themes. The authors have successfully made the subject of architectural history - which due to its technical aspects can too often be off-putting to the lay reader - transparent, engaging, and easily mastered. All buildings are illustrated with effective images that are well reproduced and thoughtfully keyed to the text. In the second edition, the content of the book has been fine-tuned and polished. Sections in the Renaissance, Baroque, and Modern chapters were reworked to include recent scholarship and, in the case of the Baroque, expand coverage to Eastern Europe. The Introduction has been significantly updated in its slant and language, including a discussion of the newly introduced term Postmodernity. The most significant and exciting change, however, is the addition of the new chapter, which covers architectural development

Spanning the era from the end of Reconstruction (1877) to 1920, the entries of this reference were chosen with attention to the people, events, inventions, political developments, organizations, and other forces that led to significant changes in the U.S. in that era. Seventeen initial stand-alone essays describe as many themes, including technolog