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 Ford
Madox Brown's The Body of Harold: Representing England at Mid-Centuryby Alastair Ian Wright Ford Madox Brown's interest in the relationship between national identity and class has long been recognized in paintings of the 1850s such as Work, The Last of England, and An English Autumn Afternoon. This essay examines an earlier work, The Body of Harold Brought Before William the Conqueror, whose depiction of a key event in English history suggests radical affiliations and throws new light on the genesis of Brown's later paintings. |
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by Anna Brzyski
At the fin de siècle, artist-run exhibition societies dominated the European art scene. This article examines the efforts of one such society, the Association of Polish Artists Sztuka, to brand and position the works exhibited by the society as a superior form of contemporary art.
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| Portraits
publics, portraits privés Reviewed
by Brooks Beaulieu |
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| A
New Light on Tiffany; and Louis Comfort Tiffany and Laurelton
Hall Reviewed by Isabel Taube |
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| Jules
Bastien-Lepage (1848-1884) Reviewed
by Leanne Zalewski |
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| René
Lalique: Bijoux d'exception, 1890-1912 Reviewed
by D.C. Rose |
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| Biedermeier,
The Invention of Simplicity Reviewed
by Janet Whitmore |
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| After
the Revolution: Antoine-Jean Gros, Painting and Propaganda by
David O'Brien Reviewed by Jennifer
Olmsted |
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| Der
Moderne Stil / The Modern Style: Jugendstil / Art Nouveau, 1899-1905,
Julius Hoffmann, ed. Reviewed by Astrid
Liverman |
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| La
Collection La Caze. Chefs-d'oeuvre des peintures des XVII et XVIII
siècles du musée du Louvre Reviewed
by Alison McQueen |
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| The
Most Arrogant Man in France: Gustave Courbet and the Nineteenth-Century
Media Culture by Petra ten-Doesschate Chu Reviewed
by Janis Bergman-Carton |
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| Hot Off
the Satirical Presses by Robert Goldstein |
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 Moritz
von Schwind's Cinderella (1852-1854): The Beginning of Fairy
Tale Painting and Aspects of Marketing Strategies in Germany's Art
Sceneby Regina Freyberger When Moritz von Schwind painted his popular Cinderella in 1852, he had to overcome the common perception of German folk tales as mere nursery stories devoid of any broader human message. The author explores the various strategies Schwind used to pitch this unconventional topic to contemporary audiences, looking also at how his painting triggered a vogue for fairy-tale paintings in late nineteenth-century German art. |
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