Product Description: The expansive collection of the Triton Foundation (located in the Netherlands) contains approximately 250 paintings, drawings, and sculptures from more than 170 artists. The core of the collection consists of Western art dating from 1870 to 1970...read more

Product Description: For centuries, artists have incorporated angels into their works. In the Symbolist movement of the late 19th century, these heavenly figures embodied a defiant stance against the materialism and scientific rationalism of that era...read more

Surveys the past one hundred years of art, including works by Matisse, Munch, Schiele, Picasso, Pollock, Oldenburg, and Hockney

Product Description: A fresh approach to the study of the theory and practice of the nineteenth-century s fine art. Fifty key art terms provide a context for copious contemporary quotations from those with direct experience of the creative process: artists, critics, writers and thinkers...read more

Product Description: A study of the revival of interest in the Byzantine style of architecture and decoration in the 19th and early 20th centuries. Bullen's narrative tells a vivid story of the colourful figures in Germany, Austria, France, Britain and America who reinterpreted Byzantium and its style...read more

Product Description: Helps novice collectors become knowledgeable enough to buy works of art-- Helps readers learn how to appreciate art, distinguish quality from junk, and eventually acquire enough knowledge and self-confidence to start their own collectionWhen Jeanne Frank was made director of a department store gallery in the 1960s, the self-taught art enthusiast was new to the art world -- not to mention exhibiting and selling...read more (view table of contents, read Amazon.com's description)

In Techniques of the Observer Jonathan Crary provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity. Inverting conventional approaches, Crary considers the problem of visuality not through the study of art works and images, but by analyzing the historical construction of the observer. He insists that the problems of vision are inseparable from the operation of social power and examines how, beginning in the 1820s, the observer became the site of new discourses and practices that situated vision within the body as a physiological event. Alongside the sudden appearance of physiological optics, Crary points out, theories and models of "subjective vision" were developed that gave the observer a new autonomy and productivity while simultaneously allowing new forms of control and standardization of vision. Crary examines a range of diverse work in philosophy, in the empirical sciences, and in the elements of an emerging mass visual culture. He discusses at length the significance of optical apparatuses such as the stereoscope and of precinematic devices, detailing how they were the product of new physiological knowledge. He also shows how these forms of mass culture, usually labeled as "realist," were in fact based on abstract models of vision, and he suggests that mimetic or perspectival notions of vision and representation were initially abandoned in the first half of the nineteenth century within a variety of powerful institutions and discourses, well before the modernist painting of the 1870s and 1880s. Jonathan Crary is Assistant Professor of Art History at Barnard College and Columbia University. He is a founding editor of Zone and Zone Books.