Industry in Art examines the artists, contexts, and societal factors that influenced the depiction of Pittsburgh industry and labor from the early nineteenth century to the early twentieth century through a variety of art forms that include illustration, painting, and graphic art. In the early nineteenth century, most fine artists avoided depicting industry, though David Gilmore Blythe and William C. Wall portrayed the environmental changes caused by industrial growth. By the last quarter of the century, however, national weekly magazines illustrated Pittsburgh's smoking industrial complexes as symbols of industrial might populated by stoic, working-class heroes working with fire. Commercial artists created graphic images of modern technology for topographic prints, advertising, and national magazines that helped shape America's perception of Pittsburgh as both an industrial giant and the “City of the Future.” Depictions in Harper's Weekly and Frank Leslie's Illustrated Newspaper renderings of the railroad strike of 1877 and the Homestead strike of 1892, and Joseph Stella's and Lewis Hine's portrayals of mill workers for the Pittsburgh Survey in the early twentieth century focused on industrial workers as angry strikers and as immigrants struggling to earn a living. It was not until the end of the century that industry became acceptable in high art, as the Carnegie Institute brought European art and artists to Pittsburgh with its yearly International exhibits and Aaron Gorson discovered the dramatic effect of steel mills at night. Industry in Art presents an in-depth analysis of how sociological elements affected both artists and imagery. As perceptions of industry changed over time, artists reflected and shaped America's attitudes toward industry and labor in the nineteenth century.

A history of tapestry from its Egyptian origins up to the author’s day.

Leonardo's anatomical studies actually set themselves as an ideal meeting point between artistic and scientific interests because the study of the functioning of the body was essential for artistic practice in order to achieve the correct representation of the human figure. For Leonardo, the artistic practice was determined by an inexhaustible desire for knowledge that led him to study the human body through the Vitruvian proportions and through dissection, carried out by the artist with special care over the middle years of the first decade of the sixteenth century. Drawing becomes essential to understand and reproduce the structure of the male and female body, a "wonderful machine" perfectly thought out. The organs are devices and the body is a machine: Man then becomes a further testing ground for mechanical science.

Characterized by grandiose song-and-dance numbers featuring ornate geometric patterns and mimicked in many modern films, Busby Berkeley's unique artistry is as recognizable and striking as ever. From his years on Broadway to the director's chair, Berkeley is notorious for his inventiveness and signature style. Through sensational films like 42nd Street (1933), Gold Diggers of 1933 (1933), Footlight Parade (1933), and Dames (1934), Berkeley sought to distract audiences from the troubles of the Great Depression. Although his bold technique is familiar to millions of moviegoers, Berkeley's life remains a mystery.Buzz: The Life and Art of Busby Berkeley is a telling portrait of the filmmaker who revolutionized the musical and changed the world of choreography. Berkeley pioneered many conventions still in use today, including the famous "parade of faces" technique, which lends an identity to each anonymous performer in a close-up. Carefully arranging dancers in complex and beautiful formations, Berkeley captured perspectives never seen before.Jeffrey Spivak's meticulous research magnifies the career and personal life of this beloved filmmaker. Employing personal letters, interviews, studio memoranda, and Berkeley's private memoirs, Spivak unveils the colorful life of one of cinema's greatest artists.

The British Museum's collection of South Indian paintings consists of around 1000 items ranging from the 17th to the 20th century and representing a wide variety of themes and techniques. Only a very few examples from this major collection have been published before. In this book the collection will be catalogued in full, and 250 of the most important items will be reproduced in colour. The paintings will be described and listed according to the their topics (Hindu mythology; castes, trades and occupations; natural history drawings; painted narratives; India observed) and according to the medium on which they were executed (paper, cloth, leather, mica). Each section will begin with a brief introduction outlining the essential stylistic and iconographic features. Among this material are a number of highly interesting albums such as a set of 91 paintings depicting Hindu mythology, dating from the early decades of the 19th century. More unusual items are the long painted scrolls from Andhra illustrating local mythological narratives, the painted cloths from Tamil Nadu depicting the Ramayana epic, and paintings on paper used by the storytellers of northern Karnataka.

This volume tells the complete story of the Westminster Abbey chapter house, which ranks as one of the spectacular achievements of European Gothic art and architecture; and that is precisely what its builder, King Henry III, intended. Begun in the mid-1240s, and completed within a decade, its pre-eminence was recognized in its own day, when the chronicler Matthew Paris described Westminster as having 'a chapter house beyond compare'. Papers by leading scholars in the field of medieval art and architecture reveal the reasons for the construction of the chapter house and trace the possible influences upon the master mason in charge of the project. The subsequent history of the structure is revealed as it evolved from a meeting place of the king's Great Court, the predecessor of the English Parliament, and as a royal treasury into a repository for government archives after the Dissolution, home to the Public Record Office until the late 1850s, and its subsequent restoration at the hands of Sir George Gilbert Scott. Now under the care of English Heritage, the chapter house has just been cleaned and restored again, leading to the spectacular light-filled building that we see today, to which full justice is done by this richly illustrated book, filled with pictures of the architectural and sculptural details, the medieval tilework and the wall painting that justify the motto inscribed in the chapter house floor: 'as the rose is the flower of flowers, so is this the house of houses'.

The photographs in The Connecticut River follow this major waterway for 410 miles, from its origin near the Canadian border to its wide mouth on Long Island Sound, giving us a vivid portrait of a living artery of the New England landscape. Author and photographer Al Braden opens the book with an essay introducing important aspects of the river, and then presents 136 full-page color photos, ranging from close-ups to dramatic aerials, to reveal the river as few people are privileged to experience it. Readers will see and learn about the landscape, history, development, conservation, geologic formations, wildlife, flora, and, of course, the moods of the water, sky, and riverbank. Informative captions provide a wealth of information about the images, from pristine misted mornings to rich valley farmlands and modern hydroelectric turbines. Together, the images and text provide a poignant look at the river and document its centrality to the development of the unique character of New Hampshire, Vermont, Massachusetts, and Connecticut. Includes select bibliography and list of resources.

This paper takes as its starting point the theory that Eskimos came to the Americas from Paleolithic Europe, then compares the artwork of both cultures to see if there are any similarities to support this hypothesis.

In this article Harriet Boyd Hawes, groundbreaking archaeologist, nurse, and relief worker, suggests that the reliefs are the adornments of a couch-altar that stood in the sanctuary which Themistocles restored for the Lycomids at Phlya..

Dennison suggest that the 'Scipio type' Roman portrait bust, once thought to represent Scipio the elder, actually depicts priests of Isis, whose cult rose to prominence at the time these busts were carved.

Arthur Frothingham, a father of the discipline of Art History, here lists and categorizes the form and development of the Roman triumphal arch.

A discussion of the works and school of Andokides, a famous Greek vase-painter of the 6th century active in the transitional period from black to red figure decoration.

In this paper Everett reconstructs his professional life and activities of Antoniazzo Romano and suggests a list of works by the artist, a task made difficult by his stylistic resemblance to other painters of the time.

Arthur Frothingham, one of the founding fathers of Art History, here discusses the origins of Hermes, and suggests that the prototype of Hermes was an Eastern deity of Babylonian extraction.

This paper uses a group of inscribed pottery with datable references to fix a more certain chronology for such pottery in 3rd century BC Alexandria.

An article tracing the development of the Ionic column from Egyptian lotus motifs through Assyrian rosettes and Cypriot pottery motifs.