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The Impressionist painter Camille Pissarro's eldest son, Lucien, lived in England in 1883, then in Paris until 1890 when he finally settled in England. These travels gave rise to a substantial exchange of letters, most of which have survived. This substantial 1993 collection of the letters of Impressionist painter Camille Pissarro, published in the original French with extensive notes and illustrations, offers a unique source for anyone interested in English 'aesthetic' life towards the end of the nineteenth century. The technical discussion of the translation of drawings to woodblocks engraved by Lucien gives a unique insight into the methods employed, while intimate views on the work of their now famous friends, mainly painters, writers of anarchist theoreticians in Paris, or contemporary painters reacting to the Pre-Raphaelites in London and the Private Press movement inspired by William Morris, mingle advice on painting methods with views on current art trends, family matters, and

This bibliography provides a source for reviews of the state-sponsored Parisian exhibitions of painting and sculpture (Salons) held during the period 1699–1827. It includes an extensive list of references, each presented in a standard format with titles, dates and ordering codes based upon the holdings of the Bibliothéque nationale in Paris. It is indexed both by authors and by periodicals. The essays and articles that are catalogued are of fundamental importance in establishing a picture of contemporary reactions to art in eighteenth- and early nineteenth-century France, and yet the standard work by Maurice Tourneux, Salons et expositions d'art à Paris, 1801–1870, has been out of print for several decades. By incorporating and correcting the relevant material from Tourneux, adding references from the Deloynes collection (together with full details of original sources) and incorporating a broad sample from the periodical press, the authors have achieved a substantial increase in the

This bibliography provides a source for reviews of the state-sponsored Parisian exhibitions of painting and sculpture (Salons) held during the July Monarchy and Second Republic (1831–1851). It includes an extensive list of references, each presented in a standard format, with titles, dates and ordering codes based upon the holdings of the Bibliothèque nationale in Paris. It is indexed both by authors and by periodicals. The essays and articles that are catalogued are of fundamental importance in establishing a picture of contemporary reactions to art in mid-nineteenth-century France and yet the standard work by Maurice Tourneux, Salons et expositions d'art a Paris, 1801–1870, has been out of print for several decades. By incorporating and correcting the relevant material from Tourneux and adding new references gathered from unpublished nineteenth-century manuscript bibliographies and a broad sample of the periodical press, this work offers a substantial increase in the volume and

The Impressionist painter Camille Pissarro's eldest son, Lucien, lived in England in 1883, then in Paris until 1890 when he finally settled in England. These travels gave rise to a substantial exchange of letters, most of which have survived. This substantial 1993 collection of the letters of Impressionist painter Camille Pissarro, published in the original French with extensive notes and illustrations, offers a unique source for anyone interested in English 'aesthetic' life towards the end of the nineteenth century. The technical discussion of the translation of drawings to woodblocks engraved by Lucien gives a unique insight into the methods employed, while intimate views on the work of their now famous friends, mainly painters, writers of anarchist theoreticians in Paris, or contemporary painters reacting to the Pre-Raphaelites in London and the Private Press movement inspired by William Morris, mingle advice on painting methods with views on current art trends, family matters, and

The Oriental Obsession begins in the early sixteenth century with Cardinal Wolsey waiting two years for the delivery of sixty rare Turkey carpets from Venice, and ends in the age of the great exhibitions and emporia on both sides of the Atlantic, before and after 1900, when Islamic objects were seen, appreciated, and bought by millions of the public. The book is concerned with a subject which has not been treated before - the history over four centuries of Islamic artistic traditions and European ideas of Islam as they affected the visual arts of the west and particularly the English-speaking peoples. Studies of individual aspects have been made previously, but this is the first time that an attempt has been made to consider the subject as a whole. The geographical purview extends from Moorish Spain in the west to British India in the east and, besides architecture, the activities that are involved include painting, ceramics, textiles, metalwork, furniture and bookcrafts.