"A dedicated realist who veered between extremes of sociability and hermetic isolation, Fantin-Latour painted group dynamics over the course of two decades, from 1864 to 1885. This was a period of dramatic change in French history and art--events like the Paris Commune and the r…
Focusing on the art of Henri Fantin-Latour (1836-1904) and his colleagues Gustave Courbet, Edgar Degas, Edouard Manet, Frédéric Bazille, and Pierre-Auguste Renoir, Fellow Men argues for the importance of the group as a defining subject of nineteenth-century French painting. Thro…
"All wars are fought twice, the first time on the battlefield, the second time in memory. Exploring how this troubled memory works in Vietnam, the United States, Laos, Cambodia, and South Korea, the book deals specifically with the Vietnam War and also war in general. He reveals…
"All wars are fought twice, the first time on the battlefield, the second time in memory. Exploring how this troubled memory works in Vietnam, the United States, Laos, Cambodia, and South Korea, the book deals specifically with the Vietnam War and also war in general. He reveals…
"All wars are fought twice, the first time on the battlefield, the second time in memory. Exploring how this troubled memory works in Vietnam, the United States, Laos, Cambodia, and South Korea, the book deals specifically with the Vietnam War and also war in general. He reveals…
"All wars are fought twice, the first time on the battlefield, the second time in memory. Exploring how this troubled memory works in Vietnam, the United States, Laos, Cambodia, and South Korea, the book deals specifically with the Vietnam War and also war in general. He reveals…
"Notions of identity have long structured women's art. Dynamics of race, class, and gender have shaped the production of artworks and oriented their subsequent reassessments. Arguably, this is especially true of art by women, and of the socially engaged criticism that addresses …
"Notions of identity have long structured women's art. Dynamics of race, class, and gender have shaped the production of artworks and oriented their subsequent reassessments. Arguably, this is especially true of art by women, and of the socially engaged criticism that addresses …
"Notions of identity have long structured women's art. Dynamics of race, class, and gender have shaped the production of artworks and oriented their subsequent reassessments. Arguably, this is especially true of art by women, and of the socially engaged criticism that addresses …
"Notions of identity have long structured women's art. Dynamics of race, class, and gender have shaped the production of artworks and oriented their subsequent reassessments. Arguably, this is especially true of art by women, and of the socially engaged criticism that addresses …
