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"For almost 300 years, an organisation has quietly tried to change almost every aspect of life in Britain. That organisation is the Royal Society for the Encouragement of Arts, Manufactures and Commerce, often known simply as the Royal Society of Arts. It has acted as Britain's private national improvement agency, in every way imaginable - essentially, a society for the improvement of everything and anything. This book is its history. From its beginnings in a coffee house in the mid-eighteenth century, the Society has tried to change Britain's art, industry, laws, music, environment, education, and even culture. It has sometimes even succeeded. It has been a prize-fund for innovations, a platform for Victorian utilitarian reformers, a convenor of disparate interest groups, and the focal point for social movements. There has never been an organisation quite like it, constantly having to reinvent itself to find something new to improve. The book rewrites many of the old official histories of the Society and updates them to the present day, incorporating over half a century of further research into the periods they covered, along with new insights into the organisation's evolution. The book reveals the hidden and often surprising history of how a few public-spirited people tried to make their country better, offering lessons from their triumphs and their failures for all would-be reformers today"--
The Artist and the State, 1777-1855: The Politics of Universal History in British & French Painting is the first book-length study to examine political uses of 'universal history', or the philosophy of history, in European art from 1777 to 1855. Daniel R. Guernsey discusses a range of mural paintings and sculptural works produced in England and France between the American Revolution and the Universal Exposition of 1855, comparing the ways artists such as James Barry, Eug? Delacroix, Paul Chenavard, David d'Angers, and Gustave Courbet expressed linear or cyclical histories of progress and decline. By considering the work of these important European artists together, he reveals not only the rich artistic interaction that took place between England and France - as well as Germany - at this time, but also how the notion of 'universal history' was to become a major preoccupation in the work of these individual artists, each one participating in shaping a highly significant mode of eighteenth- and nineteenth-century political art.
Constructing Economic Science shows how the new "science" of economics was primarily an institutional creation of the modern university. Keith Tribe charts the path through commercial education to the discipline of economics and the creation of an economics curriculum that could be replicated around the world.
"Political economy is defined in this volume as collective state or corporate support for art and architecture in the public sphere intended to be accessible to the widest possible public, raising questions about the relationship of the state to cultural production and consumption. This collection of essays explores the political economy of art from the perspective of the artist or from analysis of art's production and consumption, emphasizing the art side of the relationship between art and state. This volume explores art as public good, a central issue in political economy. Essays examine specific cultural spaces as points of struggle between economic and cultural processes. Essays focus on three areas of conflict: theories of political economy put into practices of state cultural production, sculptural and architectural monuments commissioned by state and corporate entities, and conflicts and critiques of state investments in culture by artists and the public."--amazon.com edit. desc.
Each number includes a classified "Monthly catalogue."