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Scholars in art history, anthropology, history, and feminist media studies explore Western antimodernism of the turn of the 20th century as an artistic response to a perceived loss of ?authentic? experience.
A revolutionary study of nineteenth-century Parisian cartography and its role in shaping a modern conception of space Maps are rarely given the same attention as other print media or art forms in urban history. Author Min Kyung Lee shows their rich potential in this lavishly illustrated study, which brings together maps and other archival materials along with drawings and paintings. She works across disciplines to examine mapping practices in the development of nineteenth-century Paris and the transformative role that urban mapping had on the city's modernization. Lee investigates Paris's formation as a modern city, ultimately framing the practice of cartography as a catalyst for the emergence of new spatial and compositional theories. Beginning with an examination of the emblematic urban plan that Napoléon III gave to the prefect of the Seine, Georges-Eugène Haussmann, in 1853, Lee explores the significance of the map itself; the means of its production through surveying; the methods of its use and reception by architects, engineers, and administrators; and its place in the visual culture of Paris's modernization. At the heart of this exploration is a focus on orthography in architecture and the new quality of exactitude in modern mapping practices. The precise grid structure of orthographic maps and plans evinced a sense of objectivity, yet it was not without political context and social consequences, as Lee demonstrates throughout.
When it opened in 1889 Parisians were appalled by the "useless and monstrous" tower Gustave Eiffel planted in the heart of their beloved city. That enmity, however, was short-lived. "The Eiffel Tower" is a pictorial study of the great structure by acclaimed architectural photographer Lucienne Herve, whose ethereal images convey the balance between the tower's elegant ironwork and its sheer physical force.
Vanishing paradise" offers a fresh take on the modernist primitivism of the French painter Paul Gauguin, the exoticism of the American John LaFarge, and the elite tourism of the American writer Henry Adams. Childs explores how these artists wrestled with the elusiveness of paradise and portrayed colonial Tahiti in ways both mythic and modern.