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In a time that celebrates beauty and money over so much else, this book is a lesson in elegance, grace, and style. It draws together for the first time in a single volume a sumptuous gallery of portraits dating from the early nineteenth century to World War II. Some are well-known, others unfamiliar, but all capture the spirit of their age, throwing the society that produced them into sharp and vivid relief. "The Society Portrait" offers entertaining anecdotes and intriguing insights into the personalities of both the artists and their patrons, providing a panorama of the settings in which the portraits were created, from French chateaux and English country houses to American mansions and Russian palaces. From David to Ingres, from Sargent to Boldini, from Dali to Warhol, "The Society Portrait" presents a dazzling array of works of art, and discusses them in their art historical and social context in the most elegant and entertaining manner. Lavishly illustrated new book . . . . "Vogue" An impressive and seminal work, "The Society Portrait: From David To Warhol" is a critically important and essential addition for personal, professional, and academic library History of Art reference collections and supplemental reading lists. "Library Bookwatch" This book, a masterful examination of society portraits, is studded with amazing reproductions from the early 1800s to the 20th-century's nouveau riche. It's captivating and insightful, a catalogue of the various periods' aspirations and societal mores. "Washington Post" Lush and well researched, it's sure to please art lovers. "Southern Accents" "Society Portraits" reminds us that while society shapes art, perhaps the mark of true greatness is when art creates a portrait of society. "Brillant Magazine ""
Provides a detailed account of the political, economic, and cultural state of France and theorizes about the future of the country.
Several stark premises have long prevailed in our approach to Russian history. It was commonly assumed that Russia had always labored under a highly centralized and autocratic imperial state. The responsibility for this lamentable state of affairs was ultimately assigned to the profoundly agrarian character of Russian society. The countryside, home to the overwhelming majority of the nation's population, was considered a harsh world of cruel landowners and ignorant peasants, and a strong hand was required for such a crude society. A number of significant conclusions flowed from this understanding. Deep and abiding social divisions obstructed the evolution of modernity, as experienced "naturally" in other parts of Europe, so there was no Renaissance or Reformation; merely a derivative Enlightenment; and only a distorted capitalism. And since only despotism could contain these volatile social forces, it followed that the 1917 Revolution was an inevitable explosion resulting from these intolerable contradictions—and so too were the blood-soaked realities of the Soviet regime that came after. In short, the sheer immensity of its provincial backwardness could explain almost everything negative about the course of Russian history. This book undermines these preconceptions. Through her close study of the province of Nizhnii Novgorod in the nineteenth century, Catherine Evtuhov demonstrates how nearly everything we thought we knew about the dynamics of Russian society was wrong. Instead of peasants ground down by poverty and ignorance, we find skilled farmers, talented artisans and craftsmen, and enterprising tradespeople. Instead of an exclusively centrally administered state, we discover effective and participatory local government. Instead of pervasive ignorance, we are shown a lively cultural scene and an active middle class. Instead of a defining Russian exceptionalism, we find a world recognizable to any historian of nineteenth-century Europe. Drawing on a wide range of Russian social, environmental, economic, cultural, and intellectual history, and synthesizing it with deep archival research of the Nizhnii Novgorod province, Evtuhov overturns a simplistic view of the Russian past. Rooted in, but going well beyond, provincial affairs, her book challenges us with an entirely new perspective on Russia's historical trajectory.
From 1802, when the young artist William Edward West began painting portraits on a downriver trip to New Orleans, to 1918, when John Alberts, the last of Frank Duveneck's students, worked in Louisville, a wide variety of portrait artists were active in Kentucky and the Ohio River Valley. Lessons in Likeness: Portrait Painters in Kentucky and the Ohio River Valley, 1802–1920 charts the course of those artists as they painted the mighty and the lowly, statesmen and business magnates as well as country folk living far from urban centers. Paintings by each artist are illustrated, when possible, from The Filson Historical Society collection of some 400 portraits representing one of the most extensive holdings available for study in the region. This volume begins with a cultural chronology—a backdrop of critical events that shaped the taste and times of both artist and sitter. The chronology is followed by brief biographies of the artists, both legends and recent discoveries, illustrated by their work. Matthew Harris Jouett, who studied with Gilbert Stuart, William Edward West, who painted Lord Byron, and Frank Duveneck are well-known; far less so are James T. Poindexter, who painted charming children's portraits in western Kentucky, Reason Croft, a recently discovered itinerant in the Louisville area, and Oliver Frazer, the last resident portrait artist in Lexington during the romantic era. Pennington's study offers a captivating history of portraiture not only as a cherished possession but also representing a period of cultural and artistic transitions in the history of the Ohio River Valley region.
Stephen L. Dyson has spent a lifetime studying and teaching the history of ancient Rome. That unparalleled knowledge is reflected in his magisterial overview of the Eternal City. Rather than look only at the physical development of the city—its buildings, monuments, and urban spaces—Dyson also explores its social, economic, and cultural histories. This unique approach situates Rome against a background of comparative urban history and theory, allowing Dyson to examine the dynamic society that once thrived there. In his personal effort to reconstruct the city, Dyson populates its streets with the hurried politicians, hawking vendors, and animated students that once lived, worked, and studied there, bringing the ancient city to life for a new generation of students and tourists. Dyson follows Rome as it developed between the third century BC and the fourth century AD, dividing the great megalopolis into distinct neighborhoods and locales. He shows how these communities, each with its own unique customs and colorful inhabitants, eventually grew into the great imperial capital of the Italian Empire. Dyson integrates the full range of sources available—literary, artistic, epigraphic, and archaeological—to create a comprehensive history of the monumental city. In doing so, he offers a dramatic picture of a complex and changing urban center that, despite its flaws, flourished for centuries.
Published in conjunction with an exhibition held at the Bode-Museum, Berlin, Aug. 25-Nov. 20, 2011, and at the Metropolitan Museum of Art, New York, Dec. 21, 2011-Mar. 18, 2012.
A "persuasive and essential" (Matthew Desmond) work that will forever change how we look at life after prison in America through Miller's "stunning, and deeply painful reckoning with our nation's carceral system" (Heather Ann Thompson). Each year, more than half a million Americans are released from prison and join a population of twenty million people who live with a felony record. Reuben Miller, a chaplain at the Cook County Jail in Chicago and now a sociologist studying mass incarceration, spent years alongside prisoners, ex-prisoners, their friends, and their families to understand the lifelong burden that even a single arrest can entail. What his work revealed is a simple, if overlooked truth: life after incarceration is its own form of prison. The idea that one can serve their debt and return to life as a full-fledge member of society is one of America's most nefarious myths. Recently released individuals are faced with jobs that are off-limits, apartments that cannot be occupied and votes that cannot be cast. As The Color of Law exposed about our understanding of housing segregation, Halfway Home shows that the American justice system was not created to rehabilitate. Parole is structured to keep classes of Americans impoverished, unstable, and disenfranchised long after they've paid their debt to society. Informed by Miller's experience as the son and brother of incarcerated men, captures the stories of the men, women, and communities fighting against a system that is designed for them to fail. It is a poignant and eye-opening call to arms that reveals how laws, rules, and regulations extract a tangible cost not only from those working to rebuild their lives, but also our democracy. As Miller searchingly explores, America must acknowledge and value the lives of its formerly imprisoned citizens. PEN America 2022 John Kenneth Galbraith Award for Nonfiction Finalist Winner of the 2022 PROSE Award for Excellence in Social Sciences 2022 PROSE Awards Finalist 2022 PROSE Awards Category Winner for Cultural Anthropology and Sociology An NPR Selected 2021 Books We Love As heard on NPR’s Fresh Air