In 1979, the Chinese government formalized a new policy of openness to the West. For the first time in many years, Chinese artists could study the art of Europe and North America. Meanwhile, Western art historians began looking curiously into the art world of contemporary China. The lack of comprehension was mutual and almost total. Chinese art administrators, including Jiang Feng, an important figure in our study, traveled to France hoping to find the glorious source of China's revolutionary oil painting. They found it, of course, in the museums of Paris, but were appalled that its practice was largely defunct. Read >>

The "New Woman" Revised - Painting and Gender Politics on Fourteenth Street by Ellen Wiley Todd. Read >>

Lovis Corinth by Horst Uhr. Read >>

Masters of Water-Colour Painting by H. M. Cundall. Read >>

Chinese Painters - A Critical Study by Laurence Binyon, 1869-1943. Read >>

The Madonna in Art by Estelle M. (Estelle May) Hurll, 1863-1924. Read >>

A Practical Guide to the Making of Bromide Prints by Contact and Bromide Enlarging by Daylight and Artificial Light, With the Toning of Bromide Prints and Enlargements. By John A. Tennant. Read >>

Lectures on Landscape - Delivered at Oxford in Lent Term, 1871, The Complete Works of John Ruskin by John Ruskin, 1819-1900. Read >>

Wood-Block Printing - A Description of the Craft of Woodcutting and Colour Printing Based on the Japanese Practice by F. Morley (Frank Morley) Fletcher, 1866-1949. Read >>

Field's Chromatography or Treatise on Colours and Pigments as Used by Artists by George Field. Read >>