Ingres Then, and Now is an innovative study of one of the best-known French artists of the nineteenth century, Jean Auguste Dominique Ingres. Adrian Rifkin re-evaluates Ingres' work in the context of a variety of literary, musical and visual cultures which are normally seen as alien to him. Re-viewing Ingres' paintings as a series of fragmentary symptoms of the commodity cultures of nineteenth-century Paris, Adrian Rifkin draws the artist away from his familiar association with the Academy and the Salon.
Rifkin sets out to show how, by thinking of the historical archive as a form...

Is the canon of art history a sacred collection of the best paintings by the greatest masters, or a construct turning its contents into products of mastery, and defining culture and creativity as essentially European and masculine? The question of the traditional, patriarchal canon, of whether it should be rejected, replaced or reformed, is a debate at the centre of feminist art history. In this book, the author examines the canon's appeal, and explores both the fantasies and desires served by traditional heroic narratives in art history, and those which drive feminist criticism to oppose...

This study of the work of women artists discusses the work of individual women artists in the context of contemporary art practices and in relation to key feminist issues in art history. It looks at the work of a diverse range of artists including women from the United States, the former Soviet Union and the United Kingdom - discussing, among others, the work of Barbara Kruger, Cindy Sherman and the V Girls. Work by 20th-century Soviet women artists is covered, providing a case study of the production of art in non-Western economic, political and ideological circumstances.