bluuebunny/crossref_metadata_2025 huggingface dataset:
Effects of ion trapping on crossed-laser-beam stimulated Brillouin scattering
Authors: Williams E. A. , Cohen B. I. , Divol L. , Dorr M. R. , Hittinger J. A. , Hinkel D. E. , Langdon A. B. , Kirkwood R. K. , Froula D. H. , Glenzer S. H.
Published: December 2003

An analysis of the effects of ion trapping on ion acoustic waves excited by the stimulated Brillouin scattering of crossing intense laser beams is presented. Ion trapping alters the dispersion of ion acoustic waves by nonlinearly shifting the normal mode frequency and by reducing the ion Landau damping. This in turn can influence the energy transfer between two crossing laser beams in the presence of plasma flows such that stimulated Brillouin scattering (SBS) occurs. The same ion trapping physics can influence the saturation of SBS in other circumstances. A one-dimensional analytical model is presented along with reasonably successful comparisons of the theory to results from particle simulations and laboratory experiments. An analysis of the vulnerability of the National Ignition Facility Inertial Confinement Fusion point design [S. W. Haan et al., Fusion Sci. Technol. 41, 164 (2002)] is also presented.
The noncommutative Lorentzian cylinder as an isospectral deformation
Authors: van Suijlekom W. D.
Published: December 2003

We present a new example of a finite-dimensional noncommutative manifold, namely, the noncommutative cylinder. It is obtained by isospectral deformation of the canonical triple associated with the Euclidean cylinder. We discuss Connes’ character formula for the cylinder. In the second part, we discuss noncommutative Lorentzian manifolds. Here, the definition of spectral triples involves Krein spaces and operators on Krein spaces. A central role is played by the admissible fundamental symmetries on the Krein space of square integrable sections of a spin bundle over a Lorentzian manifold. Finally, we discuss isospectral deformation of the Lorentzian cylinder and determine all admissible fundamental symmetries of the noncommutative cylinder.
Configurational bias Monte Carlo simulation of phase segregation in block copolymer networks
Authors: Palmer Kent I. , Lastoskie Christian M.
Published: December 2003

Cross-linked block copolymers are used as adhesives in fiber-reinforced composite material manufactures for automotive applications. Good adhesion between the polymer matrix and fibers in the interphase region is required for the structural integrity of these materials. Experimental evidence indicates that superior adhesion is obtained when phase segregation occurs between the two matrix phase block copolymers. It is therefore desirable to predict the conditions under which phase segregation is expected to occur. Configurational bias Monte Carlo simulations of two-component, trifunctional block copolymer networks were carried out to investigate phase segregation in these materials. The effects of four principal parameters on phase segregation were examined: the weight fractions of the two components, the cross-link length, the connectivity of the network, and the ratio of the square-well interactions. The molecular simulation results confirmed trends observed in laboratory measurements.
Fluid-like behavior of a one-dimensional granular gas
Authors: Cecconi Fabio , Diotallevi Fabiana , Marconi Umberto Marini Bettolo , Puglisi Andrea
Published: December 2003

We study the properties of a one-dimensional (1D) granular gas consisting of N hard rods on a line of length L (with periodic boundary conditions). The particles collide inelastically and are fluidized by a heat bath at temperature Tb and viscosity γ. The analysis is supported by molecular dynamics simulations. The average properties of the system are first discussed, focusing on the relations between granular temperature Tg=m〈v2〉, kinetic pressure, and density ρ=N/L. Thereafter, we consider the fluctuations around the average behavior obtaining a slightly non-Gaussian behavior of the velocity distributions and a spatially correlated velocity field; the density field displays clustering: this is reflected in the structure factor which has a peak in the k∼0 region suggesting an analogy between inelastic hard core interactions and an effective attractive potential. Finally, we study the transport properties, showing the typical subdiffusive behavior of 1D stochastically driven systems, i.e., 〈|x(t)−x(0)|2〉∼Dt1/2, where D for the inelastic fluid is larger than the elastic case. This is directly related to the peak of the structure factor at small wave vectors.
Discrete Alfvén eigenmodes in high-β toroidal plasmas
Authors: Hu S. , Chen Liu
Published: December 2003

A new type of high-n discrete Alfvén eigenmodes is shown to exist in the large-α (α≡−q2Rdβ/dr) second ballooning stable toroidal plasmas. Here, n is the toroidal mode number, q is the safety factor, β is the ratio between plasma and magnetic pressures, and R and r are, respectively, the major and minor radii. These magnetohydrodynamic eigenmodes are bounded by the α-induced potential wells along the magnetic field line and, thus, exist even in absence of the toroidal Alfvén frequency gap. Due to negligible continuum damping via wave energy tunneling, these large-α toroidal Alfvén eigenmodes are quasimarginally stable and, thus, could be readily destabilized by energetic particles.
Unstable continuous spectra of transonic axisymmetric plasmas
Authors: Goedbloed J. P. , Beliën A. J. C. , van der Holst B. , Keppens R.
Published: December 2003

In transonically rotating toroidal plasmas a new class of local magnetohydrodynamic instabilities is found, called trans-slow Alfvén continuum modes, that are due to poloidal flows exceeding the critical slow magnetosonic speed. When this condition is satisfied, virtually the whole plasma becomes unstable with modes localized at, or close to, rational surfaces with approximately the same growth rates. The instabilities are studied from a general point of view, treating magnetically dominated plasmas (tokamaks) and gravitationally dominated plasmas (accretion disks) on an equal footing. In the first kind of plasmas, rotating overstable modes are found with growth rates that are a fraction of the Alfvén frequency, determined by the poloidal Alfvén Mach number. When the mass of the central object is increased, these modes lock to become explosively unstable with growth rates that may exceed the Alfvén frequency. The instabilities are localized on the magnetic/flow surfaces to which the flows and magnetic fields are confined as long as no anomalously large dissipation mechanism is present. It is suggested that the trans-slow Alfvén continuum modes may generate the necessary turbulence to break this confinement so that accretion could take place and jets could emerge. This theory features: (1) a new effective toroidal scaling of the transonic equilibrium equations, (2) a new compact formulation of the equations for the transonic continuous spectrum, and (3) a completely explicit analytical as well as numerical investigation of the poloidal mode couplings involved in the instabilities.
Effects of local features of the equilibrium current density profile on linear tearing modes
Authors: Militello F. , Huysmans G. , Ottaviani M. , Porcelli F.
Published: December 2003

It is shown that local features of the equilibrium current density profile, i.e., its gradient and curvature evaluated at the resonant magnetic surface, can modify considerably the linear behavior of tearing modes. These features can become particularly important in cylindrical geometry, at moderate values of the electrical resistivity and of the tearing stability parameter, Δ′. A new analytic dispersion relation is derived, which takes into account in a consistent way these new terms and which agrees very well with numerically computed growth rates.
A drift ordered short mean free path description for magnetized plasma allowing strong spatial anisotropy
Authors: Catto Peter J. , Simakov Andrei N.
Published: December 2003

Short mean free path descriptions of magnetized plasmas have existed for almost 50 years so it is surprising to find that further modifications are necessary. The earliest work adopted an ordering in which the flow velocity is assumed to be comparable to the ion thermal speed. Later, less well-known studies extended the short mean free path treatment to the normally more interesting drift ordering in which the pressure times the mean flow velocity is comparable to the diamagnetic heat flow. Such an ordering is required to properly retain the temperature gradient terms in the viscosity that arise from the gyrophase dependent and independent portions of the distribution function. The treatment herein corrects the expressions for the parallel and perpendicular collisional ion viscosities found in these later treatments which use an approximate truncated polynomial expression for the distribution function and neglect the nonlinear piece of the collision operator due to its bilinear form. The modified parallel and perpendicular ion viscosities contain additional terms quadratic in the heat flux. In addition, the electron parallel and gyroviscosities, which were not considered by previous drift ordered treatments, are evaluated. As in all drift orderings, the collision frequency is assumed small compared to the cyclotron frequency. However, the perpendicular scale lengths are permitted to be much less than (as well as comparable to) the parallel ones; as is the case in many magnetic confinement applications. As a result, the description is valid for turbulent and collisional transport, and also allows stronger poloidal density, temperature, and electrostatic potential variation in a tokamak than the standard Pfirsch–Schlüter ordering.
Laser-induced adiabat shaping by relaxation in inertial fusion implosions
Authors: Anderson K. , Betti R.
Published: December 2003

The theory of laser-induced adiabat shaping is carried out for inertial confinement fusion (ICF) capsules. It is shown that a significant improvement of the stability characteristics of ICF implosions can be achieved by shaping the adiabat inside the imploding shell. The optimized adiabat profile has a maximum on the outer ablation surface to lower Rayleigh–Taylor growth rates, and a minimum on the shell inner surface for high compressibility and high neutron yields. Laser-induced adiabat shaping is produced via relaxation using a weak prepulse followed by laser shut-off and the main laser pulse.
Instability theorem in magnetohydrodynamics revisited
Authors: Tasso H. , Throumoulopoulos G. N.
Published: December 2003

A previous theorem by Pfirsch and Tasso [Nucl. Fusion 11, 259 (1971)] concerning “resistive wall modes” is extended in a “weak sense” to the case of time-dependent wall resistivity. Instability growth behavior remains, however, an open problem.
Eigenmode of ion acoustic instability in the presence of sheared parallel flow
Authors: Ito Atsushi , Hirose Akira
Published: December 2003

In this paper, results of kinetic, nonlocal analysis of the current driven electrostatic ion acoustic instability in the presence of nonuniform shear flow are presented. The nonlocal behavior is examined by taking the scale length of shear layer as a control parameter. The growth rate and the threshold current are evaluated numerically and compared with those recently found in the local analysis [V. V. Gavrishchaka et al., Phys. Rev. Lett. 80, 728 (1998)].
Normal modes and frequencies from covariances in molecular dynamics or Monte Carlo simulations
Authors: Strachan Alejandro
Published: December 2003

We propose a simple method to obtain normal modes (NMs) and their characteristic frequencies from molecular dynamics or Monte Carlo simulations at any temperature. The resulting NM are consistent with the vibrational density of states (DOS) (every feature of the DOS can be attributed to one or few NMs). At low temperatures they coincide with the ones obtained from the Hessian matrix. We define the NMs (ρi) by imposing the condition that their velocities be uncorrelated to each other: 〈ρ̇i(t)ρ̇j(t)〉∝δij, where 〈 〉 denotes time average and δij is Kronecker’s delta. With this definition the modes are the eigenvectors of the matrix Kijv=1/2〈mimjvivj〉 [i, j=1,…,3N (N being the number of atoms); m are masses and v atomic velocities]. The eigenvalues of Kijv, λiv, represent the kinetic energy in each NM. The ratio between the eigenvalues (λiv) and those obtained using positions (λir), accelerations (λia) in Kijv instead of velocities are a very good approximation to the mode frequencies: 2πνi∼(λiv/λix)(1/2)∼(λia/λix)(1/4). We demonstrate the new method using with two cases: an isolated water molecule and a crystalline polymer.
Transition from atomic to molecular adsorption of oxygen on tungsten monomer anion
Authors: Stolcic Davor , Kim Young Dok , Ganteför Gerd
Published: December 2003

Using vibrationally resolved ultraviolet photoelectron spectroscopy, we studied oxygen adsorption on W monomer anions. Three oxygen atoms are atomically bound in a WO3− compound, whereas in WO4− the fourth oxygen atom is attached to the oxygen, forming a di-oxygen species, implying that atom to molecule transition of O2 takes place when the number of oxygen atoms attached to a W monomer anion exceeds three. Our results indicate that molecular adsorption of oxygen is preferred on electron-deficient metals, showing that the driving force of the atom to molecule transition for the chemisorption of diatomic molecules can be the variations of electronic structures of metal hosts.
Meet the Publisher
Authors: Ward Sue
Published: December 2003

Gianfranco Monacelli

Taschen Update
Harmonious Opposites
Authors: Railing Patricia
Published: December 2003

Riley, Bridget and Janssen, Hans, Mondrian: Nature to Abstraction
The meanest artist in town
Authors: Wootton David
Published: December 2003

Bindman, David, Hogarth and his Times

Paulson, Ronald, Hogarth
Unriddling Dalí
Authors: Symmons Sarah
Published: December 2003

Gibson, Ian, The Shameful Life of Salvador Dalí
The Logic of Organised Sensations
Authors: Lewis Adrian
Published: December 2003

Adams, Brooke, Jardine, Lisa, Maloney, Martin, Rosenthal, Norman, Shone, Richard, Sensation: Young British Artists from the Saatchi Collection
Utrecht's Shining Moment
Authors: Silver Larry
Published: December 2003

Joaneathan A. Spicer with Lynn Federle Orr Masters of Light: Dutch Painters in Utrecht During the Golden Age
Spencer in America
Authors: Martin Jean
Published: December 2003

Fiona McCarthy, Stanley Spencer: English Visionary
Verbal Landscapes
Authors: Bumpus Judith
Published: December 2003

Michael Rosenthal, Christina Payne and Scott Wilcox (eds), Prospects for the Nation: Recent Essays in British Landscape 1750–1880

Paul Groth and Todd W. Bressi (eds), Understanding Ordinary Landscapes

Deborah Frizell, Humphrey Spender's Humanist Landscapes: Photo‐Documents 1932–1942
A Neglected Master
Authors: Hurley Patricia
Published: December 2003

Jane Livingston, John Elderfield and Ruth E. Fine The Art of Richard Diebenkorn
A Revolution in Art Publishing
Authors: Borchardt‐Hume Achim
Published: December 2003

Mona Hatoum, Mark Dion and Christian Boltanski Contemporary Artists
An Unwholesome Standard
Authors: Wootton David
Published: December 2003

Stephen Calloway, Aubrey Beardsley

Peter Raby, Beardsley and the Nineties

Matthew Sturgis, Aubrey Beardsley. A Biography

Simon Wilson and Linda Zatlin, Aubrey Beardsley: A Centenary Tribute

Linda Gertner Zatlin, Beardsley, Japonisme and the perversion of the Victorian ideal
‘Real people doing real things’
Authors: Steer John
Published: December 2003

Martin Kemp, Behind the Picture: Art and Evidence in the Italian Renaissance
Prague 1600
Authors: Silver Larry
Published: December 2003

Eliška Fučiková, James Bradburne, Beket Bukovinská, et al (eds), Rudolf II and Prague: the Court and the City
‘A’ is for Abandonment
Authors: Silver Larry
Published: December 2003

Helene Roberts Encyclopedia of Comparative Iconography
The Female Artist — can she stand alone?
Authors: Northcote Vivien
Published: December 2003

Witney Chadwick (ed.) Mirror Images: Women, Surrealism and Self‐Representation

Jane H M Taylor and Lesley Smith (eds.) Women and the Book: Assessing the Visual Evidence

Christa Grossinger Picturing Women in Late Medieval and Renaissance Art

Paola Tinagli Women in Italian Renaissance Art: Gender, Representation, Identity

Fredrika H Jacobs Defining the Renaissance Virtuosa: Women artists and the language of art history and criticism
A Medieval Enigma
Authors: Bumpus Judith
Published: December 2003

Book reviewed in this article:

Dillian Gordon, Lisa Monnas and Caroline Elam (eds.) The Regal Image of Richard II and the Wilton Diptych
Becoming a Classic
Authors: Wootton David
Published: December 2003

Book reviewed in this article:

Arlette Sérullaz, Vincent Pomarède and others Delacroix: The Late Work
Art in Exile
Authors: Lambirth Andrew
Published: December 2003

Book reviewed in this article:

Jeremy Lewison Karl Weschke: Portrait of a Painter
For the Gratification of Adults
Authors: De Rijke Victoria
Published: December 2003

Book reviewed in this article:

Anne Higonnet Pictures of Innocence: the History and Crisis of Ideal Childhood
The Art of Persuasion
Authors: Rowe Dorothy
Published: December 2003

Books reviewed in this article:

Toby Clark Art and Propaganda: the Political Image in the Age of Mass Culture

Margaret Timmers (ed.) The Power of the Poster

Matthew Cullerne Bown Social Realist Painting
‘Clem’, aka ‘Mr Modernism’
Authors: Martin Jean
Published: December 2003

Books reviewed in this article:

Florence Rubenfeld Clement Greenberg: A Life

John O’Brian (ed.) Clement Greenberg: The Collected Essays and Criticism

John O’Brian (ed.) Volume 1: Perception and Judgments, 1939–1944

John O’Brian (ed.) Volume 2: Arrogant Purpose, 1945–1949

John O’Brian (ed.) Volume 3: Affirmations and Refusals, 1950–1956

John O’Brian (ed.) Volume 4: Modernism with a Vengeance, 1957–1969
‘All the best things in Life are Love …’
Authors: Negrotti Rosanna
Published: December 2003

Book reviewed in this article:

Andrew Lambirth, Kitty North: Love and Landscape
A Misogynist Ideology
Authors: Callan Guy
Published: December 2003

Book reviewed in this article:

Cristelle L Baskins, Cassone Painting, Humanism, and Gender in Early Modern Italy
Anni Mirabilis
Authors: Shipway Alan
Published: December 2003

Work reviewed in this article:

David Anfam, Mark Rothko: the Works on Canvas. A catalogue raisonné
In Conversation with T J Clark
Authors: Addison Nicholas
Published: December 2003

Book reviewed:

T J Clark Farewell to an Idea: Episodes from a History of Modernism
A Reminder of Past Realities
Authors: De Rijke Victoria
Published: December 2003

Roman Vishniac Children of a Vanished World
Artists of Genius
Authors: Railing Patricia
Published: December 2003

Books reviewed in this article:

Alexandra Exter, Natalia Goncharova, Liubov Popova, Olga Rozanova, Varvara Stepanova and Madezhda Udaltsova. Ed by John E Bowlt and Matthew Drutt Amazons of the Avant‐Garde

Nina Gurianova Exploring Color: Olga Rozanova and the Early Russian Avant‐Garde 1910‐1918

Magdalena Dabrowski, Leah Dickerman, Peter Galassi et al Aleksandr Rodchenko

Margarita Tupitsyn, with contributions by Matthew Drutt and Ulrich Pohlmann El Lissitzky: Beyond the ‘Abstract Cabinet’. Photography, Design, Collaboration
Rembrandt’s Pupil
Authors: Silver Larry
Published: December 2003

Book reviewed in this article:

Ronni Baer Gerrit Dou 1613–1675. Master Painter in the Age of Rembrandt
A Divine Circle
Authors: Callan Guy
Published: December 2003

Book reviewed in this article:

Roberta J M Olson The Florentine Tondo
New Resource for University Lecturers
Authors: Ridley Pauline
Published: December 2003

Books reviewed in this section:

Sarah Carr‐Gomm Dictionary of Symbols in Art: The Illustrated Key to Western Painting and Sculpture

Live Live Live in Your Head
White on White
Authors: George Victoria
Published: December 2003

Books reviewed in this article:

David Batchelor, Chromophobia
Kiefer the Great and Terrible
Authors: Madar Chase
Published: December 2003

Books reviewed in this article:

Matthew Biro, Anselm Kiefer and the Philosophy of Martin Heidegger

Lisa Saltzman, Anslem Kiefer and Art After Auschwitz

Sabine Schütz, Anslem Kiefer: Geschichte als Material: Arbeiten 1969–1983
The Book at the End of the Book
Authors: Gere Charlie
Published: December 2003

Books reviewed in this article:

Peter Weibel and Timothy Druckrey, (eds) net condition: art and global media

Timothy Druckrey, (ed.) Ars Electronica: Facing the Future

Lev Manovich, The Language of New Media
A Religious Sense of Wonder
Authors: Lambirth Andrew
Published: December 2003

Books reviewed in this article:

Timothy Hyman and Patrick Wright, (eds) Stanley Spencer

Adrian Glew, (ed.) Stanley Spencer: Letters and Writings

Kitty Hauser, Stanley Spencer
Warhol — Human or Anti–human?
Authors: Walker John A
Published: December 2003

Books reviewed in this article:

Heiner Bastian et al., Andy Warhol Retrospective

Annette Michelson (ed.), Andy Warhol
The Fifties in London and New York
Authors: Walker John A.
Published: December 2003

Books reviewed in this article:

Martin Harrison, Transition: The London Art Scene in the Fifties

Douglas Dreishpoon, Alan Trachtenberg et al., The Tumultuous Fifties: A View from The New York Times Photo Archives
Gainsborough in Town and Country
Authors: Lambirth Andrew
Published: December 2003

Susan Sloman Gainsborough in Bath

Hugh Belsey Thomas Gainsborough: A Country Life

Hugh Belsey Gainsborough at Gainsborough's House

Hugh Belsey and Christopher Wright Gainsborough Pop

Michael Rosenthal and Martin Myrone (eds) Gainsborough
Pressing Engagements
Authors: Silver Larry
Published: December 2003

Michael Kitson Studies on Claude and Poussin

Charles Avery Studies in Italian Sculpture

Meredith Lillich Studies in Medieval Stained Glass and Monasticism
Real Bodies: Video in the 1990s
Authors: Lajer–Burcharth Ewa
Published: December 2003

This article discusses the recent work of three artists, Gary Hill, Mona Hatoum and Maureen Connor, to address the meaning of the aesthetic shift in video art of the 1990s and its implications for thinking about the body as a site of identification and identity. Engaging (and reformulating) the Lacanian notion of the Real, it explores the effects of the new kind of corpo‐reality proposed by these video installations on the ways in which we imagine our relation to our own bodies as mediated by visual culture. In so far as it raises the spectre of flesh as a culturally inassimilable remnant, the aesthetic concern with the Real may be seen as a response to a certain conceptual impasse in thinking about identity as an effect of cultural construction. This is not, however, a matter of retreating into essentialist positions, strategically useful as such positions may be. To imagine the ‘lived body’ as Real – as the work of these artists suggests – is to explore the idea of unfinishedness of the self as a specific body, and to envision the instability of the internal psychic boundaries as a concrete embodied experience. Video as a medium is particularly well suited to address such issues as one of the technologies that have contributed to the transformation of contemporary reality into, predominantly, visuality. Focusing on each artist's different mode of involvement with the Real as a body, the article examines the attempts of these video installations to construct a new aesthetic of the subject in the era of screen.
The Medley Print in Early Eighteenth–Century London
Authors: Hallett Mark
Published: December 2003

This article investigates a fascinating, but largely unknown type of eighteenth‐century print: the medley. The medley was a category of engraving that became fashionable in early eighteenth‐century London, and typically took the form of a trompe‐ l'oeil image that imitated a variety of graphic materials, depicted as if they had been scattered across the picture surface. I shall offer a close reading of two of these images, John Sturt's The May Day Country Mirth of 1706 and George Bickham's The Whig's Medley of 1707, in order to recover the medley's contemporary identity and appeal. Doing so will open up a series of interrelated questions regarding the ways in which the medley print constructed artistic identity, responded to current patterns of print commodification, and defined specific modes of spectatorship. I suggest that the medley represented a sophisticated site of print connoisseurship and artistic self‐advertisement in the period, one which could also be exploited as a vehicle of historical and party‐political polemic, and as a weapon of personal satire. Exploring the medley print will thus not only help us understand an independent, and highly ambitious, genre of the graphic arts, but also demonstrate the complex interplay between engraving, politics and journalism in early eighteenth‐century London's graphic culture.
On Not Explaining Late Degas
Authors: Lewis Adrian
Published: December 2003

Kendall, Richard Degas: Beyond Impressionism
Visuality: The New, New Art History?
Authors: Meskimmon Marsha
Published: December 2003

Allert, Beate (ed.). Languages of Visuality: Crossings between Science, Art, Politics and Literature

Stafford, Barbara. Good Looking: Essays on the Virtue of Images
The Angel Choir at Lincoln and the Poetics of the Gothic Smile
Authors: Binski Paul
Published: December 2003

This article argues that the smiling images produced in the thirteenth century deserve serious attention as signs of the centrality of the body to contemporary religious speculation. Smiling images are held here to be part of a re–evaluation of the totality of physical representation, especially, but not exclusively, in sculpture. The Angel Choir (1256–80) at Lincoln is taken as a central instance of this particular expressivity. It is suggested that this rhetorical order formed part of a wider order of representation which could involve not merely individual figures, but also the discourses of architecture, liturgy, biblical exegesis, music and light. Gothic ‘naturalism’, it is argued, is not merely shallow, but has a metaphysical character; it is not to be seen solely from the perspective of Aristotelianism or the vernacular culture of the romance. Instead, it is implicated deeply in the same insights into the body and soul which produced the medieval visual culture of the macabre.
Quakerism and Visual Culture 1650–1800
Authors: Pointon Marcia
Published: December 2003

The doctrine of Quakerism taught the evils of superfluity. Its practice, however, required the negotiation of a specifically material – and materialist – culture, a complex intertwining set of signs with powerful public values. And this became increasingly true with the success during the eighteenth century of this metropolitan group within business, science and medicine. The vast mass of documentation that Quakerism offers the historian has often, of course, been drawn upon by historians of English and American non‐conformism. My reading, however, questions the notion of a simple negative relationship between Quakerism and visual culture: questions of representation in general, and portraiture in particular, questions of the production and consumption of luxury goods, questions of the aesthetic, and questions of visual pleasure. It is, arguably, a group like the Quakers – with their procedures for monitoring display – who recognized and sought to control the political power of the visual. This paper asks how members of a group that was firstly controlled by well‐documented and rigorous regulations concerning display, and secondly highly successful in the public arenas of commerce and business where self‐images were a recognized mechanism, negotiated the apparent contradictions in their position. How did individuals with highly developed views about the effects of visual experience deploy their sophisticated knowledge for their own or their community’s benefit?
Manet Bits
Authors: Smith Paul
Published: December 2003

Alan Krell. Manet and the Painters of Contemporary Life

Juliet Wilson–Bareau. Manet by Himself

Michael Fried. Manet’s Modernism, or, The Face of Painting

Bradford Collins. 12 Views of Manet's Bar
Virtuous and Vulgar Feminisms
Authors: Malvern Sue
Published: December 2003

Amelia Jones Sexual Politics. Judy Chicago’s Dinner Party in Feminist Art History

M. Catherine de Zegher Inside the Visible: an elliptical traverse of 20th century art. in, of, and from the feminine
Before Piety
Authors: Welchman John
Published: December 2003

Jeremy Gilbert–Rolfe. Beyond Piety: Critical Essays on the Visual Arts, 1986–1993
Hands–On Surrealism
Authors: Powell Kirsten H.
Published: December 2003

Images of hands abound in Surrealist art and literature. From André Breton's writings, including his novel Nadja, to photographs published in Surrealist books and journals, the hand appears in a variety of guises. By positioning Surrealist uses of hands against the backdrop of Walter Benjamin’s essay, ‘The Work of Art in the Age of Mechanical Reproduction’, the unique qualities of Surrealist imagery become apparent. In Surrealist photographs by Man Ray and Maurice Tabard and books and articles by Breton and Georges Hugnet, hands figure as weird, magical, uncanny objects, as texts to be read to unlock the secrets of the psyche, as connectors between our modern world and our primitive past, and also as symbols of art and signs for art‐making in an age of Surrealist mechanical reproduction.
From Chemical Process to the Aesthetics of Omission: Etching and the Languages of Art Criticism in Nineteenth–century Britain
Authors: Chambers Emma
Published: December 2003

This article explores the development of aesthetic theories of the etched line in the 1860s and the role of language in redefining the identity of etching and strengthening its claims for status and legitimacy within the established academic hierarchy. It maps out a shift from the use of technical to artistic terminology as a means of emphasizing intellectual over manual input by the etcher and establishing etching as an original rather than a reproductive art. The writings of Francis Seymour Haden and Philip Gilbert Hamerton and the ways in which they promoted etching as an original art form practised by painters, building on the redefinitions of the art begun by earlier writing are examined. Haden and Hamerton pioneered a new aesthetic language for etching based on a theory of ‘learned omission’ in which the lines absent from the plate were as important as those present, and not only demonstrated the artistic skill and intellectual input of the etcher, but also emphasized the role of the viewer as an active participant in the creation of meaning, raising questions about artistic creativity, the interpretation of art and the rhetoric which surrounds it.
In the Beginning: Theories and images of creation in Northern Europe in the twelfth century
Authors: Rudolph Conrad
Published: December 2003

The twelfth century witnessed a phenomenal explosion of interest in creation theory, an interest that was accompanied by an equally phenomenal increase in creation imagery of almost 900 per cent over the previous century. Often taken at face value by scholars as straightforward creation scenes or as the unique iconographical expressions of various patristic or contemporary writers on creation without reference to the larger, on‐going dialectical struggles of which these writings and the artworks were a part, these images should instead be seen as active factors in the process of forming elite opinion as a prelude to conditioning public opinion on a broader, lower level.
Taxation with Representation. Visual narrative and the political field of the Kariye Camii
Authors: Nelson Robert S.
Published: December 2003

A visually prominent lunette mosaic at the fourteenth‐century Byzantine church of the Chora, also known as the Kariye Camii, is studied in relation to the large narrative programme of the church and to the economic and political contexts of its creation. The mural depicts Mary and Joseph registering to pay their taxes before the local governor in Bethlehem. Among the questions posed are the following: what and how did the scene represent; what did it mean to devote great resources to the church in a period of political decline and economic deprivation; in what contexts did viewers encounter the image, and what were the consequences of identifying with its messages? In sum, how did the creation and reception of this mural constitute a socially and politically symbolic act?
Imperial Story‐lands: Architecture and display at the Imperial and Commonwealth Institutes
Authors: Crinson Mark
Published: December 2003

This article uses two buildings in London – the Imperial Institute in South Kensington, and the Commonwealth Institute in Holland Park – to examine an apparent parallelism in British architecture, in the history of museums, and in the political movement from empire to commonwealth in twentieth‐century Britain. The Imperial Institute was created at the crest of imperial confidence and its galleries displayed a global circuit of commodities (an ‘index collection’) intended to improve trade and help develop resources within the empire. In the 1920s this approach was re‐routed in favour of the telling of an exhibitionary narrative (an ‘empire story‐land’). In the 1950s the Imperial Institute was demolished, in part due to a perceived loss of function, in part to a disillusionment with its architecture. The latter, it is contended, also affected site planning in the museums area of South Kensington. Replacing the Imperial Institute and moving its collections to a new site, the Commonwealth Institute was designed with the belief that architectural form and urban space might be reconceived so as to signify post‐imperialism. The article argues that whilst the Imperial Institute manifests a conflict between the roles of empire builder and empire spectator, the Commonwealth Institute presents a seeming image of multi‐culturalism – a display of equals – whilst constructing the visitor as a ‘British’ subject, outside the field of visuality.
Where Meaning Lies
Authors: Ford Charles
Published: December 2003

Mariët Westermann, The Art of the Dutch Republic

Michael North, Art and Commerce in the Dutch Golden Age

Reindert Falkenburg, Jan de Jong, Mark Meadow, Dulcia Meijers, Bart Remakers, Herman Roodenburg and Frits Scholten (eds), Natuur en Landschap in de Nederlandse Kunst, 1500–1850 (Nature and Landscape in Netherlandish Art, 1500–1850)

Wayne Franits (ed.), Looking at Seventeenth‐century Dutch Art — Realism Reconsidered
The Critic’s Performance: Body art and embodied knowledge
Authors: Meskimmon Marsha
Published: December 2003

Jones, Amelia Body Art/Performing the Subject
Piranesi and Francesco Bianchini: Capricci in the Service of Pre‐scientific Archaeology
Authors: Dixon Susan M.
Published: December 2003

Giovanni Battista Piranesi’s interest in the role of images in constructing historical knowledge underlay the artist’s choice of a mode of representation known as the capriccio, or pastiche of ancient artefacts, to illustrate his archaeological publications of the late 1750s and early 1760s. Piranesi in part derived his attitude towards the capricci from Francesco Bianchini, author and illustrator of L’istoria universale provata coi monumenti, published first in 1697 and reissued in 1747. The significance of the connection between Piranesi and Bianchini is that it demonstrates that the artist upheld that the object or image could address historians’ epistemological concerns, and that the artistic imagination was a viable tool of historical research; these were attitudes typical of archaeology of the late seventeenth and eighteenth centuries. In an addendum, the article suggests that in 1747 or 1748 Piranesi created four capricious compositions known as the Grotteschi with Bianchini’s work in mind, and possibly to earn an artistic commission related to the publication of Bianchini’s texts.
The Matchless Beauty of Widowhood: Vittoria Colonna’s Reputation in Nineteenth‐century England
Authors: Østermark‐Johansen Lene
Published: December 2003

Bronzino’s portrait of Maria Salviati was in the latter half of the nineteenth century believed to be Michelangelo’s portrait of his woman friend, the poet and Protestant reformer Vittoria Colonna. A Victorian misreading of Michelangelo’s poems found evidence of such a portrait in his verses, and the article discusses the myth of the artist’s portrait of his beloved within the context of the Petrarchan tradition. It furthermore establishes Vittoria Colonna’s great popularity in Victorian England as the faithful widow, devout Protestant and female poet, and draws a number of parallels between sixteenth‐ and nineteenth‐century attitudes to the intellectual woman.
Meaning and Appearance – A Merleau‐Pontian account of Leonardo’s studies from life
Authors: Dunton Catherine
Published: December 2003

Art has two masters, claimed Leonardo, man and nature. This interplay between human reason and sensible object becomes particularly intense in studies made directly from life. Here, the artist must bring his intelligence to bear on the investigation of the object whilst at the same time remaining faithful to its physical appearance. Using the theories of Merleau‐Ponty as a conceptual framework, this paper examines the process of drawing from a real object in relation to the theories of active and passive vision found in Leonardo’s optics. In this way, the artistic meaning of the drawing, i.e., that which carries the work beyond the status of mere illustration, can be seen to arise from a tension between the inner consciousness and the external world – a tension set up and symbolically overcome by the act of drawing itself.
Merleau‐Ponty, Realism and Painting: psychophysical space and the space of exchange
Authors: Prendeville Brendan
Published: December 2003

If Merleau‐Ponty was able to give painting a central place in his philosophy, it is because European painters of the realist tradition anticipated his themes in their practice. He implicitly defined painting as a form of inquiry, where the inquirer is corporeally engaged in the field of study, as opposed to science, which ‘looks down from above’, and he took painting as a model for his own thinking of sensation. A source for the spatial antitheses that recur throughout his writing is found in perspective construction, particularly in its seventeenth‐century genre and realist versions. It is the disembodied matrix of linear perspective, imposed ‘from above’, that makes situated perspective possible. Merleau‐Ponty is both a critic of perspective and a perspectivist; a critic of science and its interlocutor, requiring that which he opposes. The study of perception is a ground on which all three fields of concern – science, painting and philosophy – come together, the nineteenth century being a critical period for this encounter. The nineteenth‐century concept of ‘milieu’ is relevant here, because it unites the spatial antitheses referred to; it also introduces the theme of mediation. Without losing his commitment to sens– sensuousness and meaning – Merleau‐Ponty increasingly dehumanizes his philosophical vocabulary, introducing terms suggestive of mediation. This shift to the middle is signalled by a use of terms like ‘exchange’ and ‘commerce’ to describe the ‘two‐sidedness’ of perception. The language of exchange articulates the psychophysical, in Merleau‐Ponty’s later writing, informed by an underlying concern with Hegel and Marx. There is a parallel here with realist paintings by de Hooch and Degas which combine a ‘space of exchange‘– a secular and commercial modernity structured by shifting coordinates – with a space open to sens, where vision enters the visible. These paintings combine the systematic and the sensuous, in contexts of social and commercial exchange. The physicist Ernst Mach’s diagram of perception, which presents an extreme of spatial systematization, both compares and contrasts with spatiality in Degas and in Merleau‐Ponty. The theme of commerciality, and its intersection with Merleau‐Ponty’s ‘strange system of [sensory] exchanges’, finds a parallel in Michelangelo Antonioni’s L’Eclisse, which sheds oblique light on the philosopher’s late writing and its motifs of reflection and opening.
‘Why should we be always looking back?’‘Christian art’ in nineteenth‐century historiography in Britain
Authors: Ermstrom Adele M.
Published: December 2003

For George Eliot in Middlemarch availability of literature on Christian art separated the world of the 1870s from that of fifty years before. ‘Christian art’ indeed emerged punctually in the mid‐1830s as a category unconnected with any existing stylistic or period designation, but as coterminous with Christian faith. This essay examines its context in religious crisis and Utopian thought as ‘Christian art’ was translated from architectural revival to historiography of the figurative arts by English writers taking various approaches to the challenge. Among these the most systematic revivalist was Lord Lindsay in his Sketches of the History of Christian Art (1847). The most critical was Anna Jameson, who in ‘The House of Titian’ (1845) questioned in fundamentally historical terms the possibility, and desirability, of recreating the art of the past.
‘Beastly Sights’: the treatment of animals as a moral theme in representations of London c. 1820–1850
Authors: Donald Diana
Published: December 2003

The huge growth of London in the first half of the nineteenth century projected the city’s financial and cultural dominance; but celebrations of ‘improvement’ coexisted with unease over the social effects of laissez‐faire capitalism. Thus, the ubiquitous exploitation of animals in London, a direct effect of commercial competition and intensive building, acquired great symbolic force in the imagery of illustration. While efforts to end cruelty to animals apparently testified to the humane and civilizing impulses of the time, their relative failure suggested a fundamental barbarity in capitalism itself, in its heartless commodification of both men and animals.

Conflicting impressions of human–animal relationships in nineteenth‐century London are exemplified through a range of publications, from the Illustrated London News to George Cruikshank’s books and the journals of the anti‐cruelty groups themselves. Animals and their treatment could evoke, at one extreme, the vital energy and aggressively competitive spirit of the capital, at the other its endemic cruelty and alienation from nature and God. The varying conventions of pictorial representation are shown to have had a crucial role in these constructs, particularly in the underlying imagined antithesis between ‘city’ and ‘country’.
London Bridge and its Symbolic Identity in the Regency Metropolis: the dialectic of civic and national pride
Authors: Arnold Dana
Published: December 2003

This essay positions the rebuilding of London Bridge within the framework of the emerging early nineteenth‐century metropolis. Improvements in planning, the definition of the city’s perimeters and entrance points and the erection of monuments to nation and state were all part of the creation of an urban identity in which London Bridge played a significant and distinctive role. The balance of power between a national government interested in urban development and an established authority within the City of London creates a dialectic around the issues of civic and national pride. The discrete identity of London Bridge as the entranceway into the City was appropriated and revised to help to create an image of a modern metropolis which encompassed not just the City but also the City of Westminster and the Borough of Southwark. As such, London Bridge became part of the infrastructure which attempted to give coherence to the fractured streetplan of the capital but its dis‐location from the Metropolitan Improvements also expressed its local significance. A consideration of London Bridge in these contexts establishes its symbolic identity in Regency London. But it also raises interesting questions about the relationship between the symbolic and functional roles of buildings. A bridge can be a monument, a signifier of social or political preeminence, a national symbol or just a stretch of road that happens to pass over water. In this way London Bridge can be viewed as a matrix through which fundamental aspects of urban identity can be explored.
Benjamin’s Paris, Freud’s Rome: whose London?
Authors: Rifkin Adrian
Published: December 2003

This article sets out to consider the ways in which specific cities and particular bodies of theory come to belong to each other through the interaction of complex processes of urban development on the one hand and the institutional life of theories on the other. If Paris belongs to Walter Benjamin and Rome belongs to Sigmund Freud, to whom are we to attribute London? Arguing that London is an essentially unsatisfactory and even frustrating linguistic structure, which, in Lacanian terms, masquerades the phallus in the guise of the invisible maternal object, I propose that London belongs to Jacques Lacan; or that if it does not go to Lacan, then its presiding figure is Mrs Wilberforce, the leading character of the Ealing Comedy The Ladykillers, not because of the maternal comfort which she appears to offer, but for her uncodable authority that entraps us in our own desire for a satisfactory figure of the city.
Dead Animals and the Beast‐Machine: seventeenth‐century Netherlandish paintings of dead animals, as anti‐Cartesian statements
Authors: Wolloch Nathaniel
Published: December 2003

Paintings of dead animals became a distinct and popular sub‐genre in seventeenth‐century European still‐life painting, and particularly in Dutch and Flemish painting. The seventeenth century was also the time of one of the most vigorous debates on the characteristics of animals and the possibility of moral duties toward them. The main reference point in this debate was the Cartesian theory of the ‘beast‐machine’, which viewed animals as senseless automata. The present study examines dead‐animal painting in the context of this debate. Such paintings are considered by and large as expressing an anti‐Cartesian view of animals. However, the result is not an interpretation of them as pro‐animal statements. Rather, they are interpreted as reflecting the general Western anthropocentric attitude toward animals.
John James Audubon: a birdwatcher’s fanciful flights
Authors: Boime Albert
Published: December 2003

John James Audubon, the bird‐lover of America, has never been submitted to the critical art‐historical analysis his career and production deserve. This essay attempts to redress the situation by showing that his ornithologically correct imagery is steeped in the predominant ideological formations of his time and place. A foreigner whose birth occurred in ambiguous circumstances, Audubon ventured into the forests of the New World to escape his origins and refashion his identity. Thus, his lifesize constructions of nestlings and fledglings, predators and preys, signified birds of a feather.
From Khaki to ‘Day‐Glo’: British art in Cold War culture
Authors: Stephenson Andrew
Published: December 2003

Book reviewed in this article:

Margaret Garlake, New Art New World. British Art in Postwar Society
Memorizing the Great War: Stanley Spencer at Burghclere
Authors: Malvern Sue
Published: December 2003

The Chapel of All Saints, Burghclere, is decorated with a narrative series of war paintings (eight panels each with a matching predella, two panoramas and an end‐wall Resurrection scene), and was completed by the British artist Stanley Spencer between 1926 and 1932. This article analyses the Chapel within two intersecting frames of reference — as part of a tradition for war memoirs by veterans and as an example of war memorial iconography in Britain in the inter‐war years. Whereas the meaning of the Chapel is usually read as one which resolves the Great War into a matter of resurrection and redemption, I argue that the series is a paradoxical and indeterminate narrative intended for diverse audiences.