Professor Mandell uses the Paris Exposition as an approach to the traditional, political, and intellectual problems of France and the world at the turn of the century.

How W.E.B. Du Bois combined photographs and infographics to communicate the everyday realities of Black lives and the inequities of race in America At the 1900 Paris Exposition the pioneering sociologist and activist W.E.B. Du Bois presented an exhibit representing the progress of African Americans since the abolition of slavery. In striking graphic visualisations and photographs (taken by mostly anonymous photographers) he showed the changing status of a newly emancipated people across America and specifically in Georgia, the state with the largest Black population. This beautifully designed book reproduces the photographs alongside the revolutionary graphic works for the first time, and includes a marvelous essay by two celebrated art historians, Jacqueline Francis and Stephen G. Hall. Du Bois' hand-drawn charts, maps and graphs represented the achievements and economic conditions of African Americans in radically inventive forms, long before such data visualization was commonly used in social research. Their clarity and simplicity seems to anticipate the abstract art of the Russian constructivists and other modernist painters to come. The photographs were drawn from African American communities across the United States. Both the photographers and subjects are mostly anonymous. They show people engaged in various occupations or posing formally for group and studio portraits. Elegant and dignified, they refute the degrading stereotypes of Black people then prevalent in white America. Du Bois' exhibit at the Paris Exposition continues to resonate as a powerful affirmation of the equal rights of Black Americans to lives of freedom and fulfilment. Black Lives 1900 captures this singular work. American sociologist, historian, author, editor and activist W.E.B. Du Bois (1868-1963) was the most influential Black civil rights activist of the first half of the 20th century. He was a protagonist in the founding of the National Association for the Advancement of Colored People (NAACP) in 1909, and his 1903 bookThe Souls of Black Folk remains a classic and a landmark of African American literature.

"The literature on Art Nouveau is extensive but little mention has been made of the man who created the name, Siegfried Bing, a leading figure in fin de siecle decorative arts and a moving force in the style that swept through Western Europe and the United States. Weisberg, along with SITES, has produced a visually delightful, detailed tribute to this elusive but effective artist-entrepreneur. The catalog traces Bing's life, involvement in Japanese arts, the creation of the gallery "L'Art Nouveau" and the atelier that flourished under his supervision. It was a union of art and industry aimed at design reform with an international style and no distinction between major or minor, fine or applied arts. Useful for art libraries." -- Metropolitan Museum Library staff.

Featuring a broad selection of paintings, sculptures and photographs coming mainly from the Centre Pompidou collections, Louvre Abu Dhabi’s exhibition catalogue “Rendezvous in Paris: Picasso, Chagall, Modigliani & Co.” focuses on this highly distinctive period in French art when young painters, sculptors and photographers flocked to early-20th-century Paris from all over the world to make a decisive contribution to the city’s art scene. Most notably from Germany, Spain, Italy, the Netherlands, Russia and even Japan, these formally inventive artists – Constantin Brancusi, Marc Chagall, Kees van Dongen, Tsuguharu Foujita, Amedeo Modigliani and Pablo Picasso among them – who would later become known as the “School of Paris”, rivalled the greatest French artists of the time.

From 1650 to 1900 Paris was the undisputed center of fashion and taste in Europe. Home to a unique concentration of artists, designers, patrons, critics, and a keen buying public, Paris was the city where trends were made and where novel types of objects, devised for new ways of life, were invented. This book traces the wonderful story of Parisian decorative arts from the reign of Louis XIV to the triumph of art nouveau, through a selection of 150 breathtaking, and often little-known, masterpieces from the collection of the Rijksmuseum in Amsterdam. It features an exhilarating mixture of furniture, gilt bronze, tapestries, silver, watches, snuff-boxes, jewellery, Sèvres porcelain, and other ceramics, as well as some design drawings and engravings. Specially taken photographs reveal the daring design and beautiful execution of the work of some of the greatest artists and craftsmen of their time. Reinier Baarsen discusses the history and significance of each object, presenting the findings of much new research. Published in association with the Rijksmuseum, Amsterdam

Paris was the epicenter of art during the latter half of the nineteenth century, luring artists from around the world with its academies, museums, salons, and galleries. Despite the city's cosmopolitanism and its cultural stature, Parisian society remained strikingly conservative, particularly with respect to gender. Nonetheless, many women painters chose to work and study in Paris at this time, overcoming immense obstacles to access the city's resources. 'Women Artists in Paris, 1850-1900' showcases the remarkable artistic production of women during this period of great cultural change, revealing the breadth and strength of their creative achievements. Guest Curator Laurence Madeline (Chief Curator at Musées d'art et d'histoire, Geneva) has selected close to seventy compelling paintings by women of varied nationalities, ranging from well-known artists such as Berthe Morisot, Mary Cassatt, and Rosa Bonheur, to lesser-known figures such as Kitty Kielland, Louise Breslau, and Anna Ancher.

"In essays by Diane P. Fischer, Linda J. Docherty, Robert W. Rydell, Gabriel P. Weisberg, and Gail Stavitsky, Paris 1900 examines the campaign sponsored by the U.S. Department of State proving the existence of a distinct "American school" of art and refuting earlier French criticism that American art was primarily a reflection of French art. At this exposition, the McKinley administration's crusade emphasized paintings that exuded "American character," such as images of virile men, wholesome women, pristine landscapes, and technologically superior cities. Paintings by still-powerful American expatriates were also included: Exhibiting only native themes would have smacked of a provincialism inconsistent with the new outward-looking agenda of American foreign policy."--BOOK JACKET. "Featuring more than 140 color and black-and-white illustrations, Paris 1900 is the companion volume to a major exhibition of over 80 paintings, sculptures, and decorative art objects at The Montclair Art Museum, which will travel later to museums in Philadelphia, Pennsylvania; Columbus, Ohio; Madison, Wisconsin; and Paris, France."