Searching for information about countries and their cultural history will lead you to use sources from a lot of different subject areas in addition to art, such as history and the social sciences. There are a lot of great resources that provide a lot of information - so you may want to start with finding some books in the library catalog first. To search for books on your country, you may want to do a SUBJECT search adding the phrase "Social life and customs" after the name of your country. For example, if you are researching Haiti, you would type in: haiti social life and customs
You can also access the Gale Virtual Reference Library on the Databases A to Z list - it contains a lot of reference materials.
Library of Congress Country Studies - "Intended for a general audience, books in the series present a description and analysis of the historical setting and the social, economic, political, and national security systems and institutions of select countries throughout the world."
World Digital Library - "The World Digital Library (WDL) is a project of the U.S. Library of Congress, carried out with the support of the United Nations Educational, Cultural and Scientific Organization (UNESCO), and in cooperation with libraries, archives, museums, educational institutions, and international organizations from around the world. The WDL makes available on the Internet, free of charge and in multilingual format, significant primary materials from all countries and cultures."
Women Writing Art History in the Nineteenth Century by
This book sets out to correct received accounts of the emergence of art history as a masculine field. It investigates the importance of female writers from Anna Jameson, Elizabeth Eastlake and George Eliot to Alice Meynell, Vernon Lee and Michael Field in developing a discourse of art notable for its complexity and cultural power, its increasing professionalism and reach, and its integration with other discourses of modernity. Proposing a more flexible and inclusive model of what constitutes art historical writing, including fiction, poetry and travel literature, this book offers a radically revisionist account of the genealogy of a discipline and a profession. It shows how women experienced forms of professional exclusion that, whilst detrimental to their careers, could be aesthetically formative; how working from the margins of established institutional structures gave women the freedom to be audaciously experimental in their writing about art in ways that resonate with modern readers.
Bajo el signo de las artistas: Mujeres, profesiones de arte y modernidad by 
Contested Spaces of Early America by
Colonial America stretched from Quebec to Buenos Aires and from the Atlantic littoral to the Pacific coast. Although European settlers laid claim to territories they called New Spain, New England, and New France, the reality of living in those spaces had little to do with European kingdoms. Instead, the New World's holdings took their form and shape from the Indian territories they inhabited. These contested spaces throughout the western hemisphere were not unclaimed lands waiting to be conquered and populated but a single vast space, occupied by native communities and defined by the meeting, mingling, and clashing of peoples, creating societies unlike any that the world had seen before. Contested Spaces of Early America brings together some of the most distinguished historians in the field to view colonial America on the largest possible scale. Lavishly illustrated with maps, Native art, and color plates, the twelve chapters span the southern reaches of New Spain through Mexico and Navajo Country to the Dakotas and Upper Canada, and the early Indian civilizations to the ruins of the nineteenth-century West. At the heart of this volume is a search for a human geography of colonial relations: Contested Spaces of Early America aims to rid the historical landscape of imperial cores, frontier peripheries, and modern national borders to redefine the way scholars imagine colonial America. Contributors: Matthew Babcock, Ned Blackhawk, Chantal Cramaussel, Brian DeLay, Elizabeth Fenn, Allan Greer, Pekka Hämäläinen, Raúl José Mandrini, Cynthia Radding, Birgit Brander Rasmussen, Alan Taylor, and Samuel Truett.
The Sense of Power by
Prior to the publication of The Sense of Power most studies of the Canadian movement for imperial unity focused on commercial policy and military and naval cooperation. This influential book demonstrated that the movement - which held that Canada could only become a great nation within the British Empire - was significantly influenced by its leading advocates' belief in nationalism. Carl Berger explores the emotional appeal and intellectual context of this belief, arguing that these advocates' support of imperial unity can be grasped only in terms of their commitment to certain conservative values and in relation to their conception of Canada. The Sense of Power was commended by the Toronto Star when it was first published as "entertaining as well as brilliant," and in 2011 Ramsay Cook noted that "few first books, or for that matter few books, have made as marked an impact on the interpretation of a major theme in Canadian history." This second edition brings to life the work's incisive analysis and its important contribution to Canadian intellectual history.
Museum Pieces by
Ruth Phillips argues that these practices are "indigenous" not only because they originate in Aboriginal activism but because they draw on a distinctively Canadian preference for compromise and tolerance for ambiguity. Phillips dissects seminal exhibitions of Indigenous art to show how changes in display, curatorial voice, and authority stem from broad social, economic, and political forces outside the museum and moves beyond Canadian institutions and practices to discuss historically interrelated developments and exhibitions in the United States, Britain, Australia, and elsewhere. Drawing on forty years of experience as an art historian, curator, exhibition critic, and museum director, she emphasizes the complex and situated nature of the problems that face museums, introducing new perspectives on controversial exhibitions and moments of contestation. A manifesto that calls on us to re-imagine the museum as a place to embrace global interconnectedness, Museum Pieces emphasizes the transformative power of museum controversy and analyses shifting ideas about art, authenticity, and power in the modern museum.
The Premise of Fidelity by
The Premise of Fidelity puts forward a new history of Japanese visuality through an examination of the discourses and practices surrounding the nineteenth century transposition of "the real" in the decades before photography was introduced. This intellectual history is informed by a careful examination of a network of local scholars--from physicians to farmers to bureaucrats--known as Shōhyaku-sha. In their archival materials, these scholars used the term shashin (which would, years later, come to signify "photography" in Japanese) in a wide variety of medical, botanical, and pictorial practices. These scholars pursued questions of the relationship between what they observed and what they believed they knew, in the process investigating scientific ideas and practices by obsessively naming and classifying, and then rendering through highly accurate illustration, the objects of their study. This book is an exploration of the process by which the Shōhyaku-sha shaped the concept of shashin. As such, it disrupts the dominant narratives of photography, art, and science in Japan, providing a prehistory of Japanese photography that requires the accepted history of the discipline to be rewritten.
Rethinking Australia's Art History by
This book aims to redefine Australia's earliest art history by chronicling for the first time the birth of the category "Aboriginal art," tracing the term's use through published literature in the late eighteenth, nineteenth and early twentieth centuries. Susan Lowish reveals how the idea of "Aboriginal art" developed in the European imagination, manifested in early literature, and became a distinct classification with its own criteria and form. Part of the larger story of Aboriginal/European engagement, this book provides a new vision for an Australian art history reconciled with its colonial origins and in recognition of what came before the contemporary phenomena of Aboriginal art.
Maximum Embodiment by
Maximum Embodiment presents a compelling thesis articulating the historical character of Yoga, literally the "Western painting" of Japan. The term designates what was arguably the most important movement in modern Japanese art from the late nineteenth to the mid-twentieth centuries. Perhaps the most critical marker of Yoga was its association with the medium of oil-on-canvas, which differed greatly from the water-based pigments and inks of earlier Japanese painting. Yoga encompassed both establishment fine art and avant-gardist insurgencies, but in both cases, as the term suggests, it was typically focused on techniques, motifs, canons, or iconographies that were obtained in Europe and deployed by Japanese artists. Despite recent advances in Yoga studies, important questions remain unanswered: What specific visuality did the protagonists of Yoga seek from Europe and contribute to modern Japanese society? What qualities of representation were so dearly coveted as to stimulate dedication to the pursuit of Yoga? What distinguished Yoga in Japanese visual culture? This study answers these questions by defining a paradigm of embodied representation unique to Yoga painting that may be conceptualized in four registers: first, the distinctive materiality of oil paint pigments on the picture surface; second, the depiction of palpable human bodies; third, the identification of the act and product of painting with a somatic expression of the artist's physical being; and finally, rhetorical metaphors of political and social incorporation. The so-called Western painters of Japan were driven to strengthen subjectivity by maximizing a Japanese sense of embodiment through the technical, aesthetic, and political means suggested by these interactive registers of embodiment. Balancing critique and sympathy for the twelve Yoga painters who are its principal protagonists, Maximum Embodiment investigates the quest for embodiment in some of the most compelling images of modern Japanese art. The valiant struggles of artists to garner strongly embodied positions of subjectivity in the 1910s and 1930s gave way to despairing attempts at fathoming and mediating the horrifying experiences of real life during and after the war in the 1940s and 1950s. The very properties of Yoga that had been so conducive to expressing forceful embodiment now produced often gruesome imagery of the destruction of bodies. Combining acute visual analysis within a convincing conceptual framework, this volume provides an original account of how the drive toward maximum embodiment in early twentieth-century Yoga was derailed by an impulse toward maximum disembodiment.
Art Worlds by
The growth of Shanghai in the late nineteenth century gave rise to an exciting new art world in which a flourishing market in popular art became a highly visible part of the treaty port's commercialized culture. Art Worlds examines the relationship between the city's visual artists and their urban audiences. Through a discussion of images ranging from fashionable painted fans to lithograph-illustrated magazines, the book explores how popular art intersected with broader cultural trends. It also investigates the multiple roles played by the modern Chinese artist as image-maker, entrepreneur, celebrity and urban sojourner. Focusing on industrially produced images, mass advertisements and other hitherto neglected sources, the book offers a new interpretation of late Qing visual culture at a watershed moment in the history of modern Chinese art.Art Worlds will be of interest to scholars of art history and to anyone with an interest in the cultural history of modern China.
Dance of Assassins: Performing Early Colonial Hegemony in the Congo by
A Dance of Assassins presents the competing histories of how Congolese Chief Lusinga and Belgian Lieutenant Storms engaged in a deadly clash while striving to establish hegemony along the southwestern shores of Lake Tanganyika in the 1880s. While Lusinga participated in the east African slave trade, Storms secret mandate was to meet Henry Stanley s eastward march and trace "a white line across the Dark Continent" to legitimize King Leopold s audacious claim to the Congo. Confrontation was inevitable, and Lusinga lost his head. His skull became the subject of a sinister evolutionary treatise, while his ancestral figure is now considered a treasure of the Royal Museum for Central Africa. Allen F. Roberts reveals the theatricality of early colonial encounter and how it continues to influence Congolese and Belgian understandings of history today."
A Half-Century of Greatness by
Choice Outstanding Academic Title for 2008 A Half-Century of Greatness paints a vivid and dramatic picture of the creative thought of mid- to late nineteenth century Europe and the influence of the unsuccessful revolutions of 1848. It reveals often unexpected links between novelists, poets, and philosophers from England, Germany, Austria, Hungary, Russia, and Ukraine--especially Dickens, Carlyle, Mill, the Brontës, and George Eliot; Hegel, Strauss, Feuerbach, Marx, Engels, Wagner, and several German poets; the Hungarian poet Sándor Petöfi; Gogol, Dostoevsky, Bakunin, and Herzen in Russia, and the great Ukrainian poet Shevchenko. Ewen goes on to trace the transition from Romanticism to Victorianism, or what he calls "the Victorian compromise"--the ascendancy of the middle class. The book was reconstructed and edited by Dr. Jeffrey Wollock from Ewen's final manuscript. It includes the author's own reference citations throughout, a reconstructed bibliography, and an updated "further reading" list. This is Ewen's last work, the long-lost companion to his Heroic Imagination. Together, these books present a panorama of the social, political, and artistic aspects of European Romanticism, especially foreshadowing and complementing recent work on the relation of Marxism to romanticism. Anyone interested in what Lukacs called "Romantic anticapitalism,"; who appreciates such books as Marshall Berman's Adventures in Marxism or E.P. Thompson's The Romantics (1997), will find Ewen's work a welcome addition.
Art and Commerce in Late Imperial Russia by
Andrey Shabanov's seminal reinterpretation of the Peredvizhniki is a comprehensive study that examines in-depth for the first time the organizational structure, self-representation, exhibitions, and critical reception of this 19th-century artistic partnership. Shabanov advances a more pragmatic reading of the Peredvizhniki, artists seeking professional and creative freedom in authoritarian Tsarist Russia. He likewise demonstrates and challenges how and why the group eventually came to be defined as a critically-minded Realist art movement. Unprecedentedly rich in new primary visual and textual sources, the book also connects afresh the Russian and Western art worlds of the period. A must-read for anyone interested in Russian art and culture, 19th-century European art, and also the history of art exhibitions, art movements, and the art market.
Journal of Aesthetic Education
Nineteenth-century Art Worldwide
European Review of Latin American and Caribbean Studies
Journal of Canadian Art History
Journal of Latin American Studies
Latin American Research Review
The Slavic and East European Journal
