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'A justification of a certain kind of art history,' was how \u003ci\u003eThe Spectator\u003c\/i\u003e put it. '\u003ci\u003eThe Absolute Bourgeois\u003c\/i\u003e', said \u003ci\u003eThe Times\u003c\/i\u003e, 'is a product of that school of art history whose history is as well-read as its art, and whilst it covers only a small area of time and place, Clark's approach and style are such that it throws up enough ideas and pleasures to illuminate far beyond its rather special circumstances. It is suffused with wit and pathetic irony.'\u003cbr\u003e\u003cbr\u003eClark's subject is painting and print-making in the years following the 1848 Revolution in France - 'a time', so he argues, 'when art and politics could not escape each other.' The book tells the story of a handful of artists trying to take advantage of that unfamiliar (and short-lived) situation. 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Liotards fine portraits of Westerners in Turkish dress, Carpaccios turbanned figures and the coveted Turkey carpets that appear in paintings by Lotto and Holbein also bear witness to the Western fascination with all things Ottoman.\u003cbr\u003e\u003cbr\u003ePhilippa Scotts engaging and informative text explains how and why Turkey has been such a fount of inspiration in so many artistic and cultural fields including painting, ceramics, textiles, interiors and fashion for over five hundred years. 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