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Author: Royal Academy of Arts (Great Britain)
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 594
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Book Description
Author: Royal Academy of Arts (Great Britain)
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 84
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Book Description
Author: Bertha Upton
Publisher: Franklin Classics Trade Press
ISBN: 9780353530225
Category : History
Languages : en
Pages : 74
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Book Description
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Author: Algernon Graves
Publisher:
ISBN:
Category : Artists
Languages : en
Pages : 510
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Author: Royal Academy of Arts
Publisher:
ISBN:
Category :
Languages : en
Pages :
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Author: Henry James
Publisher: Univ of Wisconsin Press
ISBN: 9780299122843
Category : Art
Languages : en
Pages : 290
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Book Description
Between 1868 and 1897 Henry James wrote a number of short essays and reviews of artists and art collections; these essays were published in magazines such as Atlantic Monthly and Harper's Weekly and in newspapers such as the New York Tribune. They included James's comments on Ruskin, Turner, Whistler, Sargent, and the Impressionists, among many others. Thirty of these essays were collected and first published in a modern edition in 1956, accompanied by John Sweeney's introduction, which sketches James's interest in the visual arts over a period of years, focusing on the ways in which painting and painters entered his work as subjects. Susan Griffin's new forward places James's observations in a contemporary context. Some of the novelist's judgements will seem wrong to today's readers: he was critical of the Impressionists, for example. But all of these essays bear the stamp of James's critical intelligence, and they tell us a great deal about his development as a writer during those years.
Author: Corcoran Gallery of Art
Publisher:
ISBN:
Category : Painting
Languages : en
Pages : 184
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Author:
Publisher:
ISBN:
Category : Painting
Languages : en
Pages : 190
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Author: Carnegie Library of Pittsburgh
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 998
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Author: Carnegie Library of Pittsburgh
Publisher:
ISBN:
Category : Catalogs, Classified (Dewey decimal)
Languages : en
Pages : 1016
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Author:
Publisher:
ISBN: 9781912520725
Category :
Languages : en
Pages : 128
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Book Description
On John Constable as a proto-abstractionist of pastoral landscape One of Britain's greatest landscape painters, John Constable was brought up in Dedham Vale, the valley of the River Stour in Suffolk. The eldest son of a wealthy mill owner, he entered the Royal Academy Schools in 1800 at the age of 24, and thereafter committed himself to painting nature out of doors. His "six-footers," such as The Hay Wainand The Leaping Horse, were designed to promote landscape as a subject and to stand out in the Academy's Annual Exhibition. Despite this, he sold few paintings in his lifetime and was elected a Royal Academician late in his career. With texts by leading authorities on the artist, this handsome book looks at the freedom of Constable's late works and records his enormous contribution to the English landscape tradition. John Constable(1776-1837) is one of Britain's best-known artists, and is often considered one of the greatest landscape painters of all time. He was born near the River Stour in Suffolk, an area the artist depicted so frequently that it is referred to as "Constable country." Pastoral scenes were unfashionable at the time and Constable struggled to establish himself as a painter. He was finally elected a Royal Academician in 1829, and in 1832, he exhibited The Opening of Waterloo Bridge--an effort 13 years in the making--at the Summer Exhibition.
