Mural Painting in Britain 1840-1940 PDF Download
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Author: Clare A. P. Willsdon
Publisher: Oxford University Press, USA
ISBN: 9780198175155
Category : Art
Languages : en
Pages : 730
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Book Description
This survey sets state, civic, commercial, church, private and other murals in their historical and cultural contexts. The book covers work by over 400 artists and numerous murals never previously documented or illustrated.
Author: Clare A. P. Willsdon
Publisher: Oxford University Press, USA
ISBN: 9780198175155
Category : Art
Languages : en
Pages : 730
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Book Description
This survey sets state, civic, commercial, church, private and other murals in their historical and cultural contexts. The book covers work by over 400 artists and numerous murals never previously documented or illustrated.
Author: Lydia Hamlett
Publisher: Routledge
ISBN: 1315466155
Category : Art
Languages : en
Pages : 293
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Book Description
This book illuminates the original meanings of seventeenth- and early-eighteenth-century mural paintings in Britain. At the time, these were called ‘histories’. Throughout the eighteenth century, though, the term became directly associated with easel painting and, as ‘history painting’ achieved the status of a sublime genre, any link with painted architectural interiors was lost. Whilst both genres contained historical figures and narratives, it was the ways of viewing them that differed. Lydia Hamlett emphasises the way that mural paintings were experienced by spectators within their architectural settings. New iconographical interpretations and theories of effect and affect are considered an important part of their wider historical, cultural and social contexts. This book is intended to be read primarily by specialists, graduate and undergraduate students with an interest in new approaches to British art of the seventeenth and eighteenth centuries.
Author: Helen Kingstone
Publisher: Springer Nature
ISBN: 3031156846
Category : Literary Criticism
Languages : en
Pages : 278
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Book Description
This book shows how in nineteenth-century Britain, confronted with the newly industrialized and urbanized modern world, writers, artists, journalists and impresarios tried to gain an overview of contemporary history. They drew on two successive but competing conceptual models of overview: the panorama and the compilation. Both models claimed to offer a holistic picture of the present moment, but took very different approaches. This book shows that panoramas (360° views previously associated with the Romantic period) and compilations (big data projects previously associated with the Victorian fin de siècle) are intertwined, relevant across the entire century, and often remediated, making them crucial lenses through which to view a broad range of genre and forms. It brings together interdisciplinary research materials belonging to different period silos to create new understandings of how nineteenth-century audiences dealt with information overload. It argues for a new politics of distance: one that recognizes the value of immersing oneself in a situation, event or phenomenon, but which also does not chastise us for trying to see the big picture. This book is essential reading for students and scholars of nineteenth-century literature, history, visual culture and information studies.
Author: MatthewC. Potter
Publisher: Routledge
ISBN: 1351545469
Category : Art
Languages : en
Pages : 465
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Book Description
A novel investigation into art pedagogy and constructions of national identities in Britain and Ireland, this collection explores the student-master relationship in case studies ranging chronologically from 1770 to 2013, and geographically over the national art schools of England, Ireland, Scotland and Wales. Essays explore the manner in which the Old Masters were deployed in education; fuelled the individual creativity of art teachers and students; were used as a rhetorical tool for promoting cultural projects in the core and periphery of the British Isles; and united as well as divided opinions in response to changing expectations in discourse on art and education. Case studies examined in this book include the sophisticated tradition of 'academic' inquiry of establishment figures, like Joshua Reynolds and Frederic Leighton, as well as examples of radical reform undertaken by key individuals in the history of art education, such as Edward Poynter and William Coldstream. The role of 'Modern Masters' (like William Orpen, Augustus John, Gwen John and Jeff Wall) is also discussed along with the need for students and teachers to master the realm of art theory in their studio-based learning environments, and the ultimate pedagogical repercussions of postmodern assaults on the academic bastions of the Old Masters.
Author: Morna O'Neill
Publisher: Yc British Art
ISBN:
Category : Art
Languages : en
Pages : 344
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Book Description
This is the twentieth in a series of occasional volumes devoted to studies in British art, published by the Yale Center for British Art and the Paul Mellon Centre for Studies in British Art and distributed by Yale University Press. --Book Jacket.
Author: Siân Reynolds
Publisher: Routledge
ISBN: 1317084063
Category : History
Languages : en
Pages : 260
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Book Description
By the end of the nineteenth century, Paris was widely acknowledged as the cultural capital of the world, the home of avant-garde music and art, symbolist literature and bohemian culture. Edinburgh, by contrast, may still be thought of as a rather staid city of lawyers and Presbyterian ministers, academics and doctors. While its great days as a centre for the European Enlightenment may have been behind it, however, late Victorian Edinburgh was becoming the location for a new set of cultural institutions, with its own avant-garde, that corresponded with a renewed Scottish national consciousness. While Morningside was never going to be Montparnasse, the period known as the Belle Epoque was a time in both French and Scottish society when there were stirrings of non-conformity, which often clashed with a still powerful establishment. And in this respect, French bourgeois society could be as resistant to change as the suburbs of Edinburgh. With travel and communication becoming ever easier, a growing number of international contacts developed that allowed such new and radical cultural ideas to flourish. In a series of linked essays, based on research into contemporary archives, documents and publications in both countries, as well as on new developments in cultural research, this book explores an unexpected dimension of Scottish history, while also revealing the Scottish contribution to French history. In a broader sense, and particularly as regards gender, it considers what is meant by 'modern' or 'radical' in this period, without imposing any single model. In so doing, it seeks not to treat Paris-Edinburgh links in isolation, or to exaggerate them, but to use them to provide a fresh perspective on the internationalism of the Belle Epoque.
Author: Janice Carlisle
Publisher: Cambridge University Press
ISBN: 1139867229
Category : Literary Criticism
Languages : en
Pages : 291
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Book Description
How did Victorians, as creators and viewers of images, visualize the politics of franchise reform? This study of Victorian art and parliamentary politics, specifically in the 1840s and 1860s, answers that question by viewing the First and Second Reform Acts from the perspectives offered by Ruskin's political theories of art and Bagehot's visual theory of politics. Combining subjects and approaches characteristic of art history, political history, literary criticism and cultural critique, Picturing Reform in Victorian Britain treats both paintings and wood engravings, particularly those published in Punch and the Illustrated London News. Carlisle analyzes unlikely pairings - a novel by Trollope and a painting by Hayter, an engraving after Leech and a high-society portrait by Landseer - to argue that such conjunctions marked both everyday life in Victorian Britain and the nature of its visual politics as it was manifested in the myriad heterogeneous and often incongruous images of illustrated journalism.
Author: DanielR. Guernsey
Publisher: Routledge
ISBN: 1351546341
Category : Art
Languages : en
Pages : 270
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Book Description
The Artist and the State, 1777-1855: The Politics of Universal History in British & French Painting is the first book-length study to examine political uses of 'universal history', or the philosophy of history, in European art from 1777 to 1855. Daniel R. Guernsey discusses a range of mural paintings and sculptural works produced in England and France between the American Revolution and the Universal Exposition of 1855, comparing the ways artists such as James Barry, Eug? Delacroix, Paul Chenavard, David d'Angers, and Gustave Courbet expressed linear or cyclical histories of progress and decline. By considering the work of these important European artists together, he reveals not only the rich artistic interaction that took place between England and France - as well as Germany - at this time, but also how the notion of 'universal history' was to become a major preoccupation in the work of these individual artists, each one participating in shaping a highly significant mode of eighteenth- and nineteenth-century political art.
Author: Nanette OʼBrien
Publisher: Oxford University Press
ISBN: 0198871732
Category : Literary Collections
Languages : en
Pages : 241
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Book Description
Writing about food has long been a part of autobiographical expression that combines culinary record-keeping and histories, drawing on the personal and the cultural. Concentrating on the transatlantic work of Ford Madox Ford, Gertrude Stein, and Virginia Woolf, this book illuminates modernist uses of the terms 'civilization' and 'barbarism', showing how these concepts are shaped by the rules of preparing and eating food in literature and in public. Nanette OʼBrien introduces the concept of 'culinary Impressionism' as an extension and repositioning of current scholarly thinking about Ford's literary Impressionism and his synesthetic writing about cookery and small farming. She also presents a new reading of Stein's crafting of her modernist authority as interlinked with her cooks, and shows Stein's and Toklas's jointly authored unpublished cookbook draft as evidence of their direct authorial collaboration and of Stein adapting domestic culinary techniques into her other writing. OʼBrien goes on to present new archival research demonstrating that Virginia Woolf's representation of the financial and culinary difference between men's and women's dining in colleges at the University of Cambridge is justified and the material inequality was in fact worse than previously understood. This disparity in institutional food intensifies Woolf's later reimagining of the term 'civilization'. While drawing on themes of modernism and life-writing, the everyday, domestic life and gender, the book argues that food is a vehicle for positive modernist re-conceptions of civilization.
Author: Thomas Bromwell
Publisher: Taylor & Francis
ISBN: 1040256309
Category : Art
Languages : en
Pages : 327
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Book Description
This book is the first substantial study of the presence and relationship with the concepts of apocalypse, eschatology, and millennium in modern British art from 1914 to 1945, addressing how and why practitioners in both religious and secular spheres turned to the subjects. The volume examines British art and visual culture’s relationship with the then-contemporary anxieties and hopes regarding the orientation of society and culture, arguing that there is an acute relationship to the particular forms of cultural discourse of eschatology, apocalypse, and millennium. Chapters identify the continued relevance of religion and religious themes in British art during the period, and demonstrate that eschatology, apocalypse, and millennium were thriving and surprisingly mainstream concepts in the period that remained vital in early to mid-twentieth-century society and culture. This book is a research monograph aimed at an audience of scholars and graduate students already familiar with the core focus of modern British art and cultural histories, especially those working on the late nineteenth and early twentieth centuries, or the concepts of apocalypse, eschatology, and millennium in Theology, Sociology, or other disciplinary settings. It will also be of interest to scholars and students working on war and visual culture, or histories of imperialism. It will benefit scholars of early twentieth-century British art, demonstrating the intersection of art and religion in the modern era, and critically qualifies the standard secular canon and narrative of modern British art, and the general neglect of religion in existing art-historical literature.
