Presented in a beautiful gift format, this engaging book aims to introduce to a general audience the National Trust's vast collection of paintings through a selection of 100 important examples from the 14th to the 20th centuries. Paintings displayed in properties now cared for by the National Trust across England, Wales and Northern Ireland amount to one of the finest collections of historic fine art in the world. Indeed, many National Trust houses should perhaps be considered miniature 'National Galleries' for their counties as they display works by some of the most renowned European artists of all time including Titian, El Greco, Holbein, Rubens, van Dyck, Rembrandt, Velazquez, Gainsborough, Reynolds, Canaletto, Hogarth, Stubbs, Angelica Kauffman, Edward Burne-Jones, James Tissot, Max Ernst, Vanessa Bell, Barbara Hepworth and Stanley Spencer, to name but a few. Selected by National Trust curators from over 13,000 works, the 100 paintings showcased in this book are arranged chronologically, each accompanied by an illuminating, easy-to-read caption. The book ends with a handy glossary of terms and a list of National Trust properties that house important paintings.

As the art world eagerly embraces a journalistic approach, Aesthetic Journalism explores why contemporary art exhibitions often consist of interviews, documentaries and reportage. This new mode of journalism is grasping more and more space in modern culture and Cramerotti probes the current merge of art with the sphere of investigative journalism. The attempt to map this field, here defined as 'Aesthetic Journalism', challenges, with clear language, the definitions of both art and journalism, and addresses a new mode of information from the point of view of the reader and viewer. The book explores how the production of truth has shifted from the domain of the news media to that of art and aestheticism. With examples and theories from within the contemporary art and journalistic-scape, the book questions the very foundations of journalism. Aesthethic Journalism suggests future developments of this new relationship between art and documentary journalism, offering itself as a useful tool to audiences, scholars, producers and critics alike.

This book provides an analysis of the forms and functions of Holocaust memorialisation in human rights museums by asking about the impact of global memory politics on how we imagine the present and the future. It compares three human rights museums and their respective emplotment of the Holocaust and seeks to illuminate how, in this specific setting, memory politics simultaneously function as future politics because they delineate a normative ideal of the citizen-subject, its set of values and aspirations for the future: that of the historically aware human rights advocate. More than an ethical practice, engaging with the Holocaust is used as a means of asserting one’s standing on "the right side of history"; the memorialisation of the Holocaust has thus become a means of governmentality, a way of governing contemporary citizen-subjects. The linking of public memory of the Holocaust with the human rights project is often presented as highly beneficial for all members of what is often called the "global community". Yet this book argues that this specific constellation of memory also has the ability to function as an exercise of power, and thus runs the risk of reinforcing structural oppression. With its novel theoretical approach this book not only contributes to Memory Studies but also connects Holocaust memory to Studies of Global Governmentality and the debate on decolonising memory politics.

William Jackson, one of Gainsborough's closest friends and biographers, noted that if he had "to rest his [Gainsborough] reputation on one point, it should be on his Drawings". Gainsborough was indeed a draftsman of rare talent and creativity, and his experiments in drawing inspired an entire generation of British artists, from John Constable (1776-1837) to J. M. W. Turner (1775-1851). When not occupied with his lucrative portrait business, Gainsborough devoted much of his time to his true passion, the depiction of landscapes, and more than 600 of the artist's approximately 800 surviving drawings depict the British countryside. Like most artists from his generation, Gainsborough did not draw directly from nature but instead re-invented landscape "of his own brain," laying out on his work table stones, branches, leaves, and soil of various colors. His passion for drawing extended to technical experimentation. Gainsborough mixed diff erent kind of media and invented recipes to make drawings in his own personal fashion: he would sometimes immerse his drawing paper in milk, or varnish it to give his landscapes a lucent tint. The exhibition is based on the group of Gainsborough drawings in the permanent collection of the Morgan Library& Museum, one of the richest holdings of Gainsborough drawing in the United States. Additional drawings from private and public collections, among them some borrowed for the exhibition, are included in the introductory essay of the catalogue.

The Merton library is rightly known for its antiquity, its beautiful medieval and early modern architecture and fittings and for its remarkable and important collection of manuscripts and rare books, yet a nineteenth-century plan to tear the medieval library down and replace it was only narrowly frustrated. This brief history of Europe's oldest academic library traces its origins in the thirteenth century, when a new type of community of scholars was first being set up, through to the present day and its multiple functions as a working college library, a unique resource for researchers and a delight for curious visitors. Drawing on the remarkable wealth of documentation in the college's archives, this is the first history of the library to explore collections, buildings, readers and staff across more than 700 years. The story is told in part through stunning colour images that depict not only exceptional treasures but also the library furnishings and decorations, and which show manuscripts, books, bindings and artefacts of different periods in their changing contexts. Featuring a timeline and a plan of the college, this book will be of interest to historians, alumni and tourists alike.

Spanning some 350 years, the Thomson Collection of historic ship models contains examples of exquisite workmanship and some of the masterpieces of the genre. Pride of the collection are the rare British dockyard models made to scale for affluent 18th-century clients closely associated with the Navy. A large number of models- made from wood and bone, with rigging of human hair- were made by some of the 120,000 French and other prisoners of the Napoleonic Wars. The diverse collection also includes tugs, dredgers, trawlers, cargo vessels, passenger steamers, private yachts, corvettes, battleships, cruisers, torpedo boat destroyers and two aircraft carriers. The author (curator at the National Maritime Museum, Greenwich) considers the rich history and the artistry of model shipbuilding. New photography captures the incredible workmanship - the carving, casting, gilding and stitching - that such model-making demands.

When and why did large-scale exhibitions of Old Master paintings begin, and how have they evolved through the centuries? In this book an eminent art historian examines the intriguing history and significance of these international art exhibitions. Francis Haskell begins by discussing the first 'Old Master' exhibitions in Rome and Florence in the seventeenth century and then moves to eighteenth-century France and the efforts to organize exhibitions of contemporary art that would be an alternative to the official ones held by the Salon. He next describes the role of the British Institution in London and the series of remarkable loan exhibitions of Old Master paintings there. He traces the emergence of such nationalist exhibitions as the Rembrandt exhibition held in Amsterdam in 1898 - the first modern 'blockbuster' show. Demonstrating how the international loan exhibition was a vehicle of foreign and cultural policy after the First World War, he gives a fascinating account of several of these, notably the Italian art exhibition held at Burlington House in London in 1930. He describes the initial reluctance of major museums to send pictures on potentially damaging journeys and explains how this feeling gave way to cautious enthusiasm. Finally, in a polemical chapter, he explores the types of publication associated with exhibitions and the criticism and scholarship that have centred upon them. Francis Haskell, who died in January 2000, was one of the most original and influential art historians of the twentieth century. His books included 'Patrons and Painters: A Study in the Relations between Italian Art and Society in the Age of the Baroque' (revised edition, 1980), 'Past and Present in Art and Taste' (1987), 'History and Its Images: Art and the Interpretation of the Past' (1993) and, with Nicholas Penny, 'Taste and the Antique' (1982), all published by Yale University Press. He retired as Professor of the History of Art at Oxford University in 1995.

Some words about SCART 2000. SCART stands for science and art. SCART meetings are organized in a loose time sequence by an international group of scientists, most of them fluid-dynamicists. The first meeting was held in Hong-Kong, the second one in Berlin, and the third, and latest, one in Zurich. SCART meetings include a scientific conference and a number of art events. The intention is to restart a dialogue between scientists and artists which was so productive in the past. To achieve this goal several lectures given by scientists at the conference are intended for a broader public. In the proceedings they are denoted as SCART lectures. The artists in tum address the main theme of the conference with their contributions. The lectures at SCART 2000 covered the entire field of fluiddynamics, from laminar flows in biological systems to astrophysical events, such as the explosion of a neutron star. The main exhibition by Dutch and Swiss artists showed video and related art under the title 'Walking on Air'. Experimental music was performed in two concerts.

The 4th Marquess of Hertford and Sir Richard Wallace were both passionate collectors of miniatures, exquisite small paintings in watercolor or enamel, generally made for private contemplation and one of the most popular mediums of portraiture in an age before the advent of photography. This book features over seventy of the finest miniatures in the Wallace Collection, all of them reproduced in color, most for the first time. The volume spans the period from the mid-16th to the late-19th centuries. The entries include much new information on the miniatures and are accompanied by images of related works in the Wallace Collection and elsewhere. There are introductory essays on the history of the collection and on French eighteenth-century miniatures, a particular highlight of the collection.

Exceptional among English-language publications in its focus on French miniatures, this book offers a fascinating and tantalizing glimpse into the magical world of the miniature.

In 1966 Mark Gambier Parry bequeathed to the Courtauld Gallery the art collection formed by his grandfather Thomas Gambier Parry, who died in 1888. In addition to important paintings, Renaissance glass and ceramics, and Islamic metalwork, this included 28 medieval and Renaissance ivories. Since 1967 about half of the ivories have been on permanent display at The Courtauld, yet they have remained largely unknown, even to experts. This catalogue is the first publication dedicated solely to the collection. There are examples of the highest quality of ivory carving, both secular and religious in content, and a number of the objects are of outstanding interest. They are a revealing tribute to the perceptive eye of Thomas Gambier Parry, a distinguished Victorian collector and Gothic Revival artist responsible for a number of richly painted church interiors in England, such as the Eastern part of the nave ceiling, and the octagon, at Ely Cathedral.The earliest objects in date, probably late 11th century, are the group of walrus ivory plaquettes set into the sides and lids of a casket, portraying the Apostles and Christ in Majesty surrounded by the symbols of the Evangelists. The style leaves little doubt that they should be associated with a group of portable altars at Kloster Melk in Austria. A gap of some two centuries separates the casket panels from the next important object - the central portion of an ivory triptych, containing a Deesis group of Christ enthroned between angels holding instruments of the Passion in the upper register, and the Virgin and Child between candle-bearing angels below. The style of the ivory relates it securely to the atelier of the Soissons Diptych in the Victoria & Albert Museum. The Gambier-Parry fragment employs bold cutting of the frame to accentuate the three-dimensional quantities of the relief. Somewhat later in date, towards the middle of the 14th century, is a complete diptych of the Crucifixion and Virgin with angels, the faces of which Gambier-Parry described as worthy of Luini. The extraordinary foreshortening of the swooning Virgin's head can happily be paralleled to a diptych in the Schoolmeesters Collection, Lie'ge, bythe aterlie aux visages caracte'rise's, as named by Raymond Koechlin. The Gambier- Parry diptych, must rank with the finest productions of the workshop.