Your cart is empty
This book explores the rich but understudied relationship between English country houses and the portraits they contain. It features essays by well-known scholars such as Alison Yarrington, Gill Perry, Kate Retford, Harriet Guest, Emma Barker and Desmond Shawe-Taylor. Works discussed include grand portraits, intimate pastels and imposing sculptures. Moving between residences as diverse as Stowe, Althorp Park, the Vache, Chatsworth, Knole and Windsor Castle, it unpicks the significance of various spaces - the closet, the gallery, the library - and the ways in which portraiture interacted with those environments. It explores questions around gender, investigating narratives of family and kinship in portraits of women as wives and daughters, but also as mistresses and celebrities. It also interrogates representations of military heroes in order to explore the wider, complex ties between these families, their houses, and imperial conflict. This book will be essential reading for all those interested in eighteenth-century studies, especially for those studying portraiture and country houses. -- .
By the end of the eighteenth century, the arts had been surveyed by an unprecedented series of major works on literature, music, and painting of which the author or this book provides a rich and comprehensive analysis. Originally published in 1970. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Chinoiserie-the use of motifs, materials, and techniques considered "Chinese" in ceramics, furniture, interior design, and landscape architecture-has often been associated with courtly decadence and shallow escapism. In Siting China in Germany, Christiane Hertel challenges conventional assumptions about this art form by developing a fresh, complex perspective on collections, gardens, and literature in the long eighteenth century. From the extraordinary porcelain palaces at Dresden and Rastatt and the gardens of Wilhelmsthal and Wilhelmshoehe in Kassel to the literary and artistic translation practices in Dresden and Thomas Mann's historical novel Lotte in Weimar, Hertel interprets the extensive history of chinoiserie within but also beyond court culture. In particular, her study focuses on how manifestations of chinoiserie in Germany oscillated between the imagination, judgment, and critique of cultural and historical difference as well as identity. Hertel's erudite analysis of the cultural significance of German chinoiserie will interest art historians and scholars of Orientalism, German Sinophilia, and German Sinophobia.
Among the many treasures of The State Hermitage Museum in St. Petersburg is its remarkable collection of seventeenth- and eighteenth-century Flemish paintings--more than five hundred in all--including key works by Rubens, Van Dyck, Jordaens, Snyders, and Teniers. Forming the core of the Hermitage's Flemish collection, these works were acquired from all over Europe by the Empress Catherine II, and the collection has continued to develop. This magnificent volume is the first to provide detailed information in English with illustrations for every work.
More than 140 artists are represented in the collection and in this complete catalogue, which provides a comprehensive picture of the golden age of Flemish painting. Individual illustrated entries for every work are accompanied by detailed indexes and provenance information that provides a unique view of the history of collecting in Russia.
From the mid-eighteenth century on, cultural life in the northern valley of the St John River blended the traditions of Acadian and French Canadian settlers with those of American immigrants. In the southern valley, Mi'kmaq interacted with American newcomers and Loyalist settlers, while the later influx of Scottish and Irish immigrants introduced more layers of cultural traditions. Using an impressively diverse combination of artifacts, artwork, maps, and primary literature from over sixty museum collections and archives, Cook addresses the experiences of immigrants and artisans and their influence on the cultural boundaries along one of eastern North America's most important rivers. She moves beyond a mere catalogue of objects to provide an important comparative analysis of material heritage, showing how furniture embodied the lifestyles of differing groups of settlers.
Examining their social, political, and economic contexts, McKay shows how the murals of this period glorified Canada as a modern nation state, extolled the virtues of commerce and industry, inculcated conventions of gender and race, and shared the intensity of nationalistic sentiment that led to the work of the more renowned painters of Toronto's Group of Seven. Bringing together for the first time a body of Canadian work - civic, commercial, religious, and private - that has been largely ignored by art historians, A National Soul challenges previous histories of Canadian painting. This generously illustrated book reproduces seldom-seen works from across the country, many of which have been moved or destroyed, and includes a comprehensive listing of all works from the period, their original and present locations, and their state of preservation.
This original book explores the radical transformation of the heroic male body in late eighteenth-century British art. It ranges across a period in which a modern art world was established, taking into account the lives and careers of a succession of major figures--from Benjamin West and Gavin Hamilton to Henry Fuseli, John Flaxman and William Blake--and influential institutions, from the Royal Academy to the commercial galleries of the 1790s.Organized around the historical traumas of the Seven Years' War (1756-63), the War of American Independence (1775-83) and the French Revolution and Revolutionary Wars (1789-1815), "Bodybuilding" places the visual representation of the hero at the heart of a series of narratives about social and economic change, gender identity, and the transformation of cultural value on the eve of modernity. The book offers a vivid image of a critical period in Britain's cultural history and establishes a new framework for the study of late-eighteenth-century art and gender.
In recent years, art historians have begun to delve into the patronage, production and reception of sculptures-sculptors' workshop practices; practical, aesthetic, and esoteric considerations of material and materiality; and the meanings associated with materials and the makers of sculptures. This volume brings together some of the top scholars in the field, to investigate how sculptors in early modern Italy confronted such challenges as procurement of materials, their costs, shipping and transportation issues, and technical problems of materials, along with the meanings of the usage, hierarchies of materials, and processes of material acquisition and production. Contributors also explore the implications of these facets in terms of the intended and perceived meaning(s) for the viewer, patron, and/or artist. A highlight of the collection is the epilogue, an interview with a contemporary artist of large-scale stone sculpture, which reveals the similar challenges sculptors still encounter today as they procure, manufacture and transport their works.
This book explores how the Medici Grand Dukes pursued ways to expand their political, commercial, and cultural networks beyond Europe, cultivating complex relations with the Ottoman Empire and other Islamicate regions, and looking further east to India, China, and Japan. The chapters in this volume discuss how casting a global, cross-cultural net was part and parcel of the Medicean political vision. Diplomatic gifts, items of commercial exchange, objects looted at war, maritime connections, and political plots were an inherent part of how the Medici projected their state on the global arena. The eleven chapters of this volume demonstrate that the mobility of objects, people, and knowledge that generated the global interactions analyzed here was not unidirectional-rather, it went both to and from Tuscany. In addition, by exploring evidence of objects produced in Tuscany for Asian markets,this book reveals hitherto neglected histories of how Western cultures projected themselves eastwards.
The papers in this volume offer a wide range of examples of how historians, writers, playwrights, and painters in the early modern period focused on classical antiquity as a source from which they could recreate the past as a way of understanding and legitimizing the present. This publication has also been published in hardback, please click here for details.
Rembrandt's intriguing painting technique stirred the imaginations
of art lovers during his lifetime and has done so ever since. In
this book, now revised, updated, and with a new foreword by the
author, Rembrandt's pictorial intentions and the variety of
materials and techniques he applied to create his fascinating
effects are unraveled in depth. At the same time, this
"archaeology" of Rembrandt's paintings yields information on many
other levels and offers a view of Rembrandt's daily practice and
artistic considerations while simultaneously providing a more
dimensional image of the artist.
William Hogarth (1697-1764) is certainly one of the most versatile, innovative and celebrated of all British artists. He lived at a time when Britain was emerging as an increasingly urbanized, commercialized and aggressively imperial power. Like many other artists, he exploited and benefited from these changes in British society. Among his contemporaries, it was Hogarth who commented most brilliantly on society - both positively and negatively. His work celebrates the benefits of commerce, politeness and patriotism while simultaneously focusing on the corruption, hypocrisy and prejudice they brought in their wake. In paint and in print we are shown the two contrasting sides of modernity. This book explores and explains the dramatic duality within Hogarth's work, and in doing so gives us a greater sense of the contradictions and complexities that existed within eighteenth-century British society.
A word was coined to describe the condition of people stricken with a new kind of fever when the Swiss-born artist Angelica Kauffman (1741-1807) came to London in 1766. 'The whole world', it was said, 'is Angelicamad.' One of the most successful women artists in history - a painter who possessed what her friend Goethe called an 'unbelievable' and 'massive' talent - Kauffman became the toast of Georgian England, captivating society with her portraits, mythological scenes and decorative compositions. She knew and painted poets, novelists and playwrights, collaborating with them and illustrating their work; her designs adorned the houses of the Grand Tourists she had met and painted in Italy; actors, statesmen, philosophers, kings and queen sat to her; and she was the force that launched a thousand engravings. Despite rumours of relationships with other artists (including Sir Joshua Reynolds), and an apparently bigamous and annulled first marriage to a pseudo Count, Kauffman was adopted by royalty in England and abroad as a model of social and artistic decorum. A profoundly learned artist, but one who is loved, above all, for her tender adaptations from classical antiquity and sentimental literature; a commercially successful celebrity, yet also a founding member of The Royal Academy of arts; the virginal creator of sexually ambivalent beings who was one of the hardest-headed businesswomen of her age, Kauffman's life and work is full of apparent contradictions explored in this first biography in over 80 years.
What role did visual artists play in the emergence and spread of nationalism and a sense of national identity? Focusing on late-eighteenth and early-nineteenth century Britain and France, this original study in the historical sociology of nations and nationalism analyses the contributions of artists in these and other West European countries to the creation of memorable images of the abstract concept of the nation. By employing different modes of depiction for conveying moral lessons, evoking the atmosphere of the homeland, and commemorating the fallen in battle, David, Ingres, Turner, Constable, and Friedrich, as well as a host of lesser artists, were able to make the national idea appear palpable and accessible, and the abstract concept of the nation seem 'authentic' and 'real'. After a brief description of the main themes of the visual record of Dutch nation-building in the seventeenth century, Anthony D. Smith presents an original comparative analysis of the rise of 'national art' in eighteenth-century Britain and France. Subsequent chapters address the emblems and oath-swearing ceremonies of the citizen nation, the evocation of native poetic landscapes, the exempla virtutis of national heroes, ancient and modern, and the funerary memorials of martyrs and soldiers who sacrificed themselves for the nation in Britain and France. The conclusion highlights the common elements and the main differences in the French and British trajectories of artistic and national development. Illustrated with striking images, The Nation Made Real offers a new interpretation of the role of visual culture in the formation of nations and national identity among the educated classes in Western Europe.
In this, the first comprehensive study of post-Reformation provincial English portraiture, Robert Tittler investigates the growing affinity for secular portraiture in Tudor and early Stuart England, a cultural and social phenomenon which can be said to have produced a 'public' for that genre. He breaks new ground in placing portrait patronage and production in this era in the broad social and cultural context of post-Reformation England, and in distinguishing between native English provincial portraiture, which was often highly vernacular, and foreign-influenced portraiture of the court and metropolis, which tended towards the formal and 'polite'. Tittler describes the burgeoning public for portraiture of this era as more than the familiar court-and-London based presence, but rather as a phenomenon which was surprisingly widespread, both socially and geographically, throughout the realm. He suggests that provincial portraiture differed from the 'mainstream', cosmopolitan portraiture of the day in its workmanship, materials, inspirations, and even vocabulary, showing how its native English roots continued to guide its production. Innovative chapters consider the aims and vocabulary of English provincial portraiture, the relationship of portraiture and heraldry, the painter's occupation in provincial (as opposed to metropolitan) England, and the contrasting availability of materials and training in both provincial and metropolitan areas. The work as a whole contributes to both art history and social history: it speaks to admirers and collectors of painting as well as to curators and academics.
Switzerland is well-known for its host of remarkable collections of 18th century European porcelain. Exemplary representatives include renowned collectors such as Dr Albert Kocher and Dr Marcel Nyffeler. A number of these magnificent collections can be found today - as a result of endowments or gifts - in Switzerland's renowned institutions. Today, the 'white gold' from Saxony still fascinates Swiss connoisseurs: this publication is dedicated to their passion for collecting and for exceptional treasures, and is enriched with articles by renowned art historians and porcelain experts. An impressive overview of the gems from the most sumptuous Meissen porcelain of the early period.
The diversity and enduring beauty of ornamental ironwork is celebrated in this singular sourcebook. Sixty antique plates showcase metal doors, balconies, window arches, gates, corner pieces, decorative embellishments, and more, many wrought with gargoyles, human figures, and florals.
Discussions of Goya in recent decades have centred on his influence on 19th- and 20th-century painters. Hofmann redresses the balance, focusing instead on the Spanish artist's profoundly disturbing imagery, and demonstrating that Goya's modernity derives from his lifelong investigation of what lies behind the world of appearances and convention. Hofmann places Goya's paintings, drawings and prints in a biographical context, revealing the specific character of each phase of the artist's life and work. He discusses the "glory and the pain of faith" evinced by Goya's early work, the artist's parabolic representation of the threat posed by the French Revolution, his dramatic documentation of the French occupation of Spain, his variations on cruelty in the "Disasters of War" etchings, and the religious faith apparent in his late work. Hofmann also relates the artist and his work to contemporary intellectual developments, drawing comparison with writers, critics and philosophers from Goethe to William Blake to the Marquis de Sade.
In the seventeenth century during the reigns of Louis XIII and Louis XIV, French painting had a magnificent flowering. From the poetic history painting of Poussin, the landscapes of Claude Lorrain and the portraits of Philippe de Champaigne to the celebratory art of Le Brun at the court of Louis XIV at Versailles, this was an extraordinary period in French art. This book revealingly demonstrates how art and the state were linked through symbolism. Written by one of the few authorities on the subject outside the French-speaking world, and generously illustrated throughout with a rich variety of paintings, it will enrich our response to these glorious works of art by exposing layers of meaning that have been obscured or forgotten.
Writing the Lives of Painters explores the development of artists' biographies in eighteenth- and early nineteenth-century Britain. During this period artists gradually distanced themselves from artisans and began to be recognised for their imaginative and intellectual skills. The development of the art market and the burgeoning of an exhibition culture, as well as the foundation of the Royal Academy of Arts in 1768, all contributed to redefining the rank of artists in society. This social redefinition of the status of artists in Britain was shaped by a thriving print culture. Contemporary artists were discussed in a wide range of literary forms, including exhibition reviews, art-critical pamphlets, and journalistic gossip-columns. Biographical accounts of modern artists emerged in a dialogue with these other types of writing. This book is an account of a new literary genre, tracing its emergence in the cultural context of the late eighteenth and early nineteenth centuries. It considers artistic biography as a malleable generic framework for investigation. Indeed, while the lives of painters in Britain did not completely abandon traditional tropes, the genre significantly widened its scope and created new individual and social narratives that reflected and accommodated the needs and desires of new reading audiences. Writing the Lives of Painters also argues that the proliferation of a myriad biographical forms mirrored the privileging of artistic originality and difference within an art world that had yet to generate a coherent 'British School' of painting. Finally, by focusing on the emergence of individual biographies of British artists, the book examines how and why the art historiographic model established by Georgio Vasari was gradually dismantled in the hands of British biographers during the Romantic period.
Madam Britannia: Women, Church, and Nation, 1712-1812 explores the
complex and fascinating relationship between women, Protestantism,
and nationhood. Opening with a history of Britannia, this book
argues that Britannia becomes increasingly popular as a national
emblem from 1688 onwards. Over the eighteenth century, depictions
of Britannia become exemplary as well as emblematic, her behaviour
to be imitated as well as admired. Britannia takes life during the
eighteenth century, stepping out of iconic representation on coins,
out of the pages of James Thomson's poetry, down from the stage of
David Mallett's plays, the frames of Francis Hayman and William
Hogarth's paintings, and John Flaxman's monuments to enter people's
lives as an identity to be experienced.
An exploration of 200 years of Shaker design and spirituality, with new attention to Shaker influence on contemporary design Reaching an apogee of 6,000 members in the years just before the Civil War, the Shaker movement was the most extensive, enduring, and successful utopian society ever established in America. Leaving Manchester, England, in 1776 to avoid persecution, the Shakers crossed the Atlantic and during the next 50 years established 19 villages from Maine to Kentucky. The Shakers were guided by the principles of utility, honesty, and order in both their work and worship, and this belief system influenced the physical expression of the goods they produced for use at home and for sale outside their communities. This lovely book presents a wide array of extraordinarily fine examples of Shaker furniture, household objects, textiles, religious drawings, and items made to sell to the "world's people" (non-Shakers). The book's expert contributors discuss Shaker design in relation to the furniture they constructed, the products they sold, their gift drawings and spirituality, and their rejection of American Fancy design. The book also considers the powerful inspiration Shaker design has provided for diverse modern and contemporary designers, including George Nakashima, Roy McMakin, Thomas Moser, and Scandinavian furniture makers.
That Ireland is picturesque is a well-worn cliche, but little is understood of how this perception was created, painted, and manipulated during the long 18th century. This book positions Ireland at the core of the picturesque's development and argues for a far greater degree of Irish influence on the course of European landscape theory and design. Positioned off-axis from the greater force-field, and off-shore from mainland Europe and America, where better to cultivate the oblique perspective? This book charts the creation of picturesque Ireland, while exploring in detail the role and reach of landscape painting in the planning, publishing, landscaping and design of Ireland's historic landscapes, towns, and tourist routes. Thus it is also a history of the physical shaping of Ireland as a tourist destination, one of the earliest, most calculated, and most successful in the world.
Jan van Noordt created some of the most flamboyant and expressive paintings of the Dutch Golden Age. David de Witt untangles fact from fiction in this comprehensive study of the life and work of Jan van Noordt, offering a detailed biography based on a thorough review of the documentary evidence.
You may like...
The Treasures of Rembrandt
Michiel Roscam Abbing Hardcover
London - Prints & Drawings before 1800
Bernard Nurse Hardcover R836 Discovery Miles 8 360
The Genius in the Design - Bernini…
Jake Morrissey Paperback
Jeronimo Antonio Gil and the Idea of the…
Kelly Donahue-Wallace Hardcover R1,678 Discovery Miles 16 780
Artemisia Gentileschi around 1622 - The…
Mary D. Garrard Paperback
Petworth - The People and the Place
Christopher Rowell Paperback
Baroque and Later Paintings in the…
Catherine Whistler Hardcover
A Corpus of Rembrandt Paintings V - The…
Ernst van de Wetering Hardcover R31,484 Discovery Miles 314 840
Fragonard's Allegories of Love
Andrei Molotiu Hardcover R673 Discovery Miles 6 730
Making and Moving Sculpture in Early…
Kelley Helmstutler Di Dio Hardcover R3,071 Discovery Miles 30 710