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Garden at War - Deception, Craft and Reason at Stowe (Paperback)
Loot Price: R322
Discovery Miles 3 220
You Save: R80
(20%)
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Garden at War - Deception, Craft and Reason at Stowe (Paperback)
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List price R402
Loot Price R322
Discovery Miles 3 220
You Save R80 (20%)
Supplier out of stock. If you add this item to your wish list we will let you know when it becomes available.
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At Stowe, 250 acres of parkland off er a complex web of views,
pathways, statues, inscriptions, urns and ideas. Unlike its French
fl oricultural precursors, Stowe presents sudden shifts of scene,
abrupt revelations, as well as spots at which to stop to absorb the
visual eff ect. There is natural beauty in the gardens of Stowe,
but they serve a larger purpose than to please the eye. Beneath
this facade of bucolic idyll lies a deeply important suggestion of
man's relationship to nature. Accompanying an exhibition of
historic and contemporary art at Stowe House, The Garden at War
explores the gardens at Stowe, built by a general, as a site of
perpetual confl ict in which the preconditions of destruction and
creation are inescapable. If nature is understood to be original,
then the garden is an ordered but un-orderly condition; a
re-ordered vision of the natural order, a vision of nature
disciplined by human action in a attempt to advance and yield
control. Starting with works by the preeminent neoclassical
painters Nicolas Poussin and Claude Lorrain - whose distinct
pictorial visions gave rise to an unmistakable relationship between
the garden, the viewer and the natural world - the publication
brings together an arrangement of interpretations and theories
exploring metaphors and meanings within the very practice of
gardening itself. An introduction by the pre-eminent critic Stephen
Bann and an essay by the foremost garden historian John Dixon Hunt
lead on to newly commissioned illustrations by artist Gary Hincks,
a previously unpublished interview with the Scottish conceptual
artist and gardener Ian Hamilton Finlay, and a new discussion of
confl ict in the work of Richard Long.
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