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Over the course of the long 18th century, many of England’s
grandest country houses became known for displaying noteworthy
architecture and design, large collections of sculptures and
paintings, and expansive landscape gardens and parks. Although
these houses continued to function as residences and spaces of
elite retreat, they had powerful public identities. Increasingly
accessible to tourists, and extensively described by travel
writers, they began to be celebrated as sites of great importance
to national culture. Touring and Publicizing England's Country
Houses in the Long Eighteenth Century examines how these identities
emerged, repositioning the importance of country houses in
18th-century Britain and exploring what it took to turn them into
tourist attractions. Drawing on travel books, guidebooks, and
dozens of tourists’ diaries and letters, it explores what it
meant to tour country houses such as Blenheim Palace, Chatsworth,
Wilton, Kedleston and Burghley in the tumultuous 1700s. It also
questions the legacies of these early tourists: both as a critical
cultural practice in the 18th century, and an extraordinary and
controversial influence in British culture today, country-house
tourism is a topic of rich debate for students, scholars and
patrons of the heritage sector.
Stretching back to antiquity, motion had been a key means of
designing and describing the physical environment. But during the
sixteenth through eighteenth centuries, individuals across Europe
increasingly designed, experienced, and described a new world of
motion: one characterized by continuous, rather than segmented,
movement. New spaces that included vistas along house interiors and
uninterrupted library reading rooms offered open expanses for
shaping sequences of social behaviour, scientists observed how the
Earth rotated around the sun, and philosophers attributed emotions
to neural vibrations in the human brain. Early Modern Spaces in
Motion examines this increased emphasis on motion with eight essays
encompassing a geographical span of Portugal to German-speaking
lands and a disciplinary range from architectural history to
English. It consequently merges longstanding strands of analysis
considering people in motion and buildings in motion to explore the
cultural historical attitudes underpinning the varied impacts of
motion in early modern Europe.
Gathie Falk: Revelations, published on the occasion of the
retrospective exhibition curated by Sarah Milroy, investigates the
career of a legendary Canadian artist. Now in her nineties, Gathie
Falk was born in 1928 in Brandon, Manitoba, settling finally in
Vancouver, where she established herself as one of Canada's most
visionary and experimental artists. Flying horses, rows of potted
conifers festooned with blossoms and ribbons, floating cabbages,
piles of glossy apples, gentlemen's brogues presented in reliquary
style, expanses of water, or burgeoning flower beds exploding with
color-these have been the manifestations of Falk's rampant
imagination as she has explored the disciplines of painting,
ceramic, performance art and installation over the span of a half
century. In all her works, effulgence and order are held in a
dynamic tension as she works through her generative themes and
variations. A trailblazer on all fronts, she has brought a rich
sensibility to bear on her observations of the everyday,
perceptions often tinged with the surreal and the uncanny. From her
fruit piles to the landmark performances of her early career, to
her extended pursuit of themes with variations in her painting
practice -expanses of water dazzling with light, riotous flower
borders set against cement sidewalks, night skies pierced by
starlight or obscured by clouds-she finds the wondrous in the
routine world around her, pursuing her work with a modesty and
diligence that reflects her Russian Mennonite heritage. The
publication includes an introduction by McMichael Chief Curator
Sarah Milroy, lead essay by Vancouver curator and writer Daina
Augaitis (who examines her performance and installation works in a
national and international context), and a host of other artists
and writers, rising to the occasion of this career-spanning survey.
This catalogue summarizes an extraordinary career, with full page
images of her artworks and rarely seen archival photos of the
artist's studio, performance works, and Falk herself. For more than
sixty years, Falk has generated work of extraordinary thematic
integrity and material invention. This publication will illuminate
those connections across disciplines, while also tracing the
artist's journey from youth to old age-from the lushness of the
fruit piles, with their sensuous surfaces and dazzling colors, to
the sepulchral hush of the night skies. Hers has been an
extraordinary voyage, and we look forward to saluting her in her
94th year.
Travel and the British country house explores the ways in which
travel by owners, visitors and material objects shaped country
houses during the long eighteenth century. It provides a richer and
more nuanced understanding of this relationship, and how it varied
according to the identity of the traveller and the geography of
their journeys. The essays explore how travel on the Grand Tour,
and further afield, formed an inspiration to build or remodel
houses and gardens; the importance of country house visiting in
shaping taste amongst British and European elites, and the
practical aspects of travel, including the expenditure involved.
Suitable for a scholarly audience, including postgraduate and
undergraduate students, but also accessible to the general reader,
Travel and the British country house offers a series of fascinating
studies of the country house that serve to animate the country
house with flows of people, goods and ideas. -- .
Over the course of the long 18th century, many of England's
grandest country houses became known for displaying noteworthy
architecture and design, large collections of sculptures and
paintings, and expansive landscape gardens and parks. Although
these houses continued to function as residences and spaces of
elite retreat, they had powerful public identities: increasingly
accessible to tourists and extensively described by travel writers,
they began to be celebrated as sites of great importance to
national culture. This book examines how these identities emerged,
repositioning the importance of country houses in 18th-century
Britain and exploring what it took to turn them into tourist
attractions. Drawing on travel books, guidebooks, and dozens of
tourists' diaries and letters, it explores what it meant to tour
country houses such as Blenheim Palace, Chatsworth, Wilton,
Kedleston and Burghley in the tumultuous 1700s. It also questions
the legacies of these early tourists: both as a critical cultural
practice in the 18th century and an extraordinary and controversial
influence in British culture today, country-house tourism is a
phenomenon that demands investigation.
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