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While the dissolution of the monasteries in the 1530s resulted in
the destruction of much of England's built fabric, it was also a
time in which many new initiatives emerged. In the following
century, former monasteries were eventually adapted to a variety of
uses: royal palaces and country houses, town halls and schools,
almshouses and re-fashioned parish churches. In this beautiful and
elegantly argued book, Maurice Howard reveals that changes of style
in architecture emerged from the practical needs of construction
and the self-image of major patrons in the revolutionary century
between Reformation and Civil War. Published for the Paul Mellon
Centre for Studies in British Art
This book is the first major essay volume in over a decade to focus
on Tudor and Jacobean painting. Its interdisciplinary approach
reflects the dynamic state of research in the field, utilising a
range of methodologies in order to answer key art historical
questions about the production and consumption of art in Britain in
the 16th and early 17th century. The introduction sets the tone for
the interdisciplinary approach that is taken throughout the volume
.It brings together a discussion of the context for the production
of painted images in Tudor and Jacobean England with a selection of
technical images of twenty paintings that span the period and
demonstrate the information that can be gained from material
analysis of paintings. In further chapters, leading exponents of
painting conservation and conservation science discuss the material
practices of the period, using and explaining a range of analytical
techniques, such as infrared reflectography and dendochronology.
Questions of authorship and aspects of workshop practice are also
discussed. As well as looking at specific artists and their
studios, the authors take a broader view in order to capture
information about the range of artistic production during the
period, stretching from the production of medieval rood screens to
the position of heraldic painters. The final section of the book
addresses artistic patronage, from the commissioning of works by
kings and courtiers, to the regional networks that developed during
the period and the influence of a developing antiquarianism on the
market for paintings. The book is lavishly illustrated in colour
throughout, with reproductions of whole paintings and many details
selected to amplify the text. It will be an essential source for
those working in the fields of art history, conservation and
material science, and of interest to lovers of British Tudor and
Stuart painting.
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