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Imagining England’s Past takes a long look at the country’s
invented histories, from the glamorous to the disturbing, from the
eighth century to the present day. England has long built its sense
of self on visions of its past. What does it mean for medieval
writers to summon King Arthur from the post-Roman fog; for William
Morris to resurrect the skills of the medieval workshop and Julia
Margaret Cameron to portray the Arthurian court with her Victorian
camera; or for Yinka Shonibare in the final years of the twentieth
century to visualize a Black Victorian dandy? By exploring the
imaginations of successive generations, this book reveals how
diverse notions of the past have inspired literature, art, music,
architecture and fashion. It shines a light on subjects from myths
to mock-Tudor houses, Stonehenge to steampunk, and asks how – and
why – the past continues so powerfully to shape the present. Not
a history of England, but a history of those who have written,
painted and dreamed it into being, Imagining England's Past offers
a lively, erudite account of the making and manipulation of the
days of old. Praise for Imagining England's Past 'Susan Owens
conjures our imagined past with such vivacity and lyricism that I
can see the dawn mist rising over fabled fields and hear the tread
of fictional histories on the worn stairs of yesteryear. Packed
full of myths, stories, poems and paintings I found this book
impossible to put down!' Charlotte Mullins, broadcaster, art critic
and author of A Little History of Art
When we look at the landscape, what do we see? Do we experience the
view over a valley or dappled sunlight on a path in the same way as
those who were there before us? We have altered the countryside in
innumerable ways over the last thousand years, and never more so
than in the last hundred. How are these changes reflected in - and
affected by - art and literature? Spirit of Place offers a
panoramic view of the British landscape as seen through the eyes of
writers and artists from Bede and the Gawain-poet to Gainsborough,
Austen, W. G. Sebald and Barbara Hepworth. Shaped by these
distinctive voices and evocative imagery, Susan Owens describes how
the British landscape has been framed, reimagined and reshaped by
each generation. Each account or work of art, whether illuminated
in a manuscript, jotted down in a journal or constructed from
sticks and stones, holds up a mirror to its maker and their world.
With 80 illustrations
The first edition of this seminal book was written at a time of
rapidly growing interest in the potential for land use planning to
deliver sustainable development, and explored the connections
between the two and implications for public policy. In the decade
since the book was first conceived, environmental imperatives have
risen still further up the policial agenda and land use conflicts
have intensified, lending even greater importance to the authors'
research. In a rigorous discussion of concepts, policy instruments
and contemporary planning dilemmas, the authors challenge
prevailing assumptions about planning for sustainability. After
charting the remarkable growth in expectations of planning, they
show how attempts to interpret sustainability must lead to
fundamental moral and political choices.
In a new and critical analysis, this book explores the impact of an
influential idea - sustainable development - on the institutions
and practices governing use of land. It examines the paradox that
in spite of increasing attention to sustainability, land use
conflict is as ubiquitous and intense as ever.
The first edition of this seminal book was written at a time of
rapidly growing interest in the potential for land use planning to
deliver sustainable development, and explored the connections
between the two and implications for public policy. In the decade
since the book was first conceived, environmental imperatives have
risen still further up the policial agenda and land use conflicts
have intensified, lending even greater importance to the authors'
research.
In a rigorous discussion of concepts, policy instruments and
contemporary planning dilemmas, the authors challenge prevailing
assumptions about planning for sustainability. After charting the
remarkable growth in expectations of planning, they show how
attempts to interpret sustainability must lead to fundamental moral
and political choices.
In a new and critical analysis, this book explores the impact of an influential idea - sustainable development - on the institutions and practices governing use of land. It examines the paradox that in spite of increasing attention to sustainability, land use conflict is as ubiquitous and intense as ever.
The first art book to explore Rossetti's art and poetry together,
including her own artworks, illustrations to her writing, and art
inspired by her Christina Rossetti (1830-1894) is among the
greatest of English Victorian poets. The intensity of her vision,
her colloquial style, and the lyrical quality of her verse still
speak powerfully to us today, while her striking imagery has always
inspired artists. Rossetti lived in an exceptionally visual
environment: her brother, Dante Gabriel Rossetti, was the leading
member of the avant-garde Pre-Raphaelite Brotherhood, and she
became a favorite model for the group. She sat for the face of
Christ in William Holman Hunt's The Light of the World, while both
John Everett Millais and Frederick Sandys illustrated her poetry.
Later on, the pioneering photographer Julia Margaret Cameron and
the great Belgian Symbolist Fernand Khnopff were inspired by
Rossetti's enigmatic verses. This engaging book explores the full
artistic context of Rossetti's life and poetry: her own complicated
attitude to pictures; the many portraits of her by artists,
including her brother, John Brett, and Lewis Carroll; her own
intriguing and virtually unknown drawings; and the wealth of visual
images inspired by her words. Published in association with Watts
Gallery Exhibition Schedule: Watts Gallery, Guildford, Surrey
(11/13/18-03/17/19)
Jonathan Richardson (1667-1745) was one of 18th-century England's
most significant cultural figures. A leading portrait painter and
influential art theorist, he also amassed one of the period's
greatest collections of drawings. But there was another, highly
unusual dimension to his pursuits. In 1728, at the age of 61 and
shortly before his retirement from professional life, Richardson
began to create a remarkable series of self-portrait drawings. Not
intended for public display, these works were unguarded
explorations of his own character. In one of the most astonishing
projects of self-examination ever undertaken by an artist, for over
a decade Richardson repeatedly drew his own face. His self-portrait
drawings are usually dated precisely, and they document, from month
to month, his changing state of mind as much as his appearance.
Many were drawn in chalks on large sheets of blue paper, from his
reflection in the mirror. Some of these are bold and
psychologically penetrating, while others, in which he regards his
ageing features with gentle but unflinching scrutiny, are deeply
touching. A further group of self-portraits is drawn with graphite
on small sheets of fine vellum, and in these Richardson often
presents himself in inventive and humorous ways, such as in
profile, all'antica, as though on the face of a coin or medal; or
crowned with bays, like a celebrated poet. Sometimes, too, he
copies his image from oil paintings made decades earlier, in order
to recall his appearance as a younger man. In this extraordinary
series of self-portraits, Richardson offers a candid insight into
his mind and personality. Together, these drawings create nothing
less than a unique and compelling visual autobiography. This
publication - which accompanies the first ever exhibition devoted
to Richardson's self-portrait drawings, held in the new Gilbert and
Ildiko Butler Drawings Gallery at the Courtauld - tells the story
of these remarkable works Jonathan Richardson (1667-1745) was one
of 18th-century England's most significant cultural figures. A
leading portrait painter and influential art theorist, he also
amassed one of the period's greatest collections of drawings. But
there was another, highly unusual dimension to his pursuits. In
1728, at the age of 61 and shortly before his retirement from
professional life, Richardson began to create a remarkable series
of self-portrait drawings. Not intended for public display, these
works were unguarded explorations of his own character. In one of
the most astonishing projects of self-examination ever undertaken
by an artist, for over a decade Richardson repeatedly drew his own
face. His self-portrait drawings are usually dated precisely, and
they document, from month to month, his changing state of mind as
much as his appearance. Many were drawn in chalks on large sheets
of blue paper, from his reflection in the mirror. Some of these are
bold and psychologically penetrating, while others, in which he
regards his ageing features with gentle but unflinching scrutiny,
are deeply touching. A further group of self-portraits is drawn
with graphite on small sheets of fine vellum, and in these
Richardson often presents himself in inventive and humorous ways,
such as in profile, all'antica, as though on the face of a coin or
medal; or crowned with bays, like a celebrated poet. Sometimes,
too, he copies his image from oil paintings made decades earlier,
in order to recall his appearance as a younger man. In this
extraordinary series of self-portraits, Richardson offers a candid
insight into his mind and personality. Together, these drawings
create nothing less than a unique and compelling visual
autobiography. This publication - which accompanies the first ever
exhibition devoted to Richardson's self-portrait drawings, held in
the new Gilbert and Ildiko Butler Drawings Gallery at the Courtauld
- tells the story of these remarkable works and puts them into the
context of his other activities at this period of his life - in
particular the self-searching poems he wrote during the same years
and often on the same days as he made the drawings. An introductory
essay is followed by focused discussions of each work in the
exhibition. This part of the book explores the materials and
techniques Richardson used, whether working in chalks on a large
scale or creating exquisitely refined drawings on vellum. It will
also reveal how Richardson modeled some of his portraits on old
master prints and drawings, including works in his own collection
by Rembrandt and Bernini. The publication brings together the
Courtauld Gallery's fine collection of Richardson's drawings with
key works in the British Museum, the National Portrait Gallery and
the Fitzwilliam Museum.
A gorgeously illustrated volume devoted to the natural history
drawings and watercolors of Leonardo da Vinci and other outstanding
artists of the Age of Discovery From the fifteenth century onwards,
as European explorers sailed forth on grand voyages of discovery,
their encounters with exotic plants and animals fanned intense
scientific interest. Scholars began to examine nature with fresh
eyes, and pioneering artists transformed the way nature was seen
and understood. In Amazing Rare Things, renowned naturalist and
documentary-maker David Attenborough joins with expert colleagues
to explore how artists portrayed the natural world during this era
of burgeoning scientific interest. The book focuses on an exquisite
selection of natural history drawings and watercolors by Leonardo
da Vinci, Alexander Marshal, Maria Sibylla Merian, and Mark
Catesby, and from the collection of Cassiano dal Pozzo-works all
held in the Royal Library at Windsor Castle. Attenborough and his
coauthors offer lucid commentary on topics ranging from the
30,000-year history of human drawings of the natural world, to
Leonardo's fascination with natural processes, to Catesby's
groundbreaking studies that introduced Europeans to the plants and
animals of North America. With 160 full color illustrations, this
beautiful book will appeal to readers with interests that extend
from art and science to history and nature.
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The Ghost (Paperback)
Susan Owens
1
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R486
R401
Discovery Miles 4 010
Save R85 (17%)
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Ships in 9 - 15 working days
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"Five thousand years have now elapsed since the creation of the
world, and still it is undecided whether or not there has even been
an instance of the spirit of any person appearing after death. All
argument is against it; but all belief is for it." --Samuel Johnson
Ghosts are woven into the very fabric of life. In Britain, every
town, village, and great house has a spectral resident, and their
enduring popularity in literature, art, folklore, and film attests
to their continuing power to fascinate, terrify, and inspire. Our
conceptions of ghosts--the fears they provoke, the forms they
take--are connected to the conventions and beliefs of each
particular era, from the marauding undead of the Middle Ages to the
psychologically charged presences of our own age. The ghost is no
less than the mirror of the times. Organized chronologically, this
new cultural history features a dazzling range of artists and
writers, including William Hogarth, William Blake, Henry Fuseli,
Dante Gabriel Rossetti, John Everett Millais, Susan Hiller and
Jeremy Deller; John Donne, William Shakespeare, Samuel Pepys,
Daniel Defoe, Percy and Mary Shelley, Emily Bronte, Charles
Dickens, Wilkie Collins, Henry James, Thomas Hardy, Muriel Spark,
Hilary Mantel, and Sarah Waters.
The Art of Drawing is the first book in sixty years to cover the
wider history of drawing in Britain exploring the crucial role
drawing has played in British art. Featuring works by foremost
British artists from the early seventeenth century right up to the
present day, this book offers fresh insights into the wide range of
ways in which these artists have used drawing to think on paper,
build up ideas and make finished exhibition pieces. Taking examples
from the greatest masters, including Isaac Oliver, Peter Lely,
WIlliam Blake, Thomas Rowlandson, John Constable, Edwin Landseer,
Dante Gabriel Rossetti, Edward Burne-Jones, Wyndham Lewis, Paul
Nash, Lucian Freud, David Hockney, John Piper, Sian Bowen and
Grayson Perry, Susan Owens discusses the art and craft of drawing,
materials and techniques and why artists chose them.ory of drawing
in Britain exploring the crucial role drawing has played in British
art. Featuring works by foremost British artists from the early
seventeenth century right up to the present day, this book offers
fresh insights into the wide range of ways in which these artists
have used drawing to think on paper, build up ideas and make
finished exhibition pieces. Taking examples from the greatest
masters, including Isaac Oliver, Peter Lely, WIlliam Blake, Thomas
Rowlandson, John Constable, Edwin Landseer, Dante Gabriel Rossetti,
Edward Burne-Jones, Wyndham Lewis, Paul Nash, Lucian Freud, David
Hockney, John Piper, Sian Bowen and Grayson Perry, Susan Owens
discusses the art and craft of drawing, materials and techniques
and why artists chose them.
Increasing number of people go home extremely stressed at the end
of the work day. And in today's information overloaded society,
finding a quiet space in the day for some "me-time" can be
virtually impossible. So the challenge that many of us have is to
find a way to diffuse that stress so that it does not lead to other
problems. But how do you start when it seems like every stress
management technique out there requires you to spend time and money
to get the most out of it? And you're so stressed you simply don't
have the time "Everyday Stress Relief Techniques: Mastering Stress
Management" provides an answer to these problems. It is a great
tool that can be used to learn some great stress relief techniques,
which work in everyday situations. Learn what causes stress.
Discover how certain things can be done to avoid certain stressful
situations or to deal with certain situations to prevent the onset
of stress. This book highlights many different techniques and
discusses ways to incorporate them into your everyday life, from
someone who has done just that
High school is not easy, and don't Sarah know it. After moving back
to her father's home town, Sarah finds that things are not as they
seem. What do a centuries old curse and a silly ring have in
common? Sarah soon will find out.
When Moon goes missing, the whole town is in an uproar, pointing
fingers at each other. Who is to blame? Is it the stranded soldier
she gave a ride to days before her disappearance? Was she in the
wrong place at the wrong time, snatched by a stranger? Or was it
one of her neighbors?
A collection of poetry. The short poetry is from the desk of Susan
Owens.
Bad Girls examines representational practices of film and
television stories beginning with post-Vietnam cinema and ending
with post-feminisms and contemporary public disputes over women in
the military. The book explores a diverse range of popular media
texts, from the Alien saga to Ally McBeal and Sex and the City,
from The Net and VR5 to Sportsnight and G.I.Jane. The research is
framed as a study of intergenerational tensions in portrayals of
women and public institutions - in careers, governmental service,
and interactions with technology. Using iconic texts and their
contexts as a primary focus, this book offers a rhetorical and
cultural history of the tensions between remembering and forgetting
in representations of the American feminist movement between 1979
and 2005. Looking forward, the book sets an agenda for discussion
of gender issues over the next twenty-five years and articulates
with authority the manner in which "transgression" itself has
become a site of struggle.
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