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"Life, Legend, Landscape" presents a rich selection of Victorian
drawings and watercolors from the Courtauld Gallery collection,
ranging from finished watercolors intended for public exhibition to
informal sketches and preparatory drawings for paintings or
sculpture. The selection includes a study by Edwin Landseer for the
famous lions used at the base of Nelson's column in Trafalgar
Square, London; the Pre-Raphaelite painter Dante Gabriel Rossetti's
intimate portrait of his muse, Elizabeth Siddal, seated at her
easel; Whistler's delicate study of the young Elinor Leyland, and
Fredrick Walker's outstanding The Old Farm Garden.
The friendship between William Morris and Edward Burne-Jones began
when they met as undergraduates in 1853 and-despite their
differences in temperament and in attitudes to political
engagement-lasted until Morris's death in 1896. This friendship was
one of the defining features of both their lives, and yet the
overlap in their artistic projects has not previously been
considered in detail. In this deeply thoughtful book, Caroline
Arscott explores particular aspects of the paintings of Burne-Jones
and the designs of Morris and concludes that there are close
interconnections in theme, allusion, and formal strategy between
the works of the two men. She suggests that themes of bodily pain,
desire and appetite are central to their vision. Through careful
readings of Burne-Jones's painting and Morris's designs for printed
wallpapers and textiles, she shows that it is possible to bring
together fine art and design in a linked discussion that
illuminates the projects of both artists. Published for the Paul
Mellon Centre for Studies in British Art
Art History and Emergency assesses art history's role and
responsibilities in what has been described as the "humanities
crisis"-the perceived decline in the practical applications of the
humanities in modern times. This timely collection of critical
essays and creative pieces addresses several thought-provoking
questions on the subject. For instance, as this so-called crisis is
but the latest of many, what part has "crisis" played in the
humanities' history? How are artists, art historians, and
professionals in related disciplines responding to current
pressures to prove their worth? How does one defend the practical
value of knowing how to think deeply about objects and images
without losing the intellectual intensity that characterizes the
best work in the discipline? Does art history as we know it have a
future? Distributed for the Clark Art Institute
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Catan
(16)
R1,150
R889
Discovery Miles 8 890
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