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Oxford has a special place in the history of Pre-Raphaelitism.
Thomas Combe (superintendent of the Clarendon Press) encouraged
John Everett Millais and William Holman Hunt at a crucial early
stage of their careers, and his collection became the nucleus of
the Ashmolean collection of works by the Brotherhood and their
associates. Two young undergraduates, William Morris and Edward
Burne-Jones, saw the Combe collection and became enthusiastic
converts to the movement. With Dante Gabriel Rossetti, in 1857 they
undertook the decoration of the debating chamber (now the Old
Library) of the Oxford Union. The group's champion John Ruskin also
studied in Oxford, where he oversaw the design of the University
Museum of Natural History and established the Ruskin School of
Drawing. Jane Burden, future wife of Morris and muse (probably also
lover) of Rossetti, was a local girl, first spotted at the theatre
in Oxford. Oxford's key role in the movement has made it a magnet
for important bequests and acquisitions, most recently of
Burne-Jones's illustrated letters and paintbrushes. The collection
of watercolours and drawings includes a wide variety of appealing
works, from Hunt's first drawing on the back of a tiny envelope for
The Light of the World (Keble College), to large, elaborate chalk
drawings of Jane Morris by Rossetti. It is especially rich in
portraits, which throw an intimate light on the friendships and
love affairs of the artists, and in landscapes which reflect
Ruskin's advice to 'go to nature'. More than just an exhibition
catalogue, this book is a showcase of the Ashmolean's incredible
collection, and demonstrates the enormous range of Pre-Raphaelite
drawing techniques and media, including pencil, pen and ink, chalk,
watercolour, bodycolour and metallic paints. It will include
designs for stained glass and furniture, as well as preparatory
drawings for some of the well-known paintings in the collection.
In the century following the foundation of the Royal Academy in
1768, British art had an international reputation: prints spread
knowledge of the work of British artists around the globe, and it
was widely seen as the product of a modern, commercial society, and
much admired by artists as diverse as Goya in Spain, Delacroix in
France, and Bierstadt in America. In recent years, scholars working
on this period have become increasingly aware of the international
context of their subject, but there has been no systematic analysis
of the reception of British art abroad. This collection of essays
looks at the uses made of the paintings of Reynolds, Hogarth,
Lawrence and their contemporaries on the continent of Europe, and
in the colonies and ex-colonies of Australia and America. The
authors go beyond the simple issue of 'influence' to consider how
ideas and artistic conventions originating in the British Isles
were adapted, appropriated or resisted in these new environments.
In the process, some surprising views of British art emerge,
demonstrating how a multi-faceted view from the outside can correct
and enrich the narrative produced within a national school, and
revealing some of the important connections that are obscured when
art is studied, as it so often is, within narrow national
boundaries.
In the century following the foundation of the Royal Academy in
1768, British art had an international reputation: prints spread
knowledge of the work of British artists around the globe, and it
was widely seen as the product of a modern, commercial society, and
much admired by artists as diverse as Goya in Spain, Delacroix in
France, and Bierstadt in America. In recent years, scholars working
on this period have become increasingly aware of the international
context of their subject, but there has been no systematic analysis
of the reception of British art abroad. This collection of essays
looks at the uses made of the paintings of Reynolds, Hogarth,
Lawrence and their contemporaries on the continent of Europe, and
in the colonies and ex-colonies of Australia and America. The
authors go beyond the simple issue of 'influence' to consider how
ideas and artistic conventions originating in the British Isles
were adapted, appropriated or resisted in these new environments.
In the process, some surprising views of British art emerge,
demonstrating how a multi-faceted view from the outside can correct
and enrich the narrative produced within a national school, and
revealing some of the important connections that are obscured when
art is studied, as it so often is, within narrow national
boundaries.
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Earth (Paperback)
Christiana Payne
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R551
Discovery Miles 5 510
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Ships in 12 - 17 working days
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Fire! (Paperback)
Gemma Brace, Rachael Nee, Christiana Payne
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R777
R612
Discovery Miles 6 120
Save R165 (21%)
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The Art of Jeremy Gardiner - Unfolding Landscape (Hardcover, Limited special edition, in slipcase with removable, numbered, limited edition print by the artist)
Wendy Baron, Ian Collins, William Varley, Peter Davies, Christiana Payne, …
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R8,839
R7,793
Discovery Miles 77 930
Save R1,046 (12%)
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Ships in 12 - 17 working days
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Providing a comprehensive assessment of Jeremy Gardiner's career to
date, this monograph, the first of its kind, explains how this
distinctive artist has taken the exploratory landscape vision of
mid-century St Ives modernists like Ben Nicholson, Peter Lanyon and
John Tunnard into a new post-millennial era. Gardiner's unique
geological interpretation of landscape not only describes the
current lie of the land but portrays it as a complex outcome of
natural processes over vast periods of time. While indebted to
British and American modernism, Gardiner's new conceptual rigour
and technical repertoire is informed by science, geomorphology, new
technologies and direct physical engagement with ancient
landscapes. Following a distinguished international teaching
career, based in Britain and the United States, Gardiner's
landscape subjects have included geographically varied locations
from the Jurassic Coast in his native Dorset and the rugged
Atlantic seaboard of Cornwall, to the jagged volcanic topographies
of the Brazilian oceanic islands and the Lake District. Including
essays from leading art writers, this book provides an insight into
the career of one of Britain's most innovative contemporary
landscape artists.
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