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The story of the illustrated book from the earliest printed books
to the present day, told through the collections of the V&A's
National Art Library. Throughout history, images have been used to
reflect the meaning of words and to enhance our understanding of
texts. With the invention of mechanized printing in Germany in the
15th century, illustrated books were no longer the preserve of the
elite and became a source of knowledge, instruction and pleasure
for a wider audience. Traditional accounts of the illustrated book
survey its history in terms of technological advances, from
illumination to hand-drawn illustrations and photography. This
study offers a new approach, grouping books by subject - from
natural history and travel to art, architecture and fashion.
Gathered here are some of the most influential and compelling
examples of the illustrated book, all chosen from the collections
of the National Art Library at the Victoria and Albert Museum,
London. Each chapter starts with a general introduction to the
subject, followed by key examples accompanied by narrative
captions. The commentaries range beyond the illustrations to
consider the whole book, the design, typeface, binding, inks and
papers. Many of the books are not on display to the public and have
been specially photographed for this volume. Most examples have
been chosen for their significance, being innovative and beautiful.
But humble books, often overlooked in histories, have also been
selected, when particularly effective in their field, or simply
memorable. From beautiful printed Psalters and Books of Hours, to
striking natural history books such as Audubon's Birds of America,
La Fontaine's Fables illustrated by Marc Chagall, Serlio's treatise
on architecture and Owen Jones's Grammar of Ornament, this book
gives a fascinating overview of some of the finest illustrated
books ever created. In the face of recent pronouncements about the
death of the printed book, this volume demonstrates the enduring
appeal of the illustrated book.
The building of the Victoria and Albert Museum, begun in 1857, is
the most elaborately designed and decorated museum in Britain. This
book is the first to consider the V&A as a work of art in
itself, presenting drawings, watercolours and historic photographs
relating to the Museum's 19th-century interiors. Much of this
visual material is previously unpublished and is outside the canon
of Victorian art and design. The V&A's first Director, Henry
Cole, conceived the Museum's building as a showcase for leading
Victorian artists to design and decorate. This book reveals for the
first time the ways in which Cole's expressed policy to 'assemble a
splendid collection of objects representing the application of Fine
Arts to manufacture' was applied to the fabric of the building, as
he engaged leading painters such as Frederic Leighton , G.F. Watts
and Edward Burne-Jones, as well as specialists in decoration such
as Owen Jones and Morris and Company, to decorate and design for a
building raised by engineers using innovatory materials and
techniques.It represents a fascinating, untold chapter in the
history of British 19th-century art, design, architecture and
museums, and an essential backdrop to understanding the evolution
of the Museum's early collections and identity.
Chevening stands in a magnifi cent park below the wooded escarpment
of the North Downs in Kent. It has a history dating back around 800
years, but the house we see today is almost entirely the creation
of seven generations of the Stanhope family, building on the
original Inigo Jones house of 1630. For 250 years the Stanhopes
served their country as soldiers and statesmen, and at Chevening as
patrons of architecture and art. This new guide highlights the
contributions of the Earls and Countesses Stanhope to the building,
furniture, pictures, gardens and landscape of Chevening. It also
gives a short account of the family in the wider world in order to
set their creations in context. The decoration and architectural
features of each of the rooms - from the Entrance Hall with its
spectacular swirling staircase of c. 1721 to the sumptuous Tapestry
Room with its rare Berlin tapestries woven by Huguenot craftsmen in
1708 - are described and illustrated, and signifi cant and unusual
works of art highlighted, such as important portraits by Allan
Ramsay, Thomas Gainsborough, and Sir Thomas Lawrence. The Estate
consists of some 3,000 acres, and the gardens include a lake, maze,
parterre and a double hexagonal walled kitchen garden. The history
of the garden is explored, from the extensive landscaping in the
formal style by the 1st and 2nd Earls in the early 18th century, to
the naturalistic style created in 1775-78 - much of the character
of which survives today - to the re-formalizing in the 19th
century, with the creation of the 'Italian' gardens, a maze and
hedged allees. The wonderful restoration of recent decades and the
replanting to the designs of Elizabeth Banks is celebrated with new
photography. Published to coincide with the 50th anniversary of the
Chevening Act coming into eff ect with the death of the last Earl
Stanhop and the 300th anniversary of his family's acquisition of
Chevening Estate.
The first comprehensive study of the most important ceramic
innovation of the 19th century Colorful, wildly imaginative, and
technically innovative, majolica was functional and aesthetic
ceramic ware. Its subject matter reflects a range of 19th-century
preoccupations, from botany and zoology to popular humor and the
macabre. Majolica Mania examines the medium's considerable impact,
from wares used in domestic settings to monumental pieces at the
World's Fairs. Essays by international experts address the
extensive output of the originators and manufacturers in
England-including Minton, Wedgwood, and George Jones-and the
migration of English craftsmen to the U.S. New research including
information on important American makers in New York, Baltimore,
and Philadelphia is also featured. Fully illustrated, the book is
enlivened by new photography of pieces from major museums and
private collections in the U.S. and Great Britain.
Creating the V&A tells the definitive story of the formative
years of London's world-renowned Victoria and Albert Museum and the
gathering of its early collections in the decade between the Great
Exhibition of 1851 and the death of Prince Albert in 1861. The
story of the V&A's genesis is often centred on the first
director and first curator (Henry Cole and J. C. Robinson), and
their competing agendas for design reform and connoisseurship. And
yet there is an untold story of how the young royal couple for whom
it is named were highly instrumental in the establishment of the
museum, as public supporters and large-scale lenders before a
permanent collection was in place. The book is also full of
fascinating and colourful stories of the strategies deployed to
harvest treasures on the market as the young museum sought to fill
its rapidly expanding buildings and compete with the British Museum
and the Crystal Palace. For anyone interested in the history of
collecting and curating, and for all fans of this legendary London
museum, Creating the V&A explains how the foundational
collections established parameters which still inform the museum's
collecting policies, role and identity today.
By 1862, just a decade after its launch as a study collection for
art and design, the Victoria and Albert Museum had become a
reference resource for collectors, scholars and art-market experts.
Enriching the V&A, the final volume in a trilogy of books on
the museum's 19th-century history, describes how the young museum's
rapid growth in the following decades was driven more by
collectors, agents and dealers, through loans, gifts and bequests,
than by the combined expertise, acquisitions policies and buying
power of its directors and curators. The V&A soon became a
collection of collections, embodying a new age of collecting that
benefitted from the break-up of historic institutions and ancestral
collections across Europe, and imperial expeditions in Asia and
Africa. The industrial revolution had created a new social class
with the resources to buy from the expanding art market, especially
in the decorative arts. Many were touched by a new moral imperative
to collect for the home, however humble, and to share their
specialist knowledge and enthusiasm by lending to the new public
museums. Enriching the V&A explores the formative influence on
the museum, and on pioneering fields of scholarship, of the
V&A's leading Victorian and Edwardian benefactors. It also
shares uncomfortable truths about the sources of some objects from
the age of empires and shows how the meanings of things can change
through the transformation of private property into public museum
collections.
This unique history brings together more than 150 spectacular
objects from the National Art Library's collection of literature,
prints, drawings and photographs. Housed within the V&A, the
library was, from the beginning, an integral part of the Museum,
formed by, and for, artists and designers as an essential element
of the educational and museological project of Prince Albert and
Henry Cole after the Great Exhibition of 1851. Word & Image
shows how the distinct character of the NAL was formed, and how its
collections created a new kind of bibliographical resource. From a
fifteenth-century book of hours to William Morris's specimen pages
for Jean Froissart's The Chronicles of Fraunce, Inglande, and Other
Places Adjoynynge; from George Cruikshank's studies of Fagin for
Oliver Twist to an Yves Saint Laurent design for the House of Dior;
and from Bill Brandt's photographs to the Book of Nails by Floating
Concrete Octopus, Word & Image explores some of the finest
examples of 'book art' in existence.
This is a boxed set of Anthony Caro: Drawing in Space, Anthony
Caro: Interior and Exterior, Anthony Caro: Figurative and Narrative
Sculpture, Anthony Caro: Small Sculptures and Anthony Caro:
Presence. The box has been specially designed by Anthony Caro.
Anthony Caro restlessly explored an unpredictable range of
sculptural possibilities, testing limits and positing new ideas
about the nature of eloquent three-dimensional objects. Through his
expansion and transformation of the legacy of construction in metal
pioneered by Julio Gonzalez and Pablo Picasso, and further
developed by David Smith in the USA, Caro created a new,
multivalent language of three-dimensional abstraction. The Caro
pendulum swung between extremes of linearity and robustness,
abstractness and allusion. He countered his mastery of line and
transparency with investigations of our responses to mass and
perceptions of interior and exterior, even experimenting with
literally enterable sculptures. He made rigorously abstract
constructions that resemble nothing but themselves, intimate
table-based pieces, monumental constructions like metaphorical
architecture, and complex multi-part cycles of narrative works that
pulse in and out of explicit illusionism. And more. The range and
variety of Caro's sculpture notwithstanding, there are also common
threads that run through all of his work. The five volumes in this
set, each by a different critic, examine the various aspects of
Caro's evolution individually, tracing the permutations of
different themes - narrative, volume and mass, line and openness -
throughout his work, over time. Each volume is independent and
explores different territory, but cumulatively, by tracing these
dominant themes, they provide new insight into the achievement of
one of the undisputed giants of Modernist art.
John Lockwood Kipling (1837-1911) started his career as an
architectural sculptor at the South Kensington Museum (today the
Victoria and Albert Museum). Much of his life, however, was spent
in British India, where his son Rudyard was born. He taught at the
Bombay School of Art and later was appointed principal of the new
Mayo School of Art (today Pakistan's National College of Art and
Design) as well as curator of its museum in Lahore. Over several
years, Kipling toured the northern provinces of India, documenting
the processes of local craftsmen, a cultural preservation project
that provides a unique record of 19th-century Indian craft customs.
This is the first book to explore the full spectrum of artistic,
pedagogical, and archival achievements of this fascinating man of
letters, demonstrating the sincerity of his work as an artist,
teacher, administrator, and activist. Published in association with
Bard Graduate Center Exhibition Schedule: Victoria and Albert
Museum, London (01/14/17-04/02/17) Bard Graduate Center, New York
(09/15/17-01/07/18)
As treasure troves of creativity, the homes of artists reflect the
intellectual worlds of their creators. Starting with the Villa
Stuck in Munich-the aesthetic, conceptual cosmos and life's work of
the aristocratic artist Franz von Stuck-this unique volume
integrates the artist's house as a category into the international
context and is the first to assign these buildings the status of
major works. About twenty examples bring to life the fascination
that these artistic fantasies hold for art lovers, including both
existing projects and some which, although they have been lost,
were of unique importance in their day and still retain their
charisma. Along with paintings, sculptures, and photographs closely
related to the houses, plans and models convey the correlation
between art and life as well as the kind of harmony of the arts
expressed in Richard Wagner's historical concept of the total work
of art. Houses featured (selection): Sir John Soane's Museum,
London; William Morris Red House, Bexleyheath; Louis Comfort
Tiffany's Tiffany House, New York City; Mortimer Menpes's flat,
London; the Fernand Khnopff Villa, Brussels; Jacques Majorelle's
villa and garden, Marrakesh; Kurt Schwitters' MERZbau, Hannover;
Max Ernst's house, Arizona
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Caro - Close Up (Hardcover)
Julius Bryant, Martina Droth; Contributions by Robert Storr
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R1,697
Discovery Miles 16 970
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Ships in 12 - 17 working days
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With a career spanning more than sixty years, Anthony Caro (b.
1924) is one of Britain's most acclaimed and best-known sculptors.
Caro: Close Up accompanies the first survey exhibition of his work
in an American museum since his retrospective at the Museum of
Modern Art in 1975. Although celebrated for his large, brightly
painted abstract sculptures, Caro has also produced drawings and
small-scale works of a more private nature throughout his career.
The full range of his oeuvre includes works on paper, sculptures
constructed in paper and cardboard, and abstract works of steel,
bronze, and clay. Featuring new photography of more than sixty
works drawn almost entirely from Caro's studio and family
collections, this publication examines the critical responses that
Caro's work has elicited from the 1950s to the present and
considers his role in current artistic practice. The authors
explore the ways the sculptor has used the physical properties of
his materials, while Caro himself discusses his exhibition and
installation practices. Published for the Yale Center for British
Art Exhibition Schedule: Yale Center for British
Art(10/18/12-12/30/12)
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