Arthur Melville was arguably the most innovative and modernist Scottish artist of his generation and one of the finest British watercolourists of the nineteenth century, yet he avoided categorisation. In 1943 that the Scottish Colourist John Duncan Fergusson confessed that although they never met, "his work opened up to me the way to free painting - not merely freedom in the use of paint, but freedom of outlook". This book offers a comprehensive survey of Arthur Melville's (1855-1904) rich and varied career as artist-adventurer, Orientalist, forerunner of The Glasgow Boys, painter of modern life and re-interpreter of the landscape of Scotland. His travels inspired spectacular watercolours and paintings. This book illustrates around sixty of his works, each with a catalogue entry, and an essay by Kenneth McConkey, which discusses Melville's art and career.

This title was first published in 2002. 'Memory and Desire' is a lavishly illustrated account of the art world in Britain at the turn of the twentieth century. It calls upon rich resources of contemporary diaries, letters and art criticism, as well as the analysis of works of art to answer questions about how and why new artistic tendencies emerged and tastes changed. Eschewing the familiar narrative of an inevitable progress towards modernism, Kenneth McConkey considers a broad range of art and critical thinking in the period. Discussing the market for old master paintings, which rivalled those for modern art, and the question of how and why certain genres of art were particularly successful at the time, McConkey explores the detail and significance of contemporary taste. He draws upon the work of commercially successful painters such as John Singer Sargent, William Orpen, George Clausen, Alfred East, John Lavery and Philip Wilson Steer, and their critic-supporters to throw light upon current arguments about training, aesthetics, visual memory and the creation of new art. 'Memory and Desire' is a major contribution to our knowledge of this important period in British art.

This title was first published in 2002. 'Memory and Desire' is a lavishly illustrated account of the art world in Britain at the turn of the twentieth century. It calls upon rich resources of contemporary diaries, letters and art criticism, as well as the analysis of works of art to answer questions about how and why new artistic tendencies emerged and tastes changed. Eschewing the familiar narrative of an inevitable progress towards modernism, Kenneth McConkey considers a broad range of art and critical thinking in the period. Discussing the market for old master paintings, which rivalled those for modern art, and the question of how and why certain genres of art were particularly successful at the time, McConkey explores the detail and significance of contemporary taste. He draws upon the work of commercially successful painters such as John Singer Sargent, William Orpen, George Clausen, Alfred East, John Lavery and Philip Wilson Steer, and their critic-supporters to throw light upon current arguments about training, aesthetics, visual memory and the creation of new art. 'Memory and Desire' is a major contribution to our knowledge of this important period in British art.

While there have been monographs on British artist-travellers in the eighteenth and early nineteenth centuries, there has been no equivalent survey of what the writer, Henry Blackburn, described as 'artistic travel' a hundred years later. By 1900, the 'Grand Tourist' became a 'globe-trotter' equipped with a camera, and despite the development of 'knapsack photography', visual recording by the old media of oil and watercolour on-the-spot sketching remained ever-popular. Kenneth McConkey's exciting new book explores the complex reasons for this in a series of chapters that take the reader from southern Europe to north Africa, the Middle East, India and Japan revealing many artist-travellers whose lives and works are scarcely remembered today. He alerts us to a generation of painters, trained in academies and artists' colonies in Europe that acted as creches for those would go on to explore life and landscape further afi eld. The seeds of wanderlust were sown in student years in places where tuition was conducted in French or German, and models were often Spanish, Italian, or North African. At fi rst the countries of western Europe were explored afresh and cities like Tangier became artists' haunts. Training that prioritized plein air naturalism led to the common belief that a well-schooled young painter should be capable of working anywhere, and in any circumstances. At the height of British Imperial power, and facilitated by engineering and technological advance, the burgeoning tourism and travel industry rippled into the production of specialist goods and services that included a dedicated publishing sector. Essential to this phenomenon, the artist-traveller was often commissioned by London dealers to supply themed exhibitions that coincided with contracts for colour-illustrated books recording those exotic parts of the world that were newly available to the tourist, traveller, explorer, emigrant, or colonial civil servant. These works were not, however, value-neutral, and in some instances, they directly address Orientalism, Imperialism, and the Post-Colonial, in pictures that hybridize, or mimic indigenous ways of life. Behind each there is a range of interesting questions. Does experience live up to expectation? Is the street more desirable than the ancient ruin or sacred site? How were older ideas of the 'picturesque' reborn in an age when 'Grand Tours' once confi ned to Italy, now encompassed the globe? McConkey's wideranging survey hopes to address some of these issues. This richly illustrated book explores key sites visited by artist-travellers and investigates artists including Frank Brangwyn, Mary Cameron, Alfred East, John Lavery, Arthur Melville, Mortimer Menpes, as well as other under-researched British artists. Drawing the strands together, it redefi nes the picturesque, by considering issues of visualization and verisimilitude, dissemination and aesthetic value.