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Living with the Royal Academy: Artistic Ideals and Experiences in
England, 1768-1848 offers a range of case studies which consider
individual artists' personal, professional and artistic
relationships with the Royal Academy during the late eighteenth and
early nineteenth centuries, bringing together the research of
leading historians of British artistic culture during this period.
Over its introduction and nine essays, this collection considers
the Academy as a lived organism whose most effective role,
following its establishment in 1768, was as a reference point
towards, around and against which artists operated in their
relationships with each other and with artistic practice itself. In
so doing, this collection also considers the relationship between
Academic ideals and individual practice (as well as lived
experience) during this period of art's increasingly public
manifestation at the Academy. Individual artists examined include
Joshua Reynolds, Joseph Wright of Derby, Benjamin West and William
Etty. Thinking beyond the dichotomy of loyalism and rebellion - and
complicating notions of the Academy as a monolithic ossifying
institution from which progressive artists would be 'liberated' in
the wake of the Pre-Raphaelite Brotherhood's emergence in 1848 -
this volume investigates the Academy's varied impact upon the
lives, experiences and ideals of its diverse artistic communities.
Living with the Royal Academy: Artistic Ideals and Experiences in
England, 1768-1848 offers a range of case studies which consider
individual artists' personal, professional and artistic
relationships with the Royal Academy during the late eighteenth and
early nineteenth centuries, bringing together the research of
leading historians of British artistic culture during this period.
Over its introduction and nine essays, this collection considers
the Academy as a lived organism whose most effective role,
following its establishment in 1768, was as a reference point
towards, around and against which artists operated in their
relationships with each other and with artistic practice itself. In
so doing, this collection also considers the relationship between
Academic ideals and individual practice (as well as lived
experience) during this period of art's increasingly public
manifestation at the Academy. Individual artists examined include
Joshua Reynolds, Joseph Wright of Derby, Benjamin West and William
Etty. Thinking beyond the dichotomy of loyalism and rebellion - and
complicating notions of the Academy as a monolithic ossifying
institution from which progressive artists would be 'liberated' in
the wake of the Pre-Raphaelite Brotherhood's emergence in 1848 -
this volume investigates the Academy's varied impact upon the
lives, experiences and ideals of its diverse artistic communities.
Arguing in favour of renewed critical attention to the 'nation' as
a category in art history, this study examines the intertwining of
art theory, national identity and art production in Britain from
the early eighteenth century to the present day. The book provides
the first sustained account of artwriting in the British context
over the full extent of its development and includes new analyses
of such central figures as Hogarth, Reynolds, Gilpin, Ruskin, Roger
Fry, Herbert Read, Art & Language, Peter Fuller and Rasheed
Araeen. Mark A. Cheetham also explores how the 'Englishing' of art
theory-which came about despite the longstanding occlusion of the
intellectual and theoretical in British culture-did not take place
or have effects exclusively in Britain. Theory has always travelled
with art and vice versa. Using the frequently resurgent discourse
of cosmopolitanism as a frame for his discourse, Cheetham asks
whether English traditions of artwriting have been judged
inappropriately according to imported criteria of what theory is
and does. This book demonstrates that artwriting in the English
tradition has not been sufficiently studied, and that 'English Art
Theory' is not an oxymoron. Such concerns resonate today beyond
academe and the art world in the many heated discussions of
resurgent Englishness.
Liesel (yes, her mother loved "The""Sound of Music") and her big
sister Marilyn have always relied on each other. And when Marilyn's
husband runs off, leaving her broke with a distraught five year
old, she needs all the help she can get. But then the sisters
discover that little Alex has inherited a hotel in Cornwall from
his father's dotty great-aunt. With its stunning sea views and
Victorian Gothic castle appeal, it's a property the developers are
ready to pay big money for. However, the will has one condition.
They can sell the hotel if they wish, but only after running it for
a season first. With only their tiny flat and not so salubrious
view of Hackney central to lose, the girls decide to pack up and
head down south. After all, how hard can it be to run a small
hotel? And who knows who else they might meet down there.
Theodora is an artist with bright blue eyes and long chaotic hair
which is supposed to be brown but gets attacked with colour as
frequently as the canvasses she produces. Jonas is half Swedish,
tall, with a halo of golden hair and jade green eyes and has
channelled his mix of practicality and creativity into his own
woodworking business. They are meant for each other. If only they
knew each other. Their paths are tantalisingly close at times, but
it will take something dramatic in both their lives to lead them in
the right direction...
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