Author: Richard Blandford
Publisher: Laurence King Publishing
This sumptuous visual history explores London as depicted by artists over the last few hundred years. Although the first city of London was established in the Roman period, the story of London in art really begins in the 17th century, with the rise of the panoramic city view as a painting genre, and continues to this day. Organized around eight areas or districts, the chapters move roughly from west to east across London, as does the River Thames, which acts as the city's spine. Within each area, works of art are grouped around specific locations or monuments, providing a glimpse of the city's changing and unchanging topography through the ages. Despite London's tumultuous history – the rise and fall of Empire, attacks from above in two world wars, relentless expansion into the surrounding villages and suburbs – it nevertheless becomes clear that many of the city's landmarks remain surprisingly constant.
Author: Witt Library
Publisher: Taylor & Francis
First Published in 1995. Routledge is an imprint of Taylor & Francis, an informa company.
A Tale of Art and Illusion at the Threshold of the Modern Information Age
Author: Dror Wahrman
Publisher: OUP USA
Uncovers an artistic puzzle in the illusionist paintings by Edward Collier, a Dutch-British still-life painter who moved to London at the end of the seventeenth century and encoded a sophisticated critique of the information revolution that ushered in the modern information age.
Indian paintings of the British period
Author: Victoria and Albert Museum,Mildred Archer,Graham Parlett
Publisher: Mapin Intl
This catalogue of more than 2,600 "Company Paintings" discusses the circumstances in which this type of painting evolved.
Author: Hannah Rothschild
Darf man für ein Gemälde töten? Annie McDee ist nach London gezogen, um nach der Trennung von ihrem langjährigen Freund einen Neuanfang zu wagen. Eines Tages kauft die junge Köchin in einem Trödelladen ein verstaubtes kleines Gemälde, nicht ahnend, dass dieses Bild nur wenige Monate später die internationale Kunstwelt in helle Aufregung versetzen wird. Schwerreiche russische Oligarchen, Staatspräsidenten, die Gattin eines Ölscheichs und ein Gangster-Rapper werden vor dem altehrwürdigen Auktionshaus Monachorum & Sons Schlange stehen, um den »Verkauf des Jahrhunderts« für sich zu entscheiden. Doch auch Annies Leben wird durch ihren Zufallsfund auf den Kopf gestellt. Denn unversehens gerät sie ins Zentrum der dunklen Machenschaften skrupelloser Kunsthändler, die zu allem bereit sind, damit ein gut gehütetes Familiengeheimnis nicht ans Tageslicht kommt ...
Author: Getty Conservation Institute
Publisher: Getty Publications
Category: Antiques & Collectibles
This volume on paintings conservation includes more than seventy texts ranging from the fifteenth century to the present day. Some are classic and highly influential writings; others, although little known when first published, in retrospect reflect important themes and issues in the history of the field. Many appear here in English for the first time, including translations of D. Vicente Polero y Toledo's 1855 essay "Arte de la Restauración" (The Art of Restoration), and Victor Bauer-Bolton's treatise from 1914, "Sollen fehlende Stellen bei Gemälden ergänzt werden?" (Should Missing Areas of Paintings Be Made Good?). The book is divided into six sections: An Historical Miscellany, History of the Profession, Study of Artists' Materials and Techniques, Structural Interventions, Philosophical and Practical Approaches to Cleaning and Restoration, and Cleaning Controversies. This is the second volume to appear in the Getty Conservation Institute's Readings in Conservation series, which publishes texts considered fundamental to an understanding of the history, philosophies, and methodologies of conservation.
Author: Leslie Ross
Publisher: Greenwood Publishing Group
Examines the lives and work of artists from all areas of the medieval art world, including metalwork, scribework, sculpture, architecture, iconography, and art instruction.
Apprentice Painters & Sculptors in the Early Modern British Tradition
Author: James Ayres
Publisher: Oxbow Books
Before the foundation of academies of art in London in 1758 and Philadelphia in 1805, most individuals who were to emerge as artists trained in workshops of varying degrees of relevance. Easel painters began their careers apprenticed to carriage, house, sign or ship painters, whilst a few were placed with those who made pictures. Sculptors emerged from a training as ornamental plasterers or carvers. Of the many other trades in a position to offer an appropriate background were ÔlimningÕ, staining, engraving, surveying, chasing and die-sinking. In addition, plumbers gained the right to use oil painting and, for plasterers, the application of distemper was an extension of their trade. Central to the theme of this book is the notion that, for those who were to become either painters or sculptor, a training in a trade met their practical needs. This ÔtrainingÕ was of an altogether different nature to an ÔeducationÕ in an art school. In the past, prospective artists were offered, by means of apprenticeships, an empirical rather than a theoretical understanding of their ultimate vocation. James Ayres provides a lively account of the inter-relationship between art and trade in the late seventeenth to early nineteenth centuries, in both Britain and North America. He demonstrates with numerous, illustrated examples, the many cross-overs in the Ôart and mysteryÕ of artistic training, and, to modern eyes, the sometimes incongruous relationships between the various trades that contributed to the blossoming of many artistic careers, including some of the most illustrious names of the ÔlongÕ eighteenth century.
Author: Graeme Brooker,Lois Weinthal
Publisher: A&C Black
The Handbook of Interior Architecture and Design offers a compelling collection of original essays that seek to examine the shifting role of interior architecture and interior design, and their importance and meaning within the contemporary world. Interior architecture and interior design are disciplines that span a complexity of ideas, ranging from human behaviour and anthropology to history and the technology of the future. Approaches to designing the interior are in a constant state of flux, reflecting and adapting to the changing systems of history, culture and politics. It is this process that allows interior design to be used as evidence for identifying patterns of consumption, gender, identity and social issues. The Handbook of Interior Architecture and Design provides a pioneering overview of the ideas and arrangements within the two disciplines that make them such important platforms from which to study the way humans interact with the space around them. Covering a wide range of thought and research, the book enables the reader to investigate fully the changing face of interior architecture and interior design, while offering questions about their future trajectory.
Author: Ronald Paulson
Publisher: James Clarke & Co.
This final volume of Paulson's magnificent biography takes Hogarth from his fifty-third year to his death at sixty-seven. The period opens with Hogarth at the height of his powers; a figure of influence with the literary generation of Richardson and Fielding, he was known to an unprecedented spectrum of English men and women. At this point, Hogarth chose to philosophise about art, extending his successful practice in aesthetic theory, in The Analysis of Beauty, partly in reaction to the agitation for an art academy based on the French model, partly out of the conviction that his art required verbal validation, and partly (some contemporaries felt) out of hubris. And at the same moment, the hard won fabric of his reputation began to unravel. A new generation had arisen, some friendly and interested in building on Hogarth's achievement, but some determined to supersede what seemed to be, in England of the 1750s, too insular a figure to represent English art and culture to the world. The consequences - given his own doggedness and the shifting allegiances of former friends - were tumultuous and darkened the last years of Hogarth's life, pushing him to extremes of theory, practise and self-justification. For the first time in his career he found himself apparently out of step with his times. Although these cannot be called happy years, they elicited form Hogarth some of his most brilliant and audacious works, in writing as well as painting and engraving. In many ways he had already, by 1750, anticipated the Reynold?s generation pointing the way into the Promised Land, but disagreeing over the nature of that promise. More than the earlier two volumes, Art and Politics focuses on the reception of Hogarth and his works. The paranoid strain in Hogarth responded to the notion of being attacked; and this also reflected his increasing fear of the general audience he had himself helped to create as no longer a public but a crowd.
A History in Paintings & Illustrations
Author: Stephen Porter
Publisher: Amberley Publishing Limited
London has been an irresistible subject for generations of artists and draughtsmen, who have captured scenes of everyday life as well as the grand occasions in a variety of moods and weather. Their work has provided us with a rich legacy that is a record of London and its people, complementing the testimony of writers in portraying the splendour and the variety, the humour and sometimes the folly within the metropolis. The range of illustrations includes the atmospheric paintings of Claude de Jongh from the early seventeenth century, the Georgian elegance shown on Canaletto's cultured canvases, and Gustave Doré's disturbingly grim images of slum dwellers in Victorian London. The map-makers, too, captured the layout and character of the city and its many districts. But there are other illustrations, by little-known or anonymous draughtsmen, of particular corners or details of life within London's many worlds. A Dutch visitor, Johannes de Witt, was at the Swan Theatre on Bankside in 1596 and sent a sketch of the interior to an acquaintance, whose copy is the only contemporary illustration of the interior of a playhouse of Shakespeare's time. That is just one of the invaluable survivals which provide us with windows into London's past. This spectacular collection of images from medieval times to the present includes paintings, sketches and prints, and is accompanied by authoritative explanatory accounts of the places, people and subjects illustrated.
Author: Julius Bryant
Publisher: Yale University Press
Set high on a ridge in historic parkland less than five miles from Trafalgar Square, Kenwood is London's favourite 'country house'. Remodelled by Robert Adam in the eighteenth century, in 1928 it became the home of the Iveagh Bequest, a superb collection of old master paintings that includes Rembrandt's most celebrated self-portrait, the only Vermeer in England outside the National Gallery and the Royal Collection, Gainsborough's Countess Howe, and classic works by Reynolds, Romney, Lawrence and Turner. The collection was formed between 1887 and 1891 by Edward Cecil Guinness, 1st Earl of Iveagh, Chairman of the world's leading brewery, who gave it to the nation with the house and estate. This book is published to mark the seventy-fifth anniversary of the opening of the Iveagh Bequest and is the first new catalogue of the collection to be produced in fifty years. It discusses each work, revealing the personalities behind the faces in the portraits, the social circumstances of each commission, and the way that art met the ambitions of artists, patrons, sitters and collectors. There are also two introductory essays that provide context for the house and discuss the ways in which Lord Iveagh was a pioneer collector. Beautifully produced, this catalogue of paintings is the essential book on Kenwood.
Image and Meaning
Author: Clare A. P. Willsdon
Publisher: Oxford University Press, USA
This substantial survey discusses state, civic, commercial, church, private, and other British murals. Written by the leading authority in Britain on mural painting after 1800, it is a pioneering study that covers works by over 400 artists and numerous murals never previously documented or illustrated.
Guilds in England 1250-1550
Author: Gervase Rosser
Publisher: OUP Oxford
Guilds and fraternities, voluntary associations of men and women, proliferated in medieval Europe. The Art of Solidarity in the Middle Ages explores the motives and experiences of the many thousands of men and women who joined together in these family-like societies. Rarely confined to a single craft, the diversity of guild membership was of its essence. Setting the English evidence in a European context, this study is not an institutional history, but instead is concerned with the material and non-material aims of the brothers and sisters of the guilds. Gervase Rosser addresses the subject of medieval guilds in the context of contemporary debates surrounding the identity and fulfilment of the individual, and the problematic question of his or her relationship to a larger society. Unlike previous studies, The Art of Solidarity in the Middle Ages does not focus on the guilds as institutions but on the social and moral processes which were catalysed by participation. These bodies founded schools, built bridges, managed almshouses, governed small towns, shaped religious ritual, and commemorated the dead, perceiving that association with a fraternity would be a potential catalyst of personal change. Participants cultivated the formation of new friendships between individuals, predicated on the understanding that human fulfilment depended upon a mutually transformative engagement with others. The peasants, artisans, and professionals who joined the guilds sought to change both their society and themselves. The study sheds light on the conception and construction of society in the Middle Ages, and suggests further that this evidence has implications for how we see ourselves.