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Rubens and England
This intriguing book draws for the first time a complete picture of the artistic and political connections between Rubens and the Stuart court. Fiona Donovan examines the works the great Flemish artist created for English patrons, his relationships with English courtiers beginning in 1616, and his nine-month diplomatic mission to London in 1629–30. She focuses particular attention on the series of nine canvases that Rubens painted for the Banqueting House ceiling of Whitehall Palace—a project that is considered by many to be the most significant work of art ever commissioned by the English Crown. Rubens’s iconographic scheme for the Whitehall ceiling presented English courtiers with a complex pictorial language not seen before in Great Britain. Donovan explores the artist’s allegorical imagery and provides fresh insights into the role the work of Rubens and continental culture played in politics and society at the court of Charles I.
Space, Hope, and Brutalism
This is the first major book to study English architecture between 1945 and 1975 in its entirety. Challenging previous scholarship on the subject and uncovering vast amounts of new material at the boundaries between architectural and social history, Elain Harwood structures the book around building types to reveal why the architecture takes the form it does. Buildings of all budgets and styles are examined, from major universities to the modest café. The book is illustrated with stunning new photography that reveals the logic, aspirations, and beauty of hundreds of buildings throughout England, at the point where many are disappearing or are being mutilated. Space, Hope, and Brutalism offers a convincing and lively overview of a subject and period that fascinates younger scholars and appeals to those who were witnesses to this history. Published for the Paul Mellon Centre for Studies in British Art
Classical Architecture in Britain
Giles Worsley notes that architectural styles do not always supersede one another but can co-exist, although one style may be dominant. Focusing on the Palladian classical tradition, introduced by Inigo Jones in the 1610s, he shows that this tradition did not die out with Jones's death and revive only during the first half of the eighteenth century, as is commonly assumed, but remained viable until the end of the eighteenth century, rivalling the baroque and rococo styles. Worsley argues that neo-classicism, generally seen as a generic description of architecture in the late eighteenth century, was actually prevalent in British architecture in varying degrees of strength as early as 1615. He...
William Nicholson
"This is the story of a painter's life. To make phrases about William Nicholson's work is to insult and offend him ... The history of a painter's life is the history of his work and of the conditions under which he does his work; after that let the work speak for itself"--Page 9.
The Art of Thomas Gainsborough
"The book begins by charting the geography and professional tactics of a career that took Gainsbourgh from London to Suffolk, Bath and eventually back to London. Rosenthal looks at such wide-ranging topics as how artists manipulated the press, the issue of likeness in portraiture, how rivalries between painters were handled in public and private, and the pressures of the public exhibition. The second part of the book explores the manifestations of Gainsborugh's aesthetic in portraiture, landscape painting and paintings of sensibility. Rosenthal concludes with a discussion of the problem of defining a role and proper form for the fine arts at a time of rapid social change and innovation."--BOOK JACKET.
Gender, Taste, and Material Culture in Britain and North America, 1700-1830
Between 1700 and 1830, men and women in the English-speaking territories framing the Atlantic gained unprecedented access to material things. The British Atlantic was an empire of goods, held together not just by political authority and a common language, but by a shared material culture nourished by constant flows of commodities. Diets expanded to include exotic luxuries such as tea and sugar, the fruits of mercantile and colonial expansion. Homes were furnished with novel goods, like clocks and earthenware teapots, the products of British industrial ingenuity. This groundbreaking book compares these developments in Britain and North America, bringing together a multi-disciplinary group of scholars to consider basic questions about women, men, and objects in these regions. In asking who did the shopping, how things were used, and why they became the subject of political dispute, the essays show the profound significance of everyday objects in the eighteenth-century Atlantic world.
Seventeenth-century Interior Decoration in England, France, and Holland
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Hanging the Head
This handsomely illustrated book discusses portraiture as a cultural and political phenomenon in eighteenth-century England. Marcia Pointon offers detailed historical analyses of portraits by Gainsborough, Reynolds, Hogarth, and others, showing how portraiture of the period provided mechanisms for constructing and accessing a national past and for controlling a present that appeared increasingly unruly."A lively and inventive book, offering an unusual perspective on familiar works. The illustrations are magnificent and Pointon provides fascinating information". -- David Nokes, The Spectator"Impressive ... comprises a fascinating historical analysis and methodological sophistication which maps new ground in the study of portraiture and provides an excellent model for future generations of researchers". -- Shearer West, Times Literary Supplement"Original and perceptive.... The measure of the importance of this thought-provoking volume is its fresh approach, choosing revealing areas of enquiry to probe eighteenth-century attitudes of mind". -- John Hayes, Art Newspaper
Science and the Perception of Nature
Charlotte Klonk's deeply researched accounts of the complex and often ambiguous interactions that took place between artists and scientists challenge simplistic accounts of developments in art as mere by-products of scientific progress as well as reductive socio-economic interpretations. For Klonk, the common thread running through the changes in both art and science is the emergence of a new phenomenalist conception of experience around the turn of the century. Phenomenalism involved a commitment to the scrupulous observation of particular phenomena, without making prior assumptions about meaning or underlying causes, and this ideal was common to both artists and scientists. In this way, Klonk argues, the period represents a brief moment of balance before the concerns of science and art split apart into objectivity and subjectivity, respectively.
