A Companion to British Art (eBook)

1600 to the Present

David Peters Corbett (Herausgeber)

eBook Download: EPUB

2013
John Wiley & Sons (Verlag)
978-1-118-31377-0 (ISBN)

Infos

This companion is a collection of newly-commissioned essays written by leading scholars in the field, providing a comprehensive introduction to British art history.

• A generously-illustrated collection of newly-commissioned essays which provides a comprehensive introduction to the history of British art
• Combines original research with a survey of existing scholarship and the state of the field
• Touches on the whole of the history of British art, from 800-2000, with increasing attention paid to the periods after 1500
• Provides the first comprehensive introduction to British art of the eighteenth, nineteenth, and twentieth centuries, one of the most lively and innovative areas of art-historical study
• Presents in depth the major preoccupations that have emerged from recent scholarship, including aesthetics, gender, British art's relationship to Modernity, nationhood and nationality, and the institutions of the British art world

Dana Arnold is Professor of Architectural History and Theory at Middlesex University, UK. She has published several books on British architecture and visual culture and is author of the best selling Art History: A Very Short Introduction (2004). She is series editor of New Interventions in Art History, Wiley-Blackwell Companions to Art History, and Blackwell Anthologies in Art History.

David Peters Corbett is Professor of History of Art at the University of East Anglia. He has published a number of books, and has received prizes from the Historians of British Art, College Art Association USA, and a Guardian book of the year award. He is the editor of the journal Art History.

Inhalt

List of Illustrations viii

Acknowledgements xiii

Notes on Contributors xiv

Part 1 Editors' Introduction 1

Part 2 General 11

1 The "Englishness" of English Art Theory 13
Mark A. Cheetham

2 Modernity and the British 38
Andrew Ballantyne

3 English Art and Principled Aesthetics 60
Janet Wolff

Part 3 Institutions 77

4 "Those Wilder Sorts of Painting": the Painted Interior in the Age of Antonio Verrio 79
Richard Johns

5 Nineteenth-Century Art Institutions and Academies 105
Colin Trodd

6 Crossing the Boundary: British Art across Victorianism and Modernism 131
David Peters Corbett

7 British Pop Art and the High/Low Divide 156
Simon Faulkner

8 When Attitudes Became Formless: Art and Antagonism in the 1960s 180
Jo Applin

Part 4 Nationhood 199

9 Art and Nation in Eighteenth-Century Britain 201
Cynthia Roman

10 International Exhibitions: Linking Culture, Commerce, and Nation 220
Julie F. Codell

11 Itinerant Surrealism: British Surrealism either side of the Second World War 241
Ben Highmore

12 55° North 3° West: a Panorama from Scotland 265
Tom Normand

13 Retrieving, Remapping, and Rewriting Histories of British Art: Lubaina Humid's "Revenge" 289
Dorothy Rowe

Part 5 Landscape 315

14 Defining, Shaping, and Picturing Landscape in the Nineteenth Century 317
Anne Helmreich

15 Theories of the Picturesque 351
Michael Charlesworth

16 Landscape into Art: Painting and Place-Making in England, c.1760-1830 373
Tom Williamson

17 Landscape Painting, c.1770-1840 397
Sam Smiles

18 Landscape and National Identity: the Phoenix Park Dublin 422
Dana Arnold

Part 6 Men and Women 449

19 The Elizabethan Miniature 451
Dympna Callaghan

20 "The Crown and Glory of a Woman": Female Chastity in Eighteenth-Century British Art 473
Kate Retford

21 Serial Portraiture and the Death of Man in Late-Eighteenth-Century Britain 502
Whitney Davis

22 Virtue, Vice, Gossip, and Sex: Narratives of Gender in Victorian and Edwardian Painting 532
Pamela M. Fletcher

Index 552

Rezensionen

"The editors have brought together the latest conclusions of
prominent specialists of each period to build a fascinating
panorama which is more than the sum of its parts and will delight
both newcomers to the field and specialists of British art who will
appreciate its coherence and thorough enjoyability. A Companion
to British Art should feature in all good libraries covering
British and art history." (Cercles, 1 March 2014)

"While aimed at 'tutors and students,' these often dense essays
will appeal most to scholars wishing to explore provocative new
approaches to the study of British art. Summing Up:
Recommended. Upper-division undergraduates and above."
(Choice, 1 November 2013)

"A Companion to British Art: 1600 to the Present is
a sparkling collection of consistently high-quality, freshly-minted
essays that is a pleasure to read. The book manages the admirable
feat of alerting us to the major themes and preoccupations of
recent scholarship on British art whilst also breaking entirely new
ground. Whether discussing the Elizabethan miniature,
seventeenth-century decorative history painting, Reynolds's
portraits, Victorian narrative paintings, or the art of the 1960s,
the assembled pieces fizz with originality, ambition and
intellectual energy. This book will provide scholars and students
of British art with an extremely stimulating point of reference and
focus of debate for many years to come."

Mark Hallett, University of York

"British art has been the focus of innovatory critical
investigations and re-readings over recent decades and this book
includes many of the foremost scholars currently engaged in the
field. It provides a fascinating, intellectually rigorous yet
accessible series of studies around the dominant themes of
modernity, identities and nationhood and will be an essential
resource for students and academics alike."

Ysanne Holt, University of Northumbria

"A fascinating collection of essays which examines the most
pressing theoretical and historical concerns in the field of
British art and sets out a compelling agenda for future
scholarship."

Michael Hatt, University of Warwick

Textauszug

List of Illustrations

1.1	William Hogarth, The Painter and his Pug, 1745. Oil on canvas; support: 900 × 699 mm frame: 1080 × 875 × 78 mm painting.

1.2	Yinka Shonibare, MBE, Mr. and Mrs. Andrews without their Heads, 1998. Wax-print cotton costumes on mannequins, dog mannequin, painted metal bench, rifle 165 × 635 × 254 cm with plinth.

2.1	Richard Payne Knight: Downton Castle, Herefordshire; print from Heaton’s of Tisbury.

2.2	The De La Warr Pavilion, Bexhill-on-Sea, by Erich Mendelssohn.

3.1	Gwen John, The Student.

3.2	Roger Fry, Self-portrait, oil on canvas, 1928.

4.1	The saloon, or “Heaven Room,” at Burghley, Lincolnshire, with painting by Antonio Verrio, c.1696 (north and west walls).80

4.2	The saloon, or “Heaven Room,” at Burghley, Lincolnshire, with painting by Antonio Verrio, c.1696 (north and east walls).

4.3	Antonio Verrio, An Assembly of the Gods, sketch for the saloon ceiling at Burghley, c.1694. Oil on canvas, 90 × 118 cm.

4.4	Paolo de’ Matteis, The Judgment of Hercules, 1712. Oil on canvas, 198 × 257 cm.

5.1	George Scharf: Exhibition at the Royal Academy, London, watercolor, 1828, depicting the Great Room at Somerset House during the exhibition of 1828 where portraits by the President, Sir Thomas Lawrence, are exhibited and Benjamin Vulliamy’s “Great Lamp” hangs in the center.

5.2	E. J. Brewtnall: A Party of Working Men at the National Gallery, London, engraving, 1870.

6.1	G. F. Watts, Physical Energy, c.1883–1906.

6.2	Charles Shannon: The Bath of Venus, oil on canvas, 1460 × 978 mm, 1898–1904.

6.3	Charles Ricketts: Don Juan, oil on canvas, 1162 × 959 mm, c.1911.

6.4	Augustus John: The Way Down to the Sea, 1909–1911, private collection.

7.1	Derek Boshier: The Identi-Kit Man, oil on canvas, 1830 × 1832 mm, 1962.

8.1	Anthony Caro: Twenty Four Hours, painted steel, 1384 × 2235 × 838 mm, 1960, Tate, London.

8.2	Barry Flanagan: sand muslin, mixed media, 181 × 302 × 302 mm, 1966.

9.1	Benjamin West: The Death of General Wolfe, oil on canvas, 1510 × 2135 mm, 1770.

9.2	William Bromley after John Opie, Lady Elizabeth Gray Entreating Edward IV to Protect her Children, etching and engraving, 316 × 223 mm, 1800.

11.1	Paul Nash: Image of Alfred the Great Monument, black and white negative, 69 × 113 mm, c.1935.

11.2	Eileen Agar: Quadriga, 521 × 610 mm, 1935.

11.3	Eduardo Paolozzi: St Sebastian, No. 2, bronze, 2203 × 711 × 508 mm, 1957.

11.4	Susan Hiller: Witness, audio-sculpture, 400 speakers, wiring, steel structure, 10 CD players, switching equipment, lights; ­suspended from ceiling and walls; approx. dimensions 700 × 900 cm, 2000. Installation shot of the work at Artangel at the Chapel, Golbourne Road, London.

12.1	Ron O’Donnell, The Great Divide, photograph from ­constructed set, 1987.

12.2	Douglas Gordon: A Divided Self I and II, 1996; video ­installation, sponsored by Channel 4, Turner Prize 1996.

13.1	Lubaina Himid: Study for a Memorial to Zong, acrylic on paper, 1991, Private Collection, from “Revenge: a Masque in Five Tableaux” first exhibited at Rochdale Art Gallery May 1992.

13.2	Lubaina Himid: Five, 1991, collection of Griselda Pollock on permanent loan to Leeds City Art Gallery, from “Revenge: A Masque in Five.”

14.1	Samuel Prout: Arch of Constantine, Rome.

14.2	John Constable: The Hay Wain, 1821, oil on canvas, 1302 × 1854 mm.

14.3	“In fig. 47 the trees are arranged in the gardenesque manner and in fig. 48 in the picturesque manner.”

14.4	Shrubland, designed by Charles Barry.

14.5	Panel Garden.

14.6	Alfred Parsons, Coombe in west country with PRIMROSES, KINGCUPS, and DAFFODILS.333

14.7	Gertrude Jekyll, Daffodils among Junipers where Garden joins Copse.

14.8	J. M. W. Turner: The Fighting Temeraire Tugged to Her Last Berth to Be Broken Up, oil on canvas, 907 × 1216 mm, 1838.

15.1	William Westall: Rievaulx Abbey from Duncombe Park, aquatint, hand colored, published 1819 by Hurst & Robinson, Cheapside, 10 × 13 in.

15.2	J. C. Bentley, after Joseph Mallord William Turner: Rievaulx Abbey, from The Gallery of Modern British Artists, intaglio print on paper, 94 × 155 mm, 1836.

15.3	Kedleston Hall from the south-west, taken from within the park.

15.4	Kedleston Hall from the south-west, taken from a position 30 yards to the east of Figure 15.3.

15.5	Scotney Castle; view over the garden from the viewing bastion.363

15.6	John Constable: The Vale of Dedham, Scottish National Gallery, Purchased with the aid of The Cowan Smith Bequest and the Art Fund 1944.

16.1	John Constable: Wivenhoe Park, Essex, oil on canvas, 561 × 1012 mm, 1816.

16.2	John Constable: Flatford Mill (“Scene on a Navigable River”), 1816–17.

17.1	George Stubbs: Haymakers, 1785.

17.2	J. M. W. Turner: The Decline of the Carthaginian Empire, painting, 170.2 × 238.8 cm, 1817.

17.3	Samuel Palmer: Valley Thick with Corn, 1825.

17.4	John Constable: Salisbury Cathedral from the Meadows, oil on canvas, 1831.

18.1	Wellington Testimonial in the Phoenix Park Dublin, engraving c.1830.

18.2	Laurie’s New Plan of London 1831 showing the Royal Parks in the west of the city.

18.3	Thomas Shotter Boys, Hyde Park near Grosvenor Gate, 1843, lithograph.

18.4	Plan of the Phoenix Park, Dublin 1830.

18.5	Plan of the Phoenix Park, Dublin 1845.

19.1	Nicholas Hilliard: Queen Elizabeth I, miniature painting, watercolor on vellum, 1595–1600.

19.2	Nicholas Hilliard: Henry Wriothesley, 3rd Earl of Southampton, miniature painting,...

Produkt-Details

• Erscheint lt. Verlag: 22.2.2013
• Reihe/Serie: Blackwell Companions to Art History
• Reihe/Serie: Blackwell Companions to Art History
• Reihe/Serie: Blackwell Companions to Art History
• Sprache: englisch
• Themenwelt: Kunst / Musik / Theater ► Allgemeines / Lexika
• Themenwelt: Kunst / Musik / Theater ► Kunstgeschichte / Kunststile
• Themenwelt: Kunst / Musik / Theater ► Malerei / Plastik
• Schlagworte: angliophile • Art & Applied Arts • Art History • British Art • British Art and Society • British art history • British Culture • edwardian • elizabethan • English Art Theory • Grossbritannien /Kultur, Künste • Grossbritannien /Kultur, Künste • International Style • Kunst • Kunst u. Angewandte Kunst • Pop Art • Postmodernism • Research • Romanticism • Scholarship • Tate • Victorian
• ISBN-10: 1-118-31377-1 / 1118313771
• ISBN-13: 978-1-118-31377-0 / 9781118313770