By Dana Arnold, David Peters Corbett
Domestic / Arts & structure / artwork & utilized Arts / common Arts
A spouse to British artwork: 1600 to the Present
Dana Arnold (Editor), David Peters Corbett (Editor)
April 2013, Wiley-Blackwell
A better half to British paintings: 1600 to the current (1405136294) disguise image
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This better half is a set of newly-commissioned essays written by way of top students within the box, offering a entire advent to British artwork history.
A generously-illustrated choice of newly-commissioned essays which supplies a entire advent to the historical past of British art
Combines unique study with a survey of present scholarship and the nation of the field
Touches by and large of the historical past of British paintings, from 800-2000, with expanding awareness paid to the sessions after 1500
Provides the 1st complete advent to British paintings of the eighteenth, 19th, and 20th centuries, some of the most full of life and leading edge components of art-historical study
Presents intensive the key preoccupations that experience emerged from fresh scholarship, together with aesthetics, gender, British art’s dating to Modernity, nationhood and nationality, and the associations of the British artwork global
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Extra info for A Companion to British Art: 1600 to the Present
Is English art theory still motivated by the search for national identity and by this species of nationalism? In the register of nostalgia – critic and publisher Peter Fuller’s conservative rehabilitation of Ruskin in Theoria: Art, and the Absence of Grace (1988), for example - the answer is yes, as it is again in the realm of cliché such as the yBa’s (Young British Artists) posed anti-intellectualism in the 1990s. More significant, however, is the ongoing redefinition of English and British identity and national belonging in art theory that engages with the conditions of post-coloniality, race, and urbanism.
For an historical account of English/British terminological usage, see Mandler, P. (2006) The English National Character: the History of an Idea from Edmund Burke to Tony Blair, New Haven, CT: Yale University Press. 7 John Constable, English Landscape Scenery: a Series of Forty Mezzotinto Engravings on Steel (1833). J. M. W. Turner, Picturesque Views in England and Wales (1832). 8 Pevsner, N. (1978). The Englishness of English Art: an Expanded and Annotated Version of the Reith Lectures Broadcast in October and November 1955, Harmondsworth: Penguin.
Gilbert & George more or less traced their charcoal drawing from photographic negatives and then distressed the paper to make it look older. 47 As crucial as making landscapes is, they acknowledge that human psychological response is the key to landscape. From Burke’s sublime to Gilpin’s tours of England’s scenery to the disappointment Gilbert & George register here when nothing happens, we learn that landscape – like talk of the weather – is part of us, not nature. Gilpin sought the uniquely English characteristics of his native landscape and elaborated his discoveries into a theory of looking.