Bøger i British Art: Histories and Interpretations since 1700 serien

Extending the scholarly discussion of visual history, this book examines eighteenth-century engraved book illustrations in order to outline the genealogy of the modern visualization of the past in Britain.

This book explores the nature of Britain-based artists' engagement with the transformations of their environment since the early days of the Industrial Revolution.

A critical study of the life of art criticism in the 1970s, this volume traces the evolution of art and art criticism in a pivotal period in post-war British history.

This first in-depth study of 1860s publication The Graphic and Social Realism uses the approach of media archaeology to unearth the modernity of paintings labeled as Social Realist. Korda shows that the paintings engaged with the changing notions of objectivity and immediacy that nineteenth-century new media cultivated. In doing so.

Painting Labour in Scotland and Europe, 1850-1900 sets out systematically to discuss the Scottish rural painting in relation to its particular Scottish historical context, both sociological and aesthetic and its English and European counterparts. Alongside canonical Scottish images by major figures such as James Guthrie.

This book is a wide-ranging exploration of the production of Victorian art autograph replicas, a painting's subsequent versions created by the same artist who painted the first version.

Rooted in the study of objects, British Art in the Nuclear Age addresses the role of art and visual culture in discourses surrounding nuclear science and technology, atomic power, and nuclear warfare in Cold War Britain. Examining both the fears and hopes for the future that attended the advances of the nuclear age, nine original essays explore the contributions of British-born and émigré artists in the areas of sculpture, textile and applied design, painting, drawing, photo-journalism, and exhibition display. Artists discussed include: Francis Bacon, John Bratby, Lynn Chadwick, Prunella Clough, Naum Gabo, Barbara Hepworth, Peter Lanyon, Henry Moore, Eduardo Paolozzi, Peter Laszlo Peri, Isabel Rawsthorne, Alan Reynolds, Colin Self, Graham Sutherland, Feliks Topolski and John Tunnard. Also under discussion is new archival material from Picture Post magazine, and the Festival of Britain. Far from insular in its concerns, this volume draws upon cross-cultural dialogues between British and European artists and the relationship between Britain and America to engage with an interdisciplinary art history that will also prove useful to students and researchers in a variety of fields including modern European history, political science, the history of design, anthropology, and media studies.

India in Art in Ireland is the first book to address how the relationship between these two ends of the British Empire played out in the visual arts. It demonstrates that Irish ambivalence about British imperialism in India complicates the assumption that colonialism precluded identifying with an exotic other. Examining a wide range of media, including manuscript illuminations, paintings, prints, architecture, stained glass, and photography, its authors demonstrate the complex nature of empire in India, compare these empires to British imperialism in Ireland, and explore the contemporary relationship between what are now two independent countries through a consideration of works of art in Irish collections, supplemented by a consideration of Irish architecture and of contemporary Irish visual culture. The collection features essays on Rajput and Mughal miniatures, on a portrait of an Indian woman by the Irish painter Thomas Hickey, on the gate lodge to the Dromana estate in County Waterford, and a consideration of the intellectual context of Harry Clarke''s Eve of St. Agnes window. This book should appeal not only to those seeking to learn more about some of Ireland''s most cherished works of art, but to all those curious about the complex interplay between empire, anti-colonialism, and the visual arts.

Rooted in the study of objects, this book addresses the role of art and visual culture in discourses surrounding nuclear science and technology, atomic power, and nuclear warfare in Cold War Britain. Far from insular in its concerns.