Bøger udgivet af Paul Mellon Centre for Studies in British Art

An investigation of the outsized influence of the Mod subculture on key figures of the 1960s London art scene Bonding over matters of taste and style, the ‿Mods‿ of late 1950s London recognised in one another shared affinities for Italian-style suits, tidy haircuts, espresso bars, Vespa scooters and the latest American jazz. In this groundbreaking book, leading art historian Thomas Crow argues that the figure of the Mod exerted an influence beyond its assumed social boundaries by exemplifying the postwar metropolis in all of its excitement and complexity. Crow examines the works of key figures in the London art scene of the 1960s, including Robyn Denny, David Hockney, Pauline Boty, Bridget Riley and Bruce McLean, who shared and heightened aspects of this new and youthful urbanity. The triumphant arrival of the international counterculture forced both young Mods and established artists to reassess and regroup in novel, revealing formations. Understanding the London Mod brings with it a needed, up-to-date reckoning with the legacies of Situationism, Social Art History and Cultural Studies. Distributed for the Paul Mellon Centre for Studies in British Art

A groundbreaking and extensively researched account of the 1960s London art scene In the 1960s, London became a vibrant hub of artistic production. Postwar reconstruction, jet air travel, television arts programs, new color supplements, a generation of young artists, dealers, and curators, the influx of international film companies, the projection of “creative Britainâ€? as a national brand‿all nurtured and promoted the emergence of London as “a new capital of art.â€? Extensively illustrated and researched, this book offers an unprecedented, rich account of the social field that constituted the lively London scene of the 1960s. In clear, fluent prose, Tickner presents an innovative sequence of critical case studies, each of which explores a particular institution or event in the cultural life of London between 1962 and 1968. The result is a kaleidoscopic view of an exuberant decade in the history of British art. Distributed for the Paul Mellon Centre for Studies in British Art

An exciting new account of Irish high crosses

A fresh look at the Eastern origins of Christopher Wren‿s architecture In this revelatory study of one of the great architects in British history, Vaughan Hart considers Christopher Wren‿s (1632‿1723) interest in Eastern antiquity and Ottoman architecture, an interest that would animate much of his theory and practice. As the early modern understanding of antiquity broadened to include new discoveries at Palmyra and Persepolis, Wren disputed common assumptions about the European origins of Classical and Gothic architecture, tracing these building traditions not to the Greeks or Germans but to the stonemasons of the biblical East. In a deft analysis, Hart contextualizes Wren‿s use of classical elements‿columns, domes, and cross plans‿within his enthusiasm for the East and the broader Anglican interest in the Eastern church. A careful study of diary records reappraises Wren‿s working relationship with Robert Hooke (1635‿1703), who shared in many of Wren‿s theoretical commitments. The result is a new, deepened understanding of Wren‿s work. Distributed for the Paul Mellon Centre for Studies in British Art

An exceptionally thoughtful and well-written biography of one of the most influential studio potters in Britain

An in-depth study of the expanding role of the moving image in British art over the past thirty years Over the past three decades the moving image has grown from a marginalized medium of British art into one of the nation's most vital areas of artistic practice. How did we get here? Artists' Moving Image in Britain Since 1989 seeks to provide answers, unfolding some of the narratives-disparate, entwined, and often colorful-that have come to define this field. Ambitious in scope, this anthology considers artists and artworks alongside the organizations, institutions, and economies in which they exist. Writings by scholars from both art history and film studies, curators from diverse backgrounds, and artists from across generations offer a provocative and multifaceted assessment of the evolving position of the moving image in the British art world and consider the effects of numerous technological, institutional, and creative developments. Distributed for the Paul Mellon Center for Studies in British Art

A deft interweaving of architectural and social history For aristocrats and gentry in 18th-century Ireland, the townhouses and country estates they resided in were carefully constructed to accommodate their cultivated lifestyles. Based on new research from Irish national collections and correspondence culled from papers in private keeping, this publication provides a vivid and engaging look at the various ways in which families tailored their homes to their personal needs and preferences. Halls were designed in order to simultaneously support a variety of activities, including dining, music, and games, while closed porches allowed visitors to arrive fully protected from the country‿s harsh weather. These grand houses were arranged in accordance with their residents‿ daily procedures, demonstrating a distinction between public and private spaces, and even keeping in mind the roles and arrangements of the servants in their purposeful layouts. With careful consideration given to both the practicality of everyday routine and the occasional special event, this book illustrates how the lives and residential structures of these aristocrats were inextricably woven together.  Published in association with the Paul Mellon Centre for Studies in British Art

An illuminating investigation of how aquatint travel books transformed the way Britons viewed the world and their place within it In the late 18th century, British artists embraced the medium of aquatint for its ability to produce prints with rich and varied tones that became even more stunning with the addition of color. At the same time, the expanding purview of the British empire created a market for images of far-away places. Book publishers quickly seized on these two trends and began producing travel books illustrated with aquatint prints of Indian cave temples, Chinese waterways, African villages, and more. Offering a close analysis of three exceptional publications‿Thomas and William Daniell‿s Oriental Scenery (1795‿1808), William Alexander‿s Costume of China (1797‿1805), and Samuel Daniell‿s African Scenery and Animals (1804‿5)‿this volume examines how aquatint became a preferred medium for the visual representation of cultural difference, and how it subtly shaped the direction of Western modernism. Distributed for the Paul Mellon Centre for Studies in British Art