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The English school of painting was officially recognised at the beginning of the 18th century through the work of William Hogarth. It includes works by the most famous English artists, such as Thomas Gainsborough, Joseph Mallord William Turner, John Constable, Edward Burne- Jones, and Dante Gabriel Rossetti. This subject is introduced with a very unique text, published in 1882: a French study of English pictorial art. The author, Ernest Chesneau, was highly-cultured, an art historian and inspector of Fine Arts. He explains the beginnings of this school which excels in portraiture and landscapes, and reminds us of the English brilliance regarding watercolours, not forgetting to include the work of the Pre-Raphaelites.
Common Land in English Painting, 1700-1850 by Ian Waites Pdf
An examination of the treatment of common land in the work of English painters, at a time when much of it was to disappear forever. A most elegantly written book that calmly knocked many entrenched but erroneous notions about British landscape painting firmly on the head. Longlisted and commended by the judges of the 2013 William M. B. Berger prize forBritish art history. During the eighteenth and nineteenth centuries, much of England's common land was eradicated by the processes of parliamentary enclosure. However, despite the fact that the landscape was frequentlyviewed as unproductive, outmoded and unsightly, many British landscape painters of the time - including Constable, Gainsborough and Turner - resolutely continued to depict it. This book is the first full study of how they did so, using evidence drawn not only from art-historical picture analysis, but from contemporary poems and novels, and the contemporary pamphlets, essays and reports that advanced the rhetoric of both agricultural improvement and new theories on landscape aesthetics. It highlights a deep-rooted social and cultural attachment to the common field landscape, and demonstrates that common land played a significant but - until now - underestimated role in both the history of English art and of the formation of an English national identity, reflecting what are still highly sensitive issues of progress, nostalgia and loss within the English countryside. Recasting common land as a recurrentfacet of English culture in the modern period, the numerous paintings, drawings and prints featured in this book give the reader a comprehensive and evocative sense of what this now almost wholly lost landscape looked like in itshey-day. Ian Waites is Senior Lecturer in History of Art and Design at the University of Lincoln.
Painting the Novel: Pictorial Discourse in Eighteenth-Century English Fiction focuses on the interrelationship between eighteenth-century theories of the novel and the art of painting – a subject which has not yet been undertaken in a book-length study. This volume argues that throughout the century novelists from Daniel Defoe to Ann Radcliffe referred to the visual arts, recalling specific names or artworks, but also artistic styles and conventions, in an attempt to define the generic constitution of their fictions. In this, the novelists took part in the discussion of the sister arts, not only by pointing to the affinities between them but also, more importantly, by recognising their potential to inform one another; in other words, they expressed a conviction that the theory of a new genre can be successfully rendered through meta-pictorial analogies. By tracing the uses of painting in eighteenth-century novelistic discourse, this book sheds new light on the history of the so-called "rise of the novel".
Catalogue of the Special Loan Exhibition of Enamels on Metal Held at the South Kensington Museum in 1874. [Edited by J. H. Pollen. With Plates.] by Victoria and Albert Museum Pdf