By Dana Arnold, David Peters Corbett
Domestic / Arts & structure / paintings & utilized Arts / normal Arts
A spouse to British paintings: 1600 to the Present
Dana Arnold (Editor), David Peters Corbett (Editor)
April 2013, Wiley-Blackwell
A spouse to British paintings: 1600 to the current (1405136294) disguise image
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This spouse is a suite of newly-commissioned essays written through major students within the box, offering a accomplished creation to British paintings history.
A generously-illustrated number of newly-commissioned essays which gives a finished advent to the historical past of British art
Combines unique study with a survey of latest scholarship and the country of the field
Touches more commonly of the historical past of British paintings, from 800-2000, with expanding realization paid to the classes after 1500
Provides the 1st entire advent to British artwork of the eighteenth, 19th, and 20th centuries, essentially the most vigorous and leading edge components of art-historical study
Presents extensive the key preoccupations that experience emerged from fresh scholarship, together with aesthetics, gender, British art’s courting to Modernity, nationhood and nationality, and the associations of the British paintings international
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Additional resources for A Companion to British Art: 1600 to the Present
Is there a unique Englishness of English art theory? No, because the discourse of nation is fundamental to the modernity in which many global societies have lived since the Renaissance. Is English art and art theory measurably different? Yes, inevitably, because its histories, institutions, and protagonists are individual. A significant challenge to artists and artwriters alike is to maintain national and individual specificity in the face of a contemporary global art world defined, at least superficially, by movement and cosmopolitanism.
The dandy rises late, attended by a fawning staff. By afternoon, he is the impeccably dressed center of attention in his library. The dandy seems to dictate a letter, encouraged and supported not only by his many friends, advisors, and servants, but by his impeccable heritage, underwritten by the worthies looking on in the form of art objects. It is in this the second photo from the Diary that Shonibare comes closest to his acknowledged art historical inspiration for this series, Hogarth’s The Rake’s Progress from 1735.
A metawork, though typically for our times, not a metapicture, this island-like garden animates the eighteenth-century importation to Scotland of rhododendrons as well as the plants’ subsequent takeover of local flora and re-categorization as weeds. Mirroring the plants’ original migration from Spain, Starling’s island “transported” them to the Venice Biennale, where he represented Scotland in 2003, though he was born in England. There are a nalogies to be made with Robert Smithson’s Floating Island to Travel around Manhattan Island (envisioned in 1970; realized posthumously in 2007), and perhaps more significantly, with earlier practices of species migration.
A Companion to British Art: 1600 to the Present by Dana Arnold, David Peters Corbett