A Companion to British Art: 1600 to the Present (Blackwell Companions to Art History)

A Companion to British Art: 1600 to the Present (Blackwell Companions to Art History)

Dana Arnold

Language: English

Pages: 592

ISBN: 1119170117

Format: PDF / Kindle (mobi) / ePub


This companion is a collection of newly-commissioned essays written by leading scholars in the field, providing a comprehensive introduction to British art history.

  • A generously-illustrated collection of newly-commissioned essays which provides a comprehensive introduction to the history of British art
  • Combines original research with a survey of existing scholarship and the state of the field
  • Touches on the whole of the history of British art, from 800-2000, with increasing attention paid to the periods after 1500
  • Provides the first comprehensive introduction to British art of the eighteenth, nineteenth, and twentieth centuries, one of the most lively and innovative areas of art-historical study
  • Presents in depth the major preoccupations that have emerged from recent scholarship, including aesthetics, gender, British art’s relationship to Modernity, nationhood and nationality, and the institutions of the British art world

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Francisco Goya (Great Masters)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

he and others saw as properly English. His approach was empirical and practical. What he famously called the “great style” or “grand manner” in art was: not to be sought in the heavens, but upon the earth … the power of discovering what is deformed in nature … what is particular and uncommon, can be acquired only by experience; and the whole beauty and grandeur of the art consists … in being able to get above all singular forms, local customs, particularities, and details of every kind.27 In

Essex, oil on canvas, 561 × 1012 mm, 1816. 374 16.2 John Constable: Flatford Mill (“Scene on a Navigable River”), 1816–17.390 l i s t o f i l l u s t r at i o n s  xi 17.1 George Stubbs: Haymakers, 1785. 398 17.2 J. M. W. Turner: The Decline of the Carthaginian Empire, painting, 170.2 × 238.8 cm, 1817. 398 17.3 Samuel Palmer: Valley Thick with Corn, 1825.399 17.4 John Constable: Salisbury Cathedral from the Meadows, oil on canvas, 1831. 399 18.1 Wellington

by one cultural historian as an “ineluctable paradox,” between the lofty aesthetic theories espoused by Shaftesbury on the one hand, and the rather more pedestrian demands of a contemporary art market that offered little scope for ­artists to produce anything other than portraits, or the occasional landscape “ T h o s e W i l d e r S o r t s o f Pa i n t i n g ”  93 Fig. 4.4  Paolo de’ Matteis, The Judgment of Hercules, 1712. Oil on canvas, 198 × 257 cm. Source: University of Oxford,

aesthetic value, the work’s aesthetic individuality and expressiveness, that the fallen state of the contemporary world can be redeemed. Art and Life The most extended expression of Binyon’s thinking about these issues is found in his writings on the art of China and Japan. There, Binyon develops a complex argument that depends on a number of intersecting themes. In his two books on the subject published before World War I, Painting in the Far East (1908) and The Flight of the Dragon (1911), he

John or Ricketts and how far too do they allow us to clarify their value as modern art? One way of tackling such questions is to return to a point I made at the beginning of the chapter and to consider the contrast that Binyon’s continued devotion to the idea of the aesthetic as redemption makes with the negativity and suspicion about it in modernism. It is this, above all, that marks out the late-romantic thought of the Ricketts circle from the British avant-garde before 1914. As we have seen,

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