Format:
1 online resource (590 pages)
Edition:
1st ed.
ISBN:
9781118313763
Series Statement:
Blackwell Companions to Art History Series
Content:
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
Note:
Intro -- A Companion to British Art: 1600 to the Present -- Copyright -- Contents -- List of Illustrations -- Acknowledgements -- Notes on Contributors -- Part 1 Editors' Introduction -- Editors' Introduction -- Part 2 General -- 1 The "Englishness" of English Art Theory -- Notes -- 2 Modernity and the British -- Ancient Modernity -- Early Modern Modernity -- Present Modernity -- Progressive Modernity -- Insular Responses -- Modernist Tradition -- Notes -- 3 English Art and Principled Aesthetics -- Notes -- Part 3 Institutions -- 4 "Those Wilder Sorts of Painting": The Painted Interior in the Age of Antonio Verrio -- The Bigger Picture -- On Painted Ceilings -- Beyond the Baroque -- Hercules on the Stairs -- Notes -- Selected Bibliography -- 5 Nineteenth-Century Art Institutions and Academies -- Valuation and Investigation at the Royal Academy -- Social Values and Academic Norms -- The Institutional Body -- Notes -- 6 Crossing the Boundary: British Art across Victorianism and Modernism -- Binyon and the Saturday Review -- Binyon's Theory of Art -- Art and Life -- The New Art -- Binyon and Modernism -- Conclusion -- Acknowledgements -- Notes -- 7 British Pop Art and the High/Low Divide -- Introduction -- Revisiting the Cultural Continuum -- Artistic Agency and the High/Low Divide -- British Pop Art in the Early 1960s -- Derek Boshier and Richard Smith -- Conclusion -- Notes -- 8 When Attitudes Became Formless: Art and Antagonism in the 1960s -- Opticality and "the Eye/Body" Problem -- Art, Objecthood, and Modernist Sculpture -- Pop Goes London: Transatlantic Exchange and the Anxiety of Influence -- Anti-form and Anti-monumentality: Modernism under Pressure -- Destruction in Art -- Notes -- Part 4 Nationhood -- 9 Art and Nation in Eighteenth-Century Britain -- Notes -- 10 International Exhibitions: Linking Culture, Commerce, and Nation
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Mapping as Cultural Practice in International Exhibitions -- The Great Exhibition, 1851: Culture, Commerce, and Display -- Visuality, Things, and the Display of Nations -- National Unity and the New -- Spectacles beyond Time and Space -- The Fine Arts -- Displaying the Empire -- Franco-British Exhibition, 1908: Modernism and Women -- Conclusion -- Notes -- 11 Itinerant Surrealism: British Surrealism either side of the Second World War -- Introduction -- Swanage 1936 -- Burlington Gardens 1936 -- Blackheath 1936 -- From War to Postwar -- British Surrealism Now -- Conclusion: Art in a National Frame -- Notes -- 12 55° North 3° West: A Panorama from Scotland -- A Scottish Imaginary -- Something like a "Tradition" -- Being Scottish, Being British, Being Internationalist -- Festival Times -- Mapping and Remapping -- Notes -- Selected Bibliography -- 13 Retrieving, Remapping, and Rewriting Histories of British Art: Lubaina Himid's "Revenge" -- Thinking Conjuncturally -- At the Water's Edge -- Conclusions -- Acknowledgements -- Notes -- Part 5 Landscape -- 14 Defining, Shaping, and Picturing Landscape in the Nineteenth Century -- Defining Terms -- Situated in the Social Realm -- Modes of Landscape Representation -- Social-Historical Framework -- Gardening and Garden Design -- Painting -- Notes -- 15 Theories of the Picturesque -- Notes -- 16 Landscape into Art: Painting and Place-Making in England, c.1760-1830 -- Introduction -- Production and Parkland -- The Social Meaning of the Landscape Park -- The Park: New Perspectives -- Enclosure and its Representation -- The Town and the Country -- Norwich and the Norwich School -- Conclusion -- Notes -- 17 Landscape Painting, c.1770-1840 -- Notes -- 18 Landscape and National Identity: The Phoenix Park Dublin -- Whose Empire? -- Constructions of Nation -- The Problem of Culture -- The Aesthetic -- The Phoenix Park
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Transformations -- National Landscapes -- The National Hero -- The Political Backdrop to the Phoenix Park as a Symbol of Colonial Rule -- The Reform of the Irish Board of Works - a Signifier of Metropolitan Systems of Government -- The 1832 and 1834 Reports -- The Landscaping of the Park -- The Straight Avenue -- Conclusion -- Acknowledgements -- Notes -- Part 6 Men and Women -- 19 The Elizabethan Miniature -- Monument versus Miniature -- Beauty in Little -- Notes -- 20 "The Crown and Glory of a Woman": Female Chastity in Eighteenth-Century British Art -- The "Outworks" of Chastity -- The Madonna and the Magdalene -- Before and After -- Samuel Richardson's Pamela and her "Vartue" -- Conclusion: the Chaste and the Unchaste -- Notes -- 21 Serial Portraiture and the Death of Man in Late-Eighteenth-Century Britain -- Social Legitimation and Serial Portraiture -- Sir Joshua Reynolds and Serial Portraiture -- Biography and History in Reynolds' Portraits -- Defining Reynolds' Serial Portraits -- Gender Distribution of Reynolds' Serial Portraits -- The Materiality of Reynolds' Serial Portraits -- Reynolds' First Portrait of Augustus Keppel (1749) -- Reynolds' Full-Length Portrait of Keppel (1752) -- Reynolds' Third Portrait of Keppel (late 1750s) -- Reynolds' Rockingham Portrait of Keppel (1765) -- Reynolds' Portraits of Vice-Admiral Keppel (1780) -- Reynolds' Last Portrait of Keppel -- Notes -- 22 Virtue, Vice, Gossip, and Sex: Narratives of Gender in Victorian and Edwardian Painting -- Victorian Values: Fractured Families -- Confessions: Sexuality and Psychology -- Conclusion -- Notes -- Index
Additional Edition:
Print version Arnold, Dana A Companion to British Art Hoboken : John Wiley & Sons, Incorporated,c2013 ISBN 9781405136297
Language:
English
Keywords:
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