By Dana Arnold, David Peters Corbett

ISBN-10: 1405136294

ISBN-13: 9781405136297

Domestic / Arts & structure / artwork & utilized Arts / normal Arts
A spouse to British artwork: 1600 to the Present

Dana Arnold (Editor), David Peters Corbett (Editor)
ISBN: 978-1-4051-3629-7
588 pages
April 2013, Wiley-Blackwell
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This better half is a suite of newly-commissioned essays written through best students within the box, supplying a accomplished advent to British paintings history.
A generously-illustrated selection of newly-commissioned essays which supplies a complete advent to the heritage of British art
Combines unique study with a survey of latest scholarship and the kingdom of the field
Touches generally of the historical past of British paintings, from 800-2000, with expanding consciousness paid to the sessions after 1500
Provides the 1st entire advent to British artwork of the eighteenth, 19th, and 20th centuries, some of the most energetic and leading edge parts of art-historical study
Presents extensive the key preoccupations that experience emerged from contemporary scholarship, together with aesthetics, gender, British art’s courting to Modernity, nationhood and nationality, and the associations of the British paintings global

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Additional info for A Companion to British Art: 1600 to the Present

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Englishness tends to mask other British identities, which is in itself a problem. Second, art theory – paradigmatically an intellectual category – is not supposed to sit well in Britain thanks to a purportedly innate aversion to speculation. George Orwell wrote “the English are not intellectual. 12 For the most part, what Fox calls “The Importance of Not Being Ernest Rule”13 is regarded as a positive quality of Englishness, as is a supposedly ­anti-rationalist (and anti-theoretical) emphasis on empiricism as the systematic application of innate common sense.

Many of Read’s writings from the 1930s mark an early point in his lifelong attempt to articulate the virtues of a specifically English art and art t­ heory. Given his extensive knowledge of world art and his European sympathies, one could be forgiven for taking Read’s subsequent disclaimer about essential Englishness at face value. Speaking about the success of British sculptors in the 1950s – Chadwick, Butler, Moore – he asked “can we say they possess some ­common quality – something that is distinctively English?

Gilpin sought the uniquely English characteristics of his native landscape and elaborated his discoveries into a theory of looking. While national comparisons and rankings are an intellectual habit from the eighteenth century to the present, and while there is a practical dimension to his recommendation of English picturesque scenery, given the ongoing military conflicts between Britain and France that frequently made continental travel difficult, Gilpin’s theory of appreciating and composing landscapes was motivated by his sense of Englishness.

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A Companion to British Art: 1600 to the Present by Dana Arnold, David Peters Corbett


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