George Price Boyce

Biographies & Memoirs

Egerton, Judy.

Newall, Christopher

Arts & Literature

Tate Gallery Pubn

The Grosvenor Gallery was the most progressive exhibition space of the Victorian age. The paintings and works of art shown there - by Burne-Jones, Watts, Whistler and a host of other figures associated with the aesthetic movement - challenged artistic convention and were the cause of virulent debate about the means and purpose of modern art, while the very existence of a gallery which attracted so much fashionable attention and which lent such great prestige to the artists who exhibited there served to overthrow the stultifying influence of the contemporary Royal Academy. Christopher Newall's book tells the story of the rise and fall of the Grosvenor Gallery, and his invaluable index of exhibitors, compiled from the now very rare original catalogues, allows the reader to discover which artists showed which works and what they were during the fourteen years of the Grosvenor's summer exhibitions.

The Grosvenor Gallery Exhibitions: Change and Continuity in the Victorian Art World (Art Patrons and Public)

Arts & Photography

History & Criticism

Cambridge University Press

The Grosvenor Gallery was the most progressive exhibition space of the Victorian age. The paintings and works of art shown there - by Burne-Jones, Watts, Whistler and a host of other figures associated with the aesthetic movement - challenged artistic convention and were the cause of virulent debate about the means and purpose of modern art, while the very existence of a gallery which attracted so much fashionable attention and which lent such great prestige to the artists who exhibited there served to overthrow the stultifying influence of the contemporary Royal Academy. Christopher Newall's book tells the story of the rise and fall of the Grosvenor Gallery, and his invaluable index of exhibitors, compiled from the now very rare original catalogues, allows the reader to discover which artists showed which works and what they were during the fourteen years of the Grosvenor's summer exhibitions.

Victorian Watercolours

- The first general introduction to a popular medium in the Victorian era - the preferred form of expression for many artists - Features full-colour masterworks by such major figures as Ruskin, Burne-Jones and Rossetti, along with many lesser-known but respected talents - Analyses both the subject matter and the artists"--stylistic developments - A valuable addition to the scholarship on Victorian art

Painting

Harpercollins

The Art of Lord Leighton

Individual Artists

Phaidon Inc Ltd

Phaidon Press

Frederic, Lord Leighton was the most prominent painter of Victorian England's artistic renaissance. His works combine the grand academic style with a sensuous delight in the human form and a feeling for colour and light. Leighton created the most elaborate figurative paintings of mythological, historical and literary subjects, as well as landscapes influenced by his European upbringing and training. As a powerful president of the Royal Academy, his passionate interest in painting revitalized British art in the nineteenth century and marks his out as a genius of his age. This monograph provides a commentary on Leighton's career and a gallery of the artist's finest works.

Tate Gallery

English landscape watercolor painting, a perfect marriage of genre and medium, entered a lively period of experimentation in style and content during the second half of the nineteenth century, with rich and diverse results. Through all the changes of style and technique and all the debates over the appropriate use of the medium, it was watercolor's ability to convey the timeless truth and reality of the natural world that mattered to artists, critics, and audiences. British watercolors of the Victorian period continued to observe an essential humility before nature; they remain fresh and compellingly immediate because they derived in the first place from the artists' heartfelt communion with the elements of nature.Victorian Landscape Watercolors begins with a consideration of the continuing influence of the great generation who earlier in the century, during the extraordinary parallel rise of watercolor and landscape painting, had established the landscape watercolor as a major British contribution to the arts. The second chapter examines the role of the landscape watercolor in the aesthetic thought of John Ruskin, whose critical voice played a dominant role in shaping that art. The third chapter looks at the place of landscape within the watercolor societies and its development as it appeared in their annual exhibitions. The final chapter deals with the tug of new and old, foreign and native in the later Victorian period.The book also features 126 watercolors, from public and private collections in America and England, all reproduced in full color and accompanied by individual commentaries. Among the 76 artists represented are David Cox, Sr. and Jr., Walter Crane, William Holman Hunt, Edward Lear, Samuel Palmer, James Mallord William Turner, James McNeill Whistler, and Ruskin himself, along with dozens of lesser-known masters of the medium.Victorian Landscape Watercolors is published in conjunction with the first exhibition to survey this period of this particularly British contribution to the arts; the exhibition, organized by the Yale Center for British Art in New Haven, Connecticut, will also be seen at the Cleveland Museum of Art and in Birmingham, England.

Victorian Landscape Watercolors

Wilcox, Scott

Cleveland Museum Of Art

Yale Center for British Art

Birmingham Museums and Art Gallery

Hudson Hills Pr

Fascinating new research into Pre-Raphaelite painters and collectors in Northern England positions Liverpool as the Victorian art capital of the north in Pre-Raphaelites: Beauty and Rebellion. This catalogue accompanies the first exhibition to examine Liverpool's role in the history of the Pre-Raphaelite movement.The exhibition will be held at the Walker Art Gallery, Liverpool, from 12 February to 5 June 2016, and is being produced by National Museums Liverpool, working with the specialist art historian Christopher Newall, whose insightful essays will feature in the book. Containing new research on Pre-Raphaelite patrons and painters in Liverpool, including the collector John Miller and the artist John Ingle Lee, the book examines the relationship between artists like Ford Madox Brown and Rossetti with their Liverpool contemporaries, collectors, and the institutions that welcomed them, notably the forward-thinking Liverpool Academy. It will serve as an account of an important aspect of British artistic culture in the 19th century - and yet one for which there is no previous source of information. It will also feature approximately 100 works from the exhibition.

Pre-Raphaelites: Beauty and Rebellion

Liverpool University Press

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