Alexander and John Robert Cozens: The poetry of landscape

Arts & Photography

Sloan, Kim

Painting

Published in association with the Art Gallery of Ontario by Yale University Press

pp. 180, b/w and color illustrations

Alexander and John Robert Cozens: The Poetry of Landscape

Yale Univ Pr

The Line of Beauty: British Drawings and Watercolors of the Eighteenth Century

Forrester, Gillian

Wilcox, Scott

O'Neill, Morna

History & Criticism

YC British Art

A fresh, new perspective on British landscape drawing in the Victorian and Modern eras
Places of the Mind focuses on landscape drawing in the Victorian and Modern age, challenging the perception that the best British watercolors were produced between 1750 and 1850. Drawing on the British Museum’s impressive collection, this book demonstrates the way in which artists of the later nineteenth and early twentieth centuries drew on the tradition of renowned landscape artists Constable and Turner but developed and extended the genre, focusing on the changing nature of the British countryside during the Industrial Revolution and two world wars.
Published to coincide with an exhibition at the British Museum, the book includes works by Victorian artists Sir Edward John Poynter and John Singer Sargent, and by many well-known twentieth-century artists, such as John and Paul Nash, Ben Nicholson, and Henry Moore, some of which have never previously been published. 150 illustrations

Places of the Mind: British Watercolor Landscapes 1850-1950

Thames&Hudson

Shipped from UK, please allow 10 to 21 business days for arrival. Very Good, 152pp. Review copy with review documentation loose inside between Dr. Like herrmann and Apollo Magazine. very good condition. may have very occassional light marking of text.

J.M.W. Turner: Watercolours from the R.W. Lloyd bequest to the British Museum

published for the Trustees of the British Museum by British Museum Press

The words 'amateur artist' conjure up a picture of Victorian ladies and gentlemen sketching in watercolours out of doors, and of portfolios and sketchbooks filled with charmingly naive landscapes and flowers gathering dust in attics. This book sets out to challenge this image. Far from being a Victorian phenomenon, drawing and limning (painting in miniature) were among the polite accomplishments of courtiers and virtuosi of the seventeenth-century Stuart court, including Prince Rupert and John Evelyn. Royal princesses, ladies at court and their circle of well-educated 'Bluestocking' friends made copies of paintings, miniatures and pastel portraits, and worked flowers in needlework, watercolour and cut-paper. Later in the eighteenth century, followers of Alexander Cozens and William Gilpin produced landscapes in monochrome, while the military pupils of Paul Sandby painted more highly coloured prospects of the coasts and fortifications of Britain's colonies, as well as the ruins of antiquity nearer to home. Grand tourists of both sexes interpreted the landscape and people of Europe through eyes trained by drawing masters like John Robert Cozens and Francis Towne. However, professional artists soon came to feel threatened by the skill and influence of amateurs, and when the Society of Painters in Water Colours was founded in 1804 non-professionals were excluded from membership, resulting in the emergence of an amateur closer to the Victorian stereotype. Over 200 works, most of them from the British Museum's collections and previously unpublished, are described and illustrated in this major study of a neglected aspect of British art history.

Noble Art: Amateur Artists and Drawing Masters (C.1600-1800)

British Museum Pubns Ltd

A New World England's First View of America /anglais

BRITISH MUSEUM

Enlightenment: Discovering the World in the Eighteenth Century

Using a variety of methods to gather and classify their burgeoning knowledge of the world, these pioneering studies of nature and man became the foundations for our modern understanding of the world and gave birth to countless new disciples - from palaeontology, archaeology and ethnography to the history of art. This book charts man's voyage of intellectual discovery by permitting the collectors and their collections to speak for their century, just as the books on the shelves of the original King's Library once did.

History

Burnett, Andrew

Europe

This beautifully illustrated book reproduces in full the famous and rarely seen British Museum collection of drawings and watercolors made by John White, who in 1585 accompanied a group of English settlers sent by Sir Walter Raleigh to found a colony on Roanoke Island, North Carolina. White's duties included making visual records of everything he encountered that was then unknown in England, including plants, animals, and birds, as well as the human inhabitants, especially their dress, weapons, tools, and ceremonies. The collection also includes White's watercolors of Florida and Brazilian Indians and of the Inuit encountered by Martin Frobisher. Here each work is reproduced in color and supplemented by engravings by Theodor de Bry and other comparable works. Kim Sloan's introduction sets the scene, followed by chapters placing John White and his work in their historical, cultural, and artistic contexts. Joyce Chaplin explores how White's contemporaries viewed his work and Christian Feest assesses its accuracy as historical documentation. Ute Kuhlemann examines the role of de Bry, White's Frankfurt publisher and engraver. The book explores John White's role as a colonist, surveyor, and artist who not only recorded plants and animals but also provided Elizabethan England with its first glimpse of a now-lost American Indian culture and way of life.

A New World: England's First View of America

The University of North Carolina Press

Americas

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