First Edition. 8" x 11 1/2", trade paperback is bound in pictorial wrappers and is in VG+ condition. Rubs to the book's corners and spine tips. Dust soiling to the edges of the page blocks. Includes black &amp; white reproductions.

Rowlandson Drawings from the Paul Mellon Collection

Royal Academy of Arts (Great Britain)

Yale Center For British Art

Rowlandson, Thomas

Riely, John C.

Yale Center for British Art

Kenneth Martin

Martin, Kenneth

Forge, Andrew

Book by White, Christopher, Alexander, David S., D'Oench, Ellen

Rembrandt in Eighteenth Century England

White, Christopher

Alexander, David S.

D'Oench, Ellen

History

A Concise Catalogue of Paintings in the Yale Center for British Art

Cormack, Malcolm

Acquisitions: The First Decade, 1977-1986

A Struggle for Fame: Victorian Women Artists and Authors

Peterson, Linda H.

Casteras, Susan P.

London's notorious Grosvenor Gallery was founded by Sir Coutts Lindsay and his wife, Lady Blanche Lindsay, to serve as an alternative to the Royal Academy. Although it existed only from 1877 to 1890, the gallery displayed the works and advanced the careers of many progressive artists, particularly those whose work was ignored by the traditional tastes of the usual exhibition venues. The Lindsays' innovative approach to art, audiences, and exhibition display made the gallery an influential force not only in Victorian art and society but also in the evolution of modern-day museum practice.This first in-depth study of the Grosvenor Gallery consists of essays by noted scholars in nineteenth-century art and culture who explore critical aspects of the gallery such as the significance of its social ambience, the diverse content of its winter and summer exhibitions, and its status in the context of other exhibition sites. The authors also consider artists and groups who exhibited at the gallery, including Edward Burne-Jones and the second generation Pre-Raphaelites, James McNeill Whistler, George Frederic Watts, Evelyn Pickering De Morgan and other women artists, the Newlyn School, British Rustic Naturalists, and the Glasgow Boys. Copublished with the Yale Center for British Art

The Grosvenor Gallery: A Palace of Art in Victorian England

Arts & Photography

Denver Art Museum

Laing Art Gallery

Collections, Catalogs & Exhibitions

Shipped from UK, please allow 10 to 21 business days for arrival. 110pp. From the collection of art historian Prof. Luke herrmann with discrete stamp inside front cover. Tight binding, clean text, excellent condition.

Canaletto to Constable: Paintings of town and country from the Yale Center for British Art

The Center

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

Newall, Christopher

Wilcox, Scott

Cleveland Museum Of Art

Birmingham Museums and Art Gallery

History & Criticism

Hudson Hills Pr

Barbara Hepworth's career spanned five decades, from 1925 to 1975. Her style moved from figuration, through geometric and organic abstraction, to the internationally acclaimed grandeur of her large-scale, post-war work. Her best known sculpture is associated with the landscape around St. Ives in Cornwall: 'I used colour and strings in many of the carvings ... The colour plunged me into the depths of water, caves or shadows deeper than the carved concavities themselves. The strings were the tension I felt between myself and the sea, the wind or the hills.' This publication focuses on Hepworth's unique carvings. It reassesses her reputation in the light of attention recently paid to her contemporaries, Ben Nicholson and Henry Moore and offers the opportunity to look afresh at a major British artist.

Barbara Hepworth: A Retrospective

Curtis, Penelope

Wilkinson, Alan G.

HEPWORTH, Barbara

Tate Gallery Liverpool

Art Gallery Of Ontario

Individual Artists

Tate Gallery Pubn

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