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| Author | : Christopher Finch |
| Publisher | : |
| Total Pages | : 304 |
| Release | : 1991 |
| Genre | : Art |
| ISBN | : |
To be sure, "Nineteenth-Century Watercolors" will delight artists, amateur or professional. But with a dazzling array of exotic landscapes, curious visions, fairy-tale illustrations, stately architectural renderings, intimate still lifes, evocative genre scenes, and expressive portraits, this delightful volume will thrill any lover of beautiful things.
| Author | : Gail S. Davidson |
| Publisher | : Cooper Hewitt |
| Total Pages | : 0 |
| Release | : 2008 |
| Genre | : Art, Modern |
| ISBN | : 9780910503907 |
In the nineteenth century, it became highly fashionable for aristocratic and upper-class homeowners in Europe to commission watercolor paintings of their domestic interiors and to collect them in albums to be passed on to children, given as gifts to visiting royalty, and displayed in drawing rooms. House Proud commemorates the recent gift of a group of eighty-five nineteenth-century watercolor interior drawings - the largest collection of its kind in America - to Cooper-Hewitt, National Design Museum by Eugene V. and Clare E. Thaw. Essays analyzing these beautiful, exquisitely detailed watercolors and their significance to the Museum's collection, accompanied by the watercolors and related objects from the permanent collection, document the evolution of the domestic interior in the nineteenth century, revealing the impact of economic, social, and political developments on the concept of home. AUTHOR: Gail S. Davidson, Ph.D., is curator and head of drawings, prints, and graphic design department at Cooper-Hewitt, National Design Museum. Her published articles and books include Rococo: The Contining Curve, 1730-2008 and Frederic Church, Winslow Homer, and Thomas Moran: Tourism and the American Landscape. Floramae McCarron-Cates is associate curator of the drawongs, prints, and graphic design department at Cooper-Hewitt National Design Museum. She is the co-author of Frederic Church, Winslow Homwe, and Thomas Moran: Tourism and the American Landscape. Charlotte Gere is a nineteenth-century decorative arts specialist who has pbulished numerous scholarly books and articles on a wide variety of subjects, including Nineteenth-Century Design from Pugin to Mackintosh, An Album of 19th-century Interiors, The House Beautiful, and Shock of the Old: Christopher Dresser. ILLUSTRATIONS 125 images
| Author | : Sterling and Francine Clark Art Institute |
| Publisher | : Clark Art Institute |
| Total Pages | : 0 |
| Release | : 2012 |
| Genre | : Painting |
| ISBN | : 9780300179651 |
The core of the Clark's collection was assembled by Robert Sterling Clark (1877-1956), who once declared, "I like all kinds of art if it is good of its kind." This monumental, two-volume publication is the first fully documented catalogue of the Institute's collection of European paintings. The quality of this collection reflects the founder's philosophy in its inclusion of masterpieces as diverse as William-Adolphe Bouguereau's Nymphs and Satyr (1873) and Pierre-Auguste Renoir's A Box at the Theater (1880); works by academic painters such as Jean-Léon Gérôme; Barbizon painters such as Camille Corot and Jean-François Millet; and the Impressionists Camille Pissarro and Edgar Degas. More recent acquisitions include Théodore Rousseau's Farm in the Landes (1844-67) and Claude Monet's Rouen Cathedral (1894), and works by John Constable and J. M. W. Turner. Published on the 100th anniversary of Sterling Clark's first purchase of a European painting, these handsome volumes document each of the 374 paintings in the collection, with essays by prominent scholars, detailed bibliographic and art historical apparatus, technical notes, and over 450 color illustrations. Distributed for the Sterling and Francine Clark Art Institute
| Author | : Eric Zafran |
| Publisher | : University of Pennsylvania Press |
| Total Pages | : 160 |
| Release | : 1992 |
| Genre | : Art |
| ISBN | : |
Copy 1
| Author | : Eric Shanes |
| Publisher | : |
| Total Pages | : 136 |
| Release | : 2001 |
| Genre | : Art |
| ISBN | : |
Published to accompany the exhibition, 'The golden age of watercolours: the Hickman Bacon collection', held at Dulwich Picture Gallery, London, 19 September 2001 - 6 January 2002.
| Author | : Lorenz Eitner |
| Publisher | : Princeton University Press |
| Total Pages | : 440 |
| Release | : 2000 |
| Genre | : Art |
| ISBN | : |
The National Gallery's collection encompasses the neoclassicism of Jacques-Louis David as well as the naturalism of the Barbizon painters. The works of Jean-August-Dominique Ingres, such as the Gallery's famous portrait of Madame Moitessier, are precursors to the classical style that dominated later in the century. Jean-Baptiste-Camille Corot's verdant landscapes, Honoré Daumier's political satires, and Jean-François Millet's realism are also included in this richly illustrated volume.
| Author | : Philip Hook |
| Publisher | : |
| Total Pages | : 642 |
| Release | : 1986 |
| Genre | : Antiques & Collectibles |
| ISBN | : |
| Author | : Andrew Wilton |
| Publisher | : Prestel Publishing |
| Total Pages | : 0 |
| Release | : 1997 |
| Genre | : Watercolor painting |
| ISBN | : 9783791318790 |
The revolution in watercolours of the later eighteenth century and its Victorian aftermath is acknowledged to be one of the greatest triumphs of British art. Its effect was to transform the modest tinted drawing of the topographer into a powerful and highly flexible means of expression for some of the Romantic era's greatest artists, among them Thomas Girtin, J.M.W. Turner and John Constable. The painters of the next generation were no less ambitious, and the range of subject-matter and technical inventiveness that was sustained for much of the Victorian period was to set a standard in watercolour painting that was without equal abroad. In this magnificently illustrated survey of the great age of British watercolours, Andrew Wilton and Anne Lyles trace the development of attitudes to landscape and to the human figure in the landscape from 1750 to 1880. They show how once the traditional pen and ink drawing and its augmented washes of colour had been abandoned in order to paint directly in watercolours without pen outlines, the way was open for the powerful Romantic landscapes of the following decade and beyond, many of which were painted in the wild mountainous regions of Wales and Scotland. During the nineteenth century, as the gilt-framed exhibition watercolour began to challenge the long-established oil painting in terms of size and in brilliance of colour and effect, the range of subject-matter was broadened to include scenes of country and town life from every part of Britain and, increasingly, from the Continent too. By mid-century the Near East was attracting many of the greatest Victorian watercolourists, including J. E. Lewis, David Roberts and Edward Lear. Other leadingVictorians who regularly worked in watercolour include the Pre-Raphaelite painters John Everett Millais and William Holman Hunt, and the American-born James McNeill Whistler, all of whom are included in this book.
| Author | : Anthea Callen |
| Publisher | : Reaktion Books |
| Total Pages | : 338 |
| Release | : 2015-02-15 |
| Genre | : Art |
| ISBN | : 178023418X |
In The Work of Art, Anthea Callen analyzes the self-portraits, portraits of fellow artists, photographs, prints, and studio images of prominent nineteenth-century French Impressionist painters, exploring the emergence of modern artistic identity and its relation to the idea of creative work. Landscape painting in general, she argues, and the “plein air” oil sketch in particular were the key drivers of change in artistic practice in the nineteenth century—leading to the Impressionist revolution. Putting the work of artists from Courbet and Cézanne to Pissaro under a microscope, Callen examines modes of self-representation and painting methods, paying particular attention to the painters’ touch and mark-making. Using innovative methods of analysis, she provides new and intriguing ways of understanding material practice within its historical moment and the cultural meanings it generates. Richly illustrated with 180 color and black-and-white images, The Work of Art offers fresh insights into the development of avant-garde French painting and the concept of the modern artist.
| Author | : Scott Wilcox |
| Publisher | : Hudson Hills |
| Total Pages | : 206 |
| Release | : 1992 |
| Genre | : Art |
| ISBN | : 9781555950712 |
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 HolmanHunt, 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.
