Regarding Thomas Rowlandson 1757 1827
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Author | : Matthew Payne |
Publisher | : Paul Holberton Publishing |
Total Pages | : 0 |
Release | : 2010 |
Genre | : Art |
ISBN | : 9780955406355 |
This story of one of the great graphic satirists and watercolour artists of the British School is based upon a mass of new research. Rowlandson kept no diary, wrote few letters, and occurs only infrequently in the memoirs of others. Source material is not abundant. But in more than a decade's research, using church and official records, newspaper reports, contemporary accounts, sales catalogues and consideration of his pictures, the authors shed new light on Rowlandson's family background, his education and art training in London and Paris, his personal and professional associations, his travels in Britain and abroad, and the work itself. Fully illustrated, this contribution to scholarship will appeal to the general reader and specialist alike and is destined to become the standard work on this benchmark British artist.
Author | : Kate Heard |
Publisher | : |
Total Pages | : 0 |
Release | : 2013 |
Genre | : Caricature |
ISBN | : 9781905686766 |
The absurdities of fashion, the perils of love, political machinations and royal intrigue were the daily subject matter of Thomas Rowlandson, one of the leading caricaturists of Georgian England. Rowlandson was working at a time when English satirical prints were prized by collectors across Europe. A number of the works in the exhibition were purchased by George, Prince of Wales, later Prince Regent and King George IV. Ironically the Prince was often the butt of caricaturists' jokes and sometimes tried to prevent the publication of images that he felt were particularly offensive. Through Rowlandson's drawings and prints, the exhibition examines life at the turn of the 19th century. 0Exhibition: The Queen's Gallery, Palace of Holyroodhouse, Edinburgh, UK (11.2013).
Author | : Joseph Grego |
Publisher | : |
Total Pages | : 408 |
Release | : 1880 |
Genre | : Humor |
ISBN | : |
Author | : William Combe |
Publisher | : |
Total Pages | : 400 |
Release | : 1815 |
Genre | : Artists' illustrated books |
ISBN | : |
Author | : Rudolph Ackermann |
Publisher | : |
Total Pages | : 320 |
Release | : 1904 |
Genre | : London (England) |
ISBN | : |
Author | : Jane Collier |
Publisher | : |
Total Pages | : 246 |
Release | : 1753 |
Genre | : Conduct of life |
ISBN | : |
Author | : Grolier Club |
Publisher | : |
Total Pages | : 176 |
Release | : 1916 |
Genre | : Illustrated books |
ISBN | : |
Author | : William Combe |
Publisher | : |
Total Pages | : 358 |
Release | : 1823 |
Genre | : |
ISBN | : |
Author | : Lewis Engelbach |
Publisher | : |
Total Pages | : 472 |
Release | : 1815 |
Genre | : Campania (Italy) |
ISBN | : |
Author | : Luisa Cale |
Publisher | : Oxford University Press |
Total Pages | : 290 |
Release | : 2006-12-21 |
Genre | : Art |
ISBN | : 0199267383 |
Fuseli's Milton Gallery challenges the antipictorial theories and canons of Romantic period culture. Between 1791 and 1799 Swiss painter Henry Fuseli turned Milton's Paradise Lost into a series of 40 pictures. Fuseli's project and other literary galleries developed within an expanding market for illustrated books and a culture of anthologization used to reading British and other 'classics' in terms of the visualization of key moments in the text. Thus transformedinto repositories of virtual pictures literary texts became ideal sources of subjects for painters. Illustrating British literature was a way of inventing a national 'grand style' to fit the needs of a consumer society.Cale calls into question the separation of reading and viewing as autonomous aesthetic practices. To 'turn readers into spectators' meant to place readers and reading within the dizzying world of associations offered by an emerging culture of exhibitions. Attending to the energized reading effects developed by Fuseli's Gallery we rediscover a new side of the Romantic imagination which is not the solitary mentalist experience preferred by Wordsworth and Coleridge, nor divorced from the senses,let alone a refuge from the crowded public spaces of the Revolutionary period. Rather, Fuseli's embodied aesthetic exemplifies the associationist psychology espoused by the radical circle convening around the publisher Joseph Johnson, including Joseph Priestley and Mary Wollstonecraft. This bookanalyses exhibitions as important sites of Romantic sociability and one of many interrelated mediums for the literature, debates and controversies of the Revolutionary period.