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Painting, American --- Painting, British --- Peinture américaine --- Peinture britannique --- British painting --- Paintings, British --- American painting --- Paintings, American --- Peinture américaine
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Painting, British --- -Painting, British --- -British painting --- Paintings, British --- Peinture britannique --- Peinture de la renaissance --- Painting --- anno 1500-1799 --- Great Britain --- British painting --- Painting, Renaissance
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impressionisme --- 19de eeuw --- 20ste eeuw --- Frankrijk --- Groot-Brittannië --- Impressionism (Art) --- Painting, British --- British painting --- Paintings, British --- Aesthetics --- Art, Modern --- Modernism (Art) --- Painting --- Post-impressionism (Art) --- 19de eeuw. --- 20ste eeuw. --- Groot-Brittannië. --- Frankrijk.
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William Holman Hunt (1827-1910) chronicled the Pre-Raphaelite Brotherhood in this well-illustrated two-volume memoir of 1905, controversially presenting himself as the movement's founding father. Popular when first published, it illuminates the search for authenticity of treatment and depth of meaning in his own work and that of Millais, Rossetti and their circle. Stressing the contributions of himself and Millais, Hunt sets out to defend the Brotherhood's ideals, from which he never departed. After his success with The Light of the World, he survived exotic and dangerous travels to create some of the most memorable paintings of the age, such as The Scapegoat (mostly painted by the Dead Sea with a gun at hand) and The Lady of Shalott. Volume 1 shows him overcoming family objections and early criticism to pursue his artistic goals, finding common ground in the Brotherhood, winning Ruskin's backing and wider recognition, and making his first trip to the Holy Land.
Painters --- Pre-Raphaelites --- Pre-Raphaelitism --- Painting, British. --- Pre-Raphaelite Brotherhood. --- British painting --- Paintings, British --- Preraphaelites --- Artists --- P.R.B. --- PRB --- Präraffaelitische Bruderschaft --- Pre-Raphaelites (Brotherhood) --- Hermandad Prerrafaelita --- Prerrafaelitas (Brotherhood)
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William Holman Hunt (1827-1910) chronicled the Pre-Raphaelite Brotherhood in this well-illustrated two-volume memoir of 1905, controversially presenting himself as the movement's founding father. Popular when first published, it illuminates the search for authenticity of treatment and depth of meaning in his own work and that of Millais, Rossetti and their circle. Stressing the contributions of himself and Millais, Hunt sets out to defend the Brotherhood's ideals, from which he never departed. After his success with The Light of the World, he survived exotic and dangerous travels to create some of the most memorable paintings of the age, such as The Scapegoat (mostly painted by the Dead Sea with a gun at hand) and The Lady of Shalott. Volume 2 covers his further visits to the Holy Land, unconventional remarriage and such later masterpieces as The Triumph of the Innocents. It culminates in a polemical 'Retrospect', linking art to nature, morality and national character.
Painters --- Pre-Raphaelites --- Pre-Raphaelitism --- Painting, British. --- Pre-Raphaelite Brotherhood. --- British painting --- Paintings, British --- Preraphaelites --- Artists --- P.R.B. --- PRB --- Präraffaelitische Bruderschaft --- Pre-Raphaelites (Brotherhood) --- Hermandad Prerrafaelita --- Prerrafaelitas (Brotherhood)
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"Lubaina Himid is known for her innovative approaches to painting and to social engagement. Initially trained in theatre design, she has been pivotal in the UK since the 1980s for her contributions to the British Black arts movement, making space for the expression and recognition of Black experience and women's creativity. Over the last decade she has earned international recognition for her figurative paintings, which explore overlooked and invisible aspects of history and of contemporary everyday life. In 2017 she was awarded the Turner Prize. HImid has long wanted to create a publication that offers a lucid account of the key themes and concerns in her work across her career. Produced in close collaboration with the artist in terms of both content and design, this beautifully illustrated volume takes inspiration from her interests in theatre design, architecture, sound, and poetry. Key works reflect Himid's wide-ranging engagement with the history of painting, political satire, poetry, and spoken word, spaces for feeling safe and for creativity, textiles and the non-verbal messages of pattern--subjects that are all explored here. Featuring conversations with the artist, as well as new writing by Himid herself and contributions by a variety of authors, this engaging and beautifully illustrated publication offers fresh perspectives on the work of one of the most important artists working in the UK today." --
Painting --- Himid, Lubaina --- Painting, British --- 75.07 --- 7.07 --- Himid, Lubaina °1954 --- Tentoonstellingscatalogi ; Londen ; Tate Modern --- British painting --- Paintings, British --- Schilderkunst ; schilders A-Z --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Himid, Lubaina,
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Apocalyptic art --- -Sublime, The, in art --- Painting, British --- -Painting, British --- -British painting --- Paintings, British --- Art, Apocalyptic --- Allegories --- Symbolism in art --- Sublime, The, in art. --- -Apocalyptic art --- Sublime, The, in art --- Apocalypse [Thème] / dans l'art anglais. 18e-19e s. --- Apocalypse [Motief] / in de kunst (Engelse). 18e-19e eeuw.
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Mannelijkheid in de kunst --- Masculinity in art --- Masculinité dans l'art --- Painting, British --- Painting, Victorian --- Peinture britannique --- Peinture victorienne --- Themes, motives --- Thèmes, motifs --- -Painting, Victorian --- -Masculinity in art --- Masculinity (Psychology) in art --- Victorian painting --- Painting, Modern --- British painting --- Paintings, British --- Masculinité dans l'art --- Thèmes, motifs --- Masculinity in art. --- Painting --- anno 1800-1899 --- Great Britain --- Themes, motives. --- Painting [British ] --- Painting [Victorian ]
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Early twentieth-century art and art practice in Britain and the United States were, Janet Wolff asserts, marginalized by critics and historians in very similar ways after the rise of post-Cubist modern art. In a masterly book on the sociology of modernism, Wolff explores work that was primarily realist and figurative and investigates the social, institutional, political, and aesthetic processes by which that art fell by the wayside in the postwar period. Throughout, she shows that questions of gender and ethnicity play an important role in critical, curatorial, and historical evaluations. For example, Wolff finds that the work of the artists central to the development of the Whitney Museum was relegated to a secondary status in the postwar period, when realism was labeled "feminine" in contrast to the aggressive masculinity of abstract expressionism.The three key periods considered in AngloModern are the early twentieth century, when modernist art and existing and new realist traditions coexisted in a certain tension; the postwar period, in which modernism claimed superiority over realism; and the late twentieth century, when a retrieval of the realist and figurative traditions seemed to occur. Wolff concludes by considering this re-emergence, as well as the limitations of earlier discussions of the struggles of realist and figurative art to endure the currents of modernism.
Ethnicity in art. --- Gender identity in art. --- Painting, British --- Painting, American --- Modernism (Art) --- British painting --- Paintings, British --- Painting, Modern --- Washington Color School (Group of artists) --- Art, Modernist --- Modern art --- Modernism in art --- Modernist art --- Aesthetic movement (Art) --- Art, Modern --- Gender identity in art --- Ethnicity in art
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Painting [Modern ] --- 17th-18th centuries --- Great Britain --- Exhibitions --- Painting [British ] --- Hogarth, William --- Tate Gallery --- Painting --- England --- CDL --- 75.071 HOGARTH --- Art and society --- Painting, British --- British painting --- Paintings, British --- Art --- Art and sociology --- Society and art --- Sociology and art --- Social aspects --- Angleterre --- Anglii︠a︡ --- Inghilterra --- Engeland --- Inglaterra --- Anglija --- England and Wales --- Social life and customs
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