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Hardcover. Condizione: Brand New. 208 pages. 10.62x8.50 inches. In Stock.

Hardback. Condizione: New. The macabre, interwoven histories of art and punishment in eighteenth-century London Over the course of the eighteenth century, the visual arts in Britain flourished as never before. The nation's first art academies were founded; its first exhibitions of contemporary art were staged; and a vastly expanded public for the arts began to form. This book demonstrates that these developments were intimately linked to another, darker kind of art: the spectacle of capital punishment. Between 1680 and 1820, the number of crimes punishable by death under British law rose dramatically - from roughly fifty to more than two hundred - and at Tyburn, London's main execution ground, dozens of people were hanged each year before thousands of spectators.City of the Gallows uncovers the complex and often unexpected connections between eighteenth-century London's sites of punishment and its spaces of art-making, instruction, and display. Drawing together a wide range of images, objects, and texts - from popular woodcuts and anatomical sculptures to moral tracts and dictionaries of slang - it offers new readings of works by major artists, such as William Hogarth, Johan Zoffany, and Joseph Wright of Derby, and shines a light on others that traditional accounts of the period have overlooked or ignored. In doing so, this book shows how state violence shaped the art and visual culture of this era, whose legacies persist to this day.

Hardcover. Condizione: new. Hardcover. The macabre, interwoven histories of art and punishment in eighteenth-century London Over the course of the eighteenth century, the visual arts in Britain flourished as never before. The nation's first art academies were founded; its first exhibitions of contemporary art were staged; and a vastly expanded public for the arts began to form. City of the Gallows argues that these developments were intimately linked to another, darker kind of art: the spectacle of capital punishment. Between 1680 and 1820, the number of crimes punishable by death under British law rose exponentiallyfrom roughly fifty to over two hundred. At Tyburn, London's main execution ground, dozens of people were hanged each year before thousands of spectators. In some cases, these brutal displays of state-sanctioned violence were extended through the infliction of additional penalties, such as gibbeting and dissection. Across four chapters, this generously illustrated volume uncovers the complex and often unexpected connections that emerged between eighteenth-century London's sights and sites of punishment and its spaces of art making, instruction, and display. Drawing together a wide range of images, objects, and textsfrom popular woodcuts and anatomical sculptures to philosophical essays and dictionaries of slangit offers new readings of well-known works by William Hogarth, Johan Zoffany, and Joseph Wright of Derby and coaxes meaning from others that would seemat first glanceto resist or defy traditional modes of critical analysis. In these ways, City of the Gallows seeks to challenge and expand the boundaries of art historical enquiry, both within the field of studies in British art, and beyond. The macabre, interwoven histories of art and punishment in eighteenth-century London Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardback. Condizione: New. The macabre, interwoven histories of art and punishment in eighteenth-century London Over the course of the eighteenth century, the visual arts in Britain flourished as never before. The nation's first art academies were founded; its first exhibitions of contemporary art were staged; and a vastly expanded public for the arts began to form. This book demonstrates that these developments were intimately linked to another, darker kind of art: the spectacle of capital punishment. Between 1680 and 1820, the number of crimes punishable by death under British law rose dramatically - from roughly fifty to more than two hundred - and at Tyburn, London's main execution ground, dozens of people were hanged each year before thousands of spectators.City of the Gallows uncovers the complex and often unexpected connections between eighteenth-century London's sites of punishment and its spaces of art-making, instruction, and display. Drawing together a wide range of images, objects, and texts - from popular woodcuts and anatomical sculptures to moral tracts and dictionaries of slang - it offers new readings of works by major artists, such as William Hogarth, Johan Zoffany, and Joseph Wright of Derby, and shines a light on others that traditional accounts of the period have overlooked or ignored. In doing so, this book shows how state violence shaped the art and visual culture of this era, whose legacies persist to this day.

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Hardcover. Condizione: new. Hardcover. The macabre, interwoven histories of art and punishment in eighteenth-century London Over the course of the eighteenth century, the visual arts in Britain flourished as never before. The nation's first art academies were founded; its first exhibitions of contemporary art were staged; and a vastly expanded public for the arts began to form. City of the Gallows argues that these developments were intimately linked to another, darker kind of art: the spectacle of capital punishment. Between 1680 and 1820, the number of crimes punishable by death under British law rose exponentiallyfrom roughly fifty to over two hundred. At Tyburn, London's main execution ground, dozens of people were hanged each year before thousands of spectators. In some cases, these brutal displays of state-sanctioned violence were extended through the infliction of additional penalties, such as gibbeting and dissection. Across four chapters, this generously illustrated volume uncovers the complex and often unexpected connections that emerged between eighteenth-century London's sights and sites of punishment and its spaces of art making, instruction, and display. Drawing together a wide range of images, objects, and textsfrom popular woodcuts and anatomical sculptures to philosophical essays and dictionaries of slangit offers new readings of well-known works by William Hogarth, Johan Zoffany, and Joseph Wright of Derby and coaxes meaning from others that would seemat first glanceto resist or defy traditional modes of critical analysis. In these ways, City of the Gallows seeks to challenge and expand the boundaries of art historical enquiry, both within the field of studies in British art, and beyond. The macabre, interwoven histories of art and punishment in eighteenth-century London Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.

Condizione: New.

Hardback. Condizione: New. The macabre, interwoven histories of art and punishment in eighteenth-century London Over the course of the eighteenth century, the visual arts in Britain flourished as never before. The nation's first art academies were founded; its first exhibitions of contemporary art were staged; and a vastly expanded public for the arts began to form. This book demonstrates that these developments were intimately linked to another, darker kind of art: the spectacle of capital punishment. Between 1680 and 1820, the number of crimes punishable by death under British law rose dramatically - from roughly fifty to more than two hundred - and at Tyburn, London's main execution ground, dozens of people were hanged each year before thousands of spectators.City of the Gallows uncovers the complex and often unexpected connections between eighteenth-century London's sites of punishment and its spaces of art-making, instruction, and display. Drawing together a wide range of images, objects, and texts - from popular woodcuts and anatomical sculptures to moral tracts and dictionaries of slang - it offers new readings of works by major artists, such as William Hogarth, Johan Zoffany, and Joseph Wright of Derby, and shines a light on others that traditional accounts of the period have overlooked or ignored. In doing so, this book shows how state violence shaped the art and visual culture of this era, whose legacies persist to this day.

Buch. Condizione: Neu. Neuware - The macabre, interwoven histories of art and punishment in eighteenth-century LondonOver the course of the eighteenth century, the visual arts in Britain flourished as never before. The nation's first art academies were founded; its first exhibitions of contemporary art were staged; and a vastly expanded public for the arts began to form. This book demonstrates that these developments were intimately linked to another, darker kind of art: the spectacle of capital punishment. Between 1680 and 1820, the number of crimes punishable by death under British law rose dramatically - from roughly fifty to more than two hundred - and at Tyburn, London's main execution ground, dozens of people were hanged each year before thousands of spectators.

Hardcover. Condizione: new. Hardcover. The macabre, interwoven histories of art and punishment in eighteenth-century London Over the course of the eighteenth century, the visual arts in Britain flourished as never before. The nation's first art academies were founded; its first exhibitions of contemporary art were staged; and a vastly expanded public for the arts began to form. City of the Gallows argues that these developments were intimately linked to another, darker kind of art: the spectacle of capital punishment. Between 1680 and 1820, the number of crimes punishable by death under British law rose exponentiallyfrom roughly fifty to over two hundred. At Tyburn, London's main execution ground, dozens of people were hanged each year before thousands of spectators. In some cases, these brutal displays of state-sanctioned violence were extended through the infliction of additional penalties, such as gibbeting and dissection. Across four chapters, this generously illustrated volume uncovers the complex and often unexpected connections that emerged between eighteenth-century London's sights and sites of punishment and its spaces of art making, instruction, and display. Drawing together a wide range of images, objects, and textsfrom popular woodcuts and anatomical sculptures to philosophical essays and dictionaries of slangit offers new readings of well-known works by William Hogarth, Johan Zoffany, and Joseph Wright of Derby and coaxes meaning from others that would seemat first glanceto resist or defy traditional modes of critical analysis. In these ways, City of the Gallows seeks to challenge and expand the boundaries of art historical enquiry, both within the field of studies in British art, and beyond. The macabre, interwoven histories of art and punishment in eighteenth-century London Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Buch. Condizione: Neu. City of the Gallows | Art and Execution in Eighteenth-Century London | Meredith Gamer | Buch | Einband - fest (Hardcover) | Englisch | 2026 | Paul Mellon Centre for Studies in British Art | EAN 9781913107529 | Verantwortliche Person für die EU: Libri GmbH, Europaallee 1, 36244 Bad Hersfeld, gpsr[at]libri[dot]de | Anbieter: preigu.

Hardback. Condizione: New. The macabre, interwoven histories of art and punishment in eighteenth-century London Over the course of the eighteenth century, the visual arts in Britain flourished as never before. The nation's first art academies were founded; its first exhibitions of contemporary art were staged; and a vastly expanded public for the arts began to form. This book demonstrates that these developments were intimately linked to another, darker kind of art: the spectacle of capital punishment. Between 1680 and 1820, the number of crimes punishable by death under British law rose dramatically - from roughly fifty to more than two hundred - and at Tyburn, London's main execution ground, dozens of people were hanged each year before thousands of spectators.City of the Gallows uncovers the complex and often unexpected connections between eighteenth-century London's sites of punishment and its spaces of art-making, instruction, and display. Drawing together a wide range of images, objects, and texts - from popular woodcuts and anatomical sculptures to moral tracts and dictionaries of slang - it offers new readings of works by major artists, such as William Hogarth, Johan Zoffany, and Joseph Wright of Derby, and shines a light on others that traditional accounts of the period have overlooked or ignored. In doing so, this book shows how state violence shaped the art and visual culture of this era, whose legacies persist to this day.