William vaughan eds (6 risultati)

paperback. Condizione: Good. First Edition, Later Printing. Paperback showing minor shelf wear. Usual ex-library markings - labels, ink stamps, etc. Contents otherwise clean and sound throughout. Ex Library.

Soft cover. Condizione: Fine. First printing thus. 8vo. xx, 366 pp. Illustrated in B & W. Original glossy pictorial wrappers. This is a tight, fine book.

Faint stain on page fore-edge. Faint, thin stains to front hinge. Otherwise a clean, tidy copy in tight binding. Dust jacket edge worn with short tears and small loss. Used - Very Good. VG hardback in Good dust jacket Used - Very Good. VG hardback in Good dust jacket.

Hardcover. Condizione: Near Fine. Condizione sovraccoperta: Near Fine. 1st Edition. xvii, 272 pp; 72 illus. Original cloth. Near Fine, in near fine dust jacket. New price: US$130.00. 'In the century following the foundation of the Royal Academy in 1768, British art had an international reputation: prints spread knowledge of the work of British artists around the globe, and it was widely seen as the product of a modern, commercial society, and much admired by artists as diverse as Goya in Spain, Delacroix in France, and Bierstadt in America. In recent years, scholars working on this period have become increasingly aware of the international context of their subject, but there has been no systematic analysis of the reception of British art abroad. This collection of essays looks at the uses made of the paintings of Reynolds, Hogarth, Lawrence and their contemporaries on the continent of Europe, and in the colonies and ex-colonies of Australia and America. The authors go beyond the simple issue of 'influence' to consider how ideas and artistic conventions originating in the British Isles were adapted, appropriated or resisted in these new environments. In the process, some surprising views of British art emerge, demonstrating how a multi-faceted view from the outside can correct and enrich the narrative produced within a national school, and revealing some of the important connections that are obscured when art is studied, as it so often is, within narrow national boundaries' (Ashgate Web site). Contents: Introduction: international cross-currents in an age of nationalism, Christiana Payne; Americans in London: contemporary history painting revisited, David Bindman; Papierkultur: the British print, history and modernity in Enlightenment Germany, Anne-Marie Link; 'Everything English is the mode here': Russian reactions to British painting in the late 18th and early 19th centuries, Galina Andreeva; A view of New Holland: aspects of the colonial prospect, Michael Rosenthal; 'A new people and a limited society': British art and the Spanish spectator, Sarah Symmons; A la recherche de l'école anglaise: Lawrence, Wilkie and Martin, three British artists in Restoration France, Barthélémy Jobert; 'Consciously objective and moral': Hogarth and the political artist in Vormärz Germany, William Vaughan; American landscape painting and the European paradigm, Andrew Wilton; Slavs, Brits and the question of national identity in art: Russian responses to British painting in the mid 19th century, Rosalind P. Blakesley; Unmistakably American? National myths and the historiography of landscape painting in the USA, Tim Barringer; Afterword: British art and its histories, William Vaughan; Select bibliography; Index. An 'excellent collection of ten essays variously investigating the connectivity between painting and printmaking in Britain and that in Europe, America, Russia and Australia' (John Morrison, British Journal of 18th-Century Studies). …

30x24 cm. 501 pp. Illustrated. Soft cover. A well-kept copy.

Condizione: Very Good. Oxford, Oxbow Books, 2000. 4to. vi,+ 121 pp. Illustrated. Sewn as issued. (Wiener Laboratory Monograph 1.) From the library of Robin Hägg. Softcover / Paperback.