Download Free A Complete Dictionary Of Contributors And Their Work From The Foundation Of The Societies To 1791 Book in PDF and EPUB Free Download. You can read online A Complete Dictionary Of Contributors And Their Work From The Foundation Of The Societies To 1791 and write the review.

The Witt Library of the Courtauld Institute of Art, London, is one of the world's greatest art history libraries. It contains some 1.7 million illustrations of the work of painters, draughtsmen, and engravers of the Western tradition, all of whom have been indexed by name, dates, and nationality. This new second edition of the Checklist of Painters is a transcription of the Witt index as it currently exists. The names of 66,000 artists, their dates, and their nationality (or school) are reproduced in alphabetical order. The Checklist of Painters is probably the most exhaustive work of its kind in existence; it now lists all painters (known by art historians) to have lived and worked from the year 1200 to 1994. It will be an important reference text in the art history collection of any public, academic, or professional library.
Despite William Hunter's stature as one of the most important collectors and men of science of the eighteenth century, and the fact that his collection is the foundation of Scotland's oldest public museum, The Hunterian, until now there has been no comprehensive examination in a single volume of all his collections in their diversity. This volume restores Hunter to a rightful position of prominence among the medical men whose research and amassing of specimens transformed our understanding of the natural world and man's position within it. This volume comprises essays by international specialists and are as diverse as Hunter's collections themselves, dealing as they do with material that ranges from medical and scientific specimens, to painting, prints, books and manuscripts. The first sections focus upon Hunter's own collection and his response to it, while the final section contextualises Hunter within the wider sphere. A special feature of the volume is the inclusion of references to the Hunterian's web pages and on-line databases. These enable searches for items from Hunter's collections, both from his museum and library. Locating Hunter's collecting within the broader context of his age and environment, this book provides an original approach to a man and collection whose importance has yet to be comprehensively assessed.
This book looks at visual images as an alternative and undervalued source of evidence for ideas about the Scottish Gaidhealtachd in the period 1700 - 1880. Illustrated with 100 plates, it brings together many little known and previously unrelated images. Addressing the textual bias inherent in Scottish historical studies, the book examines a broad range of maps, plans, paintings, drawings, sketches and printed images, arguing that the concept of antiquity was the single most powerful influence driving the visual representation of the Highlands and Islands from 1700 to 1880, and indeed beyond. Successive chapters look at archaeological, ethnological and geological motives for visualising the Highlands, and at the bias in favour of antiquity which resulted from the spread of these intellectual influences into the fine arts. The book concludes that the shadow of time which hallmarked visual representations of the region resulted in a preservationist mentality which has had powerful repercussions for approaches to Highland issues down to the present day. The book will appeal to historians, art historians, cultural geographers, and the general reader interested in Highland history and culture.
This book sets a new standard as a work of reference. It covers British and Irish art in public collections from the beginning of the sixteenth century to the end of the nineteenth, and it encompasses nearly 9,000 painters and 90,000 paintings in more than 1,700 separate collections. The book includes as well pictures that are now lost, some as a consequence of the Second World War and others because of de-accessioning, mostly from 1950 to about 1975 when Victorian art was out of fashion. By listing many tens of thousands of previously unpublished works, including around 13,000 which do not yet have any form of attribution, this book becomes a unique and indispensable work of reference, one that will transform the study of British and Irish painting.
Explores a vital aspect of British Romanticism, the role of illustration in Romantic-era literary texts and visual culture.
“A history of “secular,” or non-supernatural, or entertainment magic as an important but neglected constituent of modern culture” (Nicholas Daly). Magic, Simon During suggests, has helped shape modern culture. Devoted to this deceptively simple proposition, During’s superlative work, written over the course of a decade, gets at the aesthetic questions at the very heart of the study of culture. How can the most ordinary arts—and by “magic,” During means not the supernatural, but the special effects and conjurings of magic shows—affect people? Modern Enchantments takes us deeply into the history and workings of modern secular magic, from the legerdemain of Isaac Fawkes in 1720, to the return of real magic in nineteenth-century spiritualism, to the role of magic in the emergence of the cinema. Through the course of this history, During shows how magic performances have drawn together heterogeneous audiences, contributed to the molding of cultural hierarchies, and extended cultural technologies and media at key moments, sometimes introducing spectators into rationality and helping to disseminate skepticism and publicize scientific innovation. In a more revealing argument still, Modern Enchantments shows that magic entertainments have increased the sway of fictions in our culture and helped define modern society’s image of itself. Praise for ModernEnchantment “During documents the extent to which magic and magical thinking have pervaded, and continue to pervade, secular life . . . the author examines 19th- and 20th-century theatrical magic and “commercial conjuring” with great sensitivity to the social and cultural context in the Western world. Equally fascinating is the analysis of magic and early film.” —R. Sugarman, Choice “A richly informed, warmly argued addition to the growing number of books in which writers worry at the pervasive blurring of distinctions between act and appearance, organic consciousness and artificial intelligence, imagination and empirical experience, illusion and thought, reality TV and real life, dreams and money.” —Marina Warner, Financial Times “During moves confidently across three centuries of magic (and covers aspects of a few more besides). The sheer wealth of historical detail he provides is impressive, but no less impressive is the subtlety of his argumentation, and the suggestiveness of his claims . . . This extremely significant piece of work will appeal to literary critics, historians, and not least, devotees of magic.” —Nicholas Daly, author of Modernism, Romance, and the Fin de Siècle: Popular Fiction and British Culture, 1880–1914