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Some of the most beautiful views of London are those from the many bridges which span the River Thames. Millions of people cross over the Thames every day but most are too concerned with reaching their destination to notice the structures they use, let alone consider their history or the risks taken in building them. Triumphs of architecture and engineering, London's bridges have inspired artists as diverse as Dickens and Monet. From the elegant Richmond Bridge to the Gothic, quintessentially British Tower Bridge, they have formed the backdrop to battles, rebellions, pageantry and mysteries for two millennia. Crossing the River tells these stories, including the assassination of a dissident with a poisoned umbrella on Waterloo Bridge; the apparent suicide of 'God's banker', an Italian financier with links to the Vatican, the Masons and the Mafia; and the Marchioness tragedy and its controversial aftermath. Featuring illustrations and photographs old and new, this book will undoubtedly increase the reader's knowledge and appreciation of the bridges and the people who built them, and thereby enhance the pleasure of seeing them, whether at leisure or stuck in a traffic jam.
First published in 1999, this book explores how, from the stone bridges of neoclassicism which soar out of wild woods to span pastoral valleys to the post-1750 engineer’s bridge with its links to the more industrial landscape, the bridge was a popular feature in painting throughout the period 1700-1920. Why did so many artists choose to portray bridges? In this lavishly illustrated and intriguing book, John Sweetman seeks to answer this question. He traces the history of the bridge in painting and printmaking through a vast range of work, some as familiar as William Etty’s The Bridge of Sighs and Claude Monet’s The Railway Bridge at Argenteuil and others less well known such as Wassily Kandinsky’s Composition IV and C.R.W. Nevinson’s Looking Through the Brooklyn Bridge. Distinctive characteristics emerge revealing the complex role of the bridge as both symbol and metaphor, and as a place of vantage, meeting and separation.