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This biographical reference work looks specifically at the lives, works and careers of those individuals involved in civil engineering whose careers began before 1830.
Explore Culzean Castle with this book!Culzean Castle on the Ayrshire coast is the most visited property of the National Trust for Scotland. This lavishly illustrated book tells the whole history of the castle. Michael Moss has carried out extensive research, drawing on estate records, original plans and family correspondence to create a major new history of the castle and a fascinating account of the running of a Scottish country estate. With new pictures, many of them in colour, and an accessible style, this is essential reading for anyone interested in Scottish history and Scottish architecture.Built in the late sixteenth century above a network of caves, the castle became a centre for smuggling during the eighteenth century. Sir Thomas Kennedy, 9th Earl of Cassillis, went on an extended grand tour in the 1750s and returned full of ideas as to how to improve his vast estates and home. His brother and heir commissioned Robert Adam to create his masterpiece and became bankrupt as a result. The estate was rescued when wealthy American cousins inherited it in 1792. Archibald Kennedy, 1st Marquess of Ailsa, completed the house and lavished money on the property.Key Features:*Major new account of Culzean's history, going back four hundred years.*Beautifully produced and lavishly illustrated, with many new pictures.*Includes easy-to-read story of the family, plus family tree.*Essential reading for anyone interested in Scottish history and Adam architecture.
As the debate about Scottish independence rages on, this book takes a timely look at how Scotland's politics have been expressed in its buildings, exploring how the architecture of Scotland – in particular the constantly-changing ideal of the 'castle' – has been of great consequence to the ongoing narrative of Scottish national identity. Scotch Baronial provides a politically-framed examination of Scotland's kaleidoscopic 'castle architecture', tracing how it was used to serve successive political agendas both prior to and during the three 'unionist centuries' from the early 17th century to the 20th century. The book encompasses many of the country's most important historic buildings – from the palaces left behind by the 'lost' monarchy, to revivalist castles and the proud town halls of the Victorian age – examining their architectural styles and tracing their wildly fluctuating political and national connotations. It ends by bringing the story into the 21st century, exploring how contemporary 'neo-modernist' architecture in today's Scotland, as exemplified in the Holyrood parliament, relates to concepts of national identity in architecture over the previous centuries.
No writer is more charismatic than Robert Burns. Wonderfully readable, The Bard catches Burns's energy, brilliance, and radicalism as never before. To his international admirers he was a genius, a hero, a warm-hearted friend; yet to the mother of one of his lovers he was a wastrel, to a fellow poet he was "sprung . . . from raking of dung," and to his political enemies a "traitor." Drawing on a surprising number of untapped sources--from rediscovered poetry by Burns to manuscript journals, correspondence, and oratory by his contemporaries--this new biography presents the remarkable life, loves, and struggles of the great poet. Inspired by the American and French Revolutions and molded by the Scottish Enlightenment, Burns was in several senses the first of the major Romantics. With a poet's insight and a shrewd sense of human drama, Robert Crawford outlines how Burns combined a childhood steeped in the peasant song-culture of rural Scotland with a consummate linguistic artistry to become not only the world's most popular love poet but also the controversial master poet of modern democracy. Written with accessible elan and nuanced attention to Burns's poems and letters, The Bard is the story of an extraordinary man fighting to maintain a sly sense of integrity in the face of overwhelming pressures. This incisive biography startlingly demonstrates why the life and work of Scotland's greatest poet still compel the attention of the world a quarter of a millennium after his birth.
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.
Innovative and accessibly written, Picturing Scotland examines the genesis and production of the first author-approved illustrations for Sir Walter' Scott's Waverley novels in Scotland. Consulting numerous neglected primary sources, Richard J. Hill demonstrates that Scott, usually seen as disinterested in the mechanics of publishing, actually was at the forefront of one of the most innovative publishing and printing trends, the illustrated novel. Hill examines the historical precedents, influences, and innovations behind the creation of the illustrated editions, tracking Scott's personal interaction with the mechanics of the printing and illustration process, as well as Scott's opinions on visual representations of literary scenes. Of particular interest is Scott's relationships with William Allan and Alexander Nasmyth, two important early nineteenth-century Scottish artists. As the first illustrators of the Waverley novels, their work provided a template for one of the more lucrative publishing phenomena. Informed by meticulous close readings of Scott's novels and augmented by a bibliographic catalogue of illustrations, Picturing Scotland is an important contribution to Scott studies, the development of the illustrated novel, and publishing history.
Designs of Desire - Architectural and Ornament Prints and Drawings 1500-1850 is a fascinating survey, which introduces a wide selection of drawings and prints not associated with paintings and frescoes, but with architecture, sculpture, and the applied arts. Explored here is not just the world of elevations and plans for churches, palaces, and gardens, but also designs for temporary decorations for triumphal entries, firework displays, coronations, funerals, and many aspects of pageantry and feasting. Here are drawings for metalwork, textiles, books, ceramics, and glass and, above all ornament designs made expressly as sources for the most sophisticated craftsmen working within these disciplines. This helps to remind us that most artists, until comparatively recent times, were not concerned solely with painting but were commissioned by their patrons to produce designs for a very wide variety of their desires. Artists worked within certain recognisable and identifiable bounds that we now call 'fashion'. The greatest artists explored, developed, and sometimes even invented decorative art forms and styles, and the lesser artists mimicked aspects of their work. Ornament, which has been with us as long as art, was the stylistic common language between the artists and the artefact. This book makes apparent that the language of ornament is strangely limited, and generations since classical antiquity - or even before, in much more primitive cultures - have tended to explore variations on themes rather than to create entirely new languages. Their designs were often astonishingly beautiful and witty, especially when the artists were real innovators. In addition to the designs for architecture, sculpture and ornament are those for metalwork, ceramics, stained glass, textiles and even utilitarian objects such as table cloths and egg cups. The source material provided here would have been used by craftsmen like goldsmiths, maiolica painters, and embroiderers, to guide them in creating the artefacts. The scope of this book begins with Albrecht Dürer and his generation c.1500, and it ends in the mid-nineteenth century. 328 colour & b/w illustrations