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Inspired by French and Italian landscape painting, a number of eighteenth-century artist-gardeners led by William Kent created an art-form unique in the West, althought favoured from times of antiquity in China and Japan: the picturesque garden - virtually a landscape picture made not of paint on canvas but of real country and buildings. Towering above the rest of the professional practitioners of this art, in terms both of genius and industry, were two remarkable men, Capability Brown and his successor Humphry Repton. Both transformed many thousands of acres of England and Wales from 'natural' into 'picturesque' landscape; both , in the course of their work, met many of the leading men of their day, and George III made a friend of Brown; both, in their different ways, exerted a lasting influence on other landscape designers, including those of America and Europe. -- Book jacket.
A definitive survey of the glorious British landscapes designed by Humphry Repton, whose influence is felt everywhere from the rolling meadows and kitchen gardens of English estates to New York City’s Central Park. Widely acknowledged as the last great landscape designer of the eighteenth century, Humphry Repton created work that survives as a bridge between the picturesque theory of Capability Brown and the pastoral philosophy of Frederick Law Olmsted. By turns inspired by and in opposition to the grandeur of Brown’s estates, Repton’s contribution to the British landscape encompassed a tremendous range, from subtle adjustments that emphasized the natural features of the countryside to deliberate interventions that challenged the notion of the picturesque. This remarkable book explores 15 of Repton’s most celebrated landscapes—from the early maturity of his gardens at Courteenhall and Mulgrave Castle to more adventurous landscapes at Stanage, Brightling, and Endsleigh that would point the way toward how we envision parkland today. With photography by Joe Cornish commissioned specially for the book, and including reproductions of key illustrations and plans for garden design from the famous red books that shed light on Repton’s vision and process, this book illuminates some of Britain’s most beautiful gardens and parks—and the masterful mind behind their creation.
The name Lancelot 'Capability' Brown has become synonymous with the eighteenth-century English landscape garden: between 1751 and 1783 his consultancy handled over 170 major commissions. Ruthlessly efficient, he could stake out the 'capabilities' of a particular terrain within an hour on horseback. Rising to the position of Master Gardener to George III, his trademark features included bald lawns, clumped trees, undulating lakes and enclosing belts of woodland on the estate's perimeter. With this standard park formula Brown and his followers held the commercial monopoly on garden design well into the following century, resisting the more rugged topography advocated by Richard Payne Knight's new generation of Romantics.
Lancelot ‘Capability’ Brown (1716-1783) is the iconic figure at the head of the English landscape style, a tradition that has dominated landscape design in the western world. He was widely acclaimed for his genius in his own day and his influence on the culture of England has arguably been as great as that of Turner, Telford and Wordsworth. Yet, although Brown has had his biographers, his work has generated very little analysis. Brown was prolific; he has had a direct influence on half a million acres of England and Wales. The astonishing scale of his work means that he did not just transform the English countryside, but also our idea of what it is to be English and what England is. His work is everywhere, but goes largely unnoticed. His was such a naturalistic style that all his best work was mistaken for untouched nature. This has made it very difficult to see and understand. Visitors to Brown landscapes do not question the existence of the parkland he created and there has been little professional or academic analysis of his work. This book for the first time looks at the motivation behind Brown’s landscapes and questions their value and structure whilst at the same time placing him within the English landscape tradition. It aims primarily to make landscape legible, to show people where to stand, what to look at and how to see.
The first biography of the 18th-century landscape gardener, Uvedale Price, showing the key interconnections between his roles as landowner, art collector, forester, landscaper, connoisseur and scholar. Uvedale Price achieved most fame as the author of the influential Essay on the Picturesque of 1794 in which he argued that the work of the greatest landscape artists, such as Salvator Rosa, Rubens and Claude, should be usedas models for the "improvement of real landscape". His attack on the smooth certainties of Capability Brown sparked off a public controversy, drawing in Richard Payne Knight and Humphry Repton, which became a cause célèbre. This is the first biography of Uvedale Price, bringing out his contradictory and elusive character and revealing an astonishing cast of friends and acquaintances, including Gainsborough, Voltaire, William Wordsworth and ElizabethBarrett Browning. The book shows how he developed his ideas through practical experimentation on his own land and buildings and provides an understanding of the context of Price's practices and theories and the key interconnections between his roles as landowner, art collector, forester, landscaper, connoisseur and scholar. CHARLES WATKINS is Professor of Rural Geography, University of Nottingham; BEN COWELL is Assistant Director, External Affairs, National Trust.
Humphry Repton¿s Red Books have long been the subject of scholarly interest for their unique contribution to British landscape discourse around 1800. Lavishly illustrated with Repton¿s own watercolours, the notorious Red Book manuscripts were used to suggest improvements to family estates all over England, Scotland and Wales. Through detailed analysis of Repton¿s working practices, Andr¿ogger argues that the landscape gardener¿s main artistic achievement is in the text-and-image concept of his Red Books, rather than in his grounds as finally executed. He presents the Red Books as artefacts in their own right, examining their creative potential as an entirely new genre of landscape appraisal. Assembling a comprehensive and descriptive catalogue of 123 original volumes, Landscapes of Taste: The Art of Humphry Repton¿s Red Books guides the reader through a fascinating part of the rich texture and legacy of Georgian landscape aesthetics.
Parks and gardens in eighteenth-century England are usually seen as works of art created by individual geniuses like William Kent, Capability Brown and Humphry Repton. But this narrow view wasn't necessarily shared by contemporaries, and Tom Williamson in this thought-provoking book reveals that the aristocracy and gentry, who paid for these private landscapes and lived in them, were motivated by more complex interests and needs. Landowners had strong ideas of their own about how their property should look and how it should function. The park and garden were part of a working estate consisting of farms and forestry enterprises, and the surroundings of the country house were shaped to suit the requirements of hunting, shooting, riding and other recreational activities as well as to conform to the aesthetic principles of philosophers and landscape gardeners. Tom Williamson's pioneering study concentrates on the wider social, economic and political implications of these elaborate private landscapes. He emphasizes the practical relationship between the landowners who were demanding customers and the designers who were businessmen as well as artists. In the process he shows how changing fashions in the layout of gentlemen's pleasure grounds were related to broader currents of social and economic development in eighteenth-century England.
Humphry Repton (1752–1818) remains one of England’s most interesting and prolific garden and landscape designers. Renowned for his innovative design proposals and distinctive before-and-after images, captured in his famous “Red Books,” Repton’s astonishing career represents the link between the simple parklands of his predecessor Capability Brown and the more elaborate, structured, and formal landscapes of the Victorian age. This lavishly illustrated book, based on a wealth of new research, reinterprets Repton’s life, working methods, and designs, and examines why they proved so popular in a rapidly changing world.