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Kathryn Heleniak demonstrates how intimately Mulready's paintings were related to the social conditions of his time. His portrayal of blacks is linked to the abolition of slavery and to the British colonial experience; his children's genre is analysed in the light of nineteenth-century attitudes to childhood and sexuality, and in the light of Mulready's own deeply-rooted pessimism about human nature.
John Constable is arguably the most accomplished painter of English skies and weather of all time. For Constable, the sky was the keynote, the standard of scale and the chief organ of sentiment in a landscape painting. But how far did he understand the workings of the forces of nature which created his favourite cumulus clouds, portrayed in so many of his skies over the landscapes of Hampstead Heath, Salisbury and Suffolk? And were the skies he painted scientifically accurate? In this lucid and accessible study, John Thornes provides a meteorological framework for reading the skies of landscape art, compares Constable's skies to those produced by other artists from the middle ages to the nineteenth century, analyses Constable's own meteorological understanding, and examines the development of his painted skies. In so doing he provides fresh evidence to identify the year of painting of some of Constable's previously undated cloud studies.
Paul Mellon (1907--1999) assembled one of the world’s greatest collections of British drawings and watercolors. In his memoirs he wrote of their “beauty and freshness… their immediacy and sureness of technique, their comprehensiveness of subject matter, their vital qualities, their Englishness.” This catalogue celebrating the centenary of Mellon's birth features eighty-eight outstanding watercolors from the fifty thousand works of art on paper with which he endowed the Yale Center for British Art. The selection spans the emergence of watercolor painting in the mid-18th century to its apogee in the mid-19th. These works highlight the diversity of British watercolors, showcasing both landscape and figurative works by some of the principal artists working in the medium, including Thomas Gainsborough, Thomas Rowlandson, William Blake, and J. M.W. Turner.
This collection of 42 drawings, never previously published together, gives new insight into Constable's technical and emotional approach into his work. With the help of copious comparative illustrations and exhaustively detailed research drawn from numerous contemporary sources, the author builds up a portrait of the artist, his background and family life. The luscious quality of Constable's painting typifies an idealized image of the English countryside in the 18th centruy. Such familiar paintings as Greenham Lock and Flatford Mill were not captured in spontaneous bursts, but were committed to canvas only after numerous working-drawings and oil sketches had been completed. This is the first full-length study of the subject, presenting much hitherto unpublished material and offering a balanced and pertinent assessment of Constable and his work.
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Exploring the development, variety, and innovation of the landscape oil sketch, this book is generously illustrated with many masterpieces of 19th-century British landscape painting.