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This book brings to the attention of the collecting public nearly 300 transferware items from 1780-1840. With more than 1200 images, this book of pottery objects for every conceivable use will appeal to collectors, historians, and dealers.
Painting with Fire shows how experiments with chemicals known to change visibly over the course of time transformed British pictorial arts of the long eighteenth century—and how they can alter our conceptions of photography today. As early as the 1670s, experimental philosophers at the Royal Society of London had studied the visual effects of dynamic combustibles. By the 1770s, chemical volatility became central to the ambitious paintings of Sir Joshua Reynolds, premier portraitist and first president of Britain’s Royal Academy of Arts. Valued by some critics for changing in time (and thus, for prompting intellectual reflection on the nature of time), Reynolds’s unstable chemistry also prompted new techniques of chemical replication among Matthew Boulton, James Watt, and other leading industrialists. In turn, those replicas of chemically decaying academic paintings were rediscovered in the mid-nineteenth century and claimed as origin points in the history of photography. Tracing the long arc of chemically produced and reproduced art from the 1670s through the 1860s, the book reconsiders early photography by situating it in relationship to Reynolds’s replicated paintings and the literal engines of British industry. By following the chemicals, Painting with Fire remaps familiar stories about academic painting and pictorial experiment amid the industrialization of chemical knowledge.
French Country style's most renowned spokesperson brings his charming and witty style to print in a new volume inspired by classic French fabric, bold colors and textures, and charming antiques from 18th-century French chateaux and English manor houses.
Lancelot Brown changed the face of eighteenth-century England, designing country estates and mansions, moving hills and making flowing lakes and serpentine rivers, a magical world of green. This English landscape style spread across Europe and the world. At home, it proved so pleasing that Brown's influence moved into the lowland landscape at large, and into landscape painting. He stands behind our vision, and fantasy, of rural England. In this vivid, lively biography, based on detailed research, Jane Brown paints an unforgettable picture of the man, his work, his happy domestic life, and his crowded world. She follows the jovial yet elusive Mr Brown from his childhood and apprenticeship in rural Northumberland, through his formative years at Stowe, the most famous garden of the day. His innovative ideas, and his affable and generous nature, led to a meteoric rise to a Royal Appointment in 1764 and his clients and friends ranged from statesmen like the elder Pitt to artists and actors like David Garrick. Riding constantly across England, Brown never ceased working until he collapsed and died in February 1783 after visiting one of his oldest clients. He was a practical man but also a visionary, always willing to try something new. As this beautifully illustrated biography shows, Brown filled England with enchantment - follies, cascades, lakes, bridges, ornaments, monuments, meadows and woods - creating views that still delight us today. 'Her book should find a home in any garden-lover's glove compartment.' Spectator 'Robust and revealing.' Independent 'Revealing the back story of our best-loved landscapes will open many, newly appreciative eyes.' The Lady 'An exhaustive and beautifully illustrated biography that has been long overdue... Those who love his gardens...will be delighted with this book.' Mail on Sunday
"Andy Warhol’s Raid the Icebox exhibition [held at the RISD Museum of Art, April 23-June 30, 1970], and the many similar museum projects it has spawned throughout the world over the past fifty years allow us to reconsider what storage is and might be. How do we recuperate the lost narratives residing in storage? How do we write new histories? How do objects that have become disassociated from their original contexts acquire fresh lives? How does storage evolve from a problem to be solved to an opportunity for discovery?"--Prelude.
It has never been shown that human emissions of the gas of life drive global warming. Large bodies of science that don't fit the narrative have been ignored by IPCC, COP and self-interested scientists paid by taxpayers. A huge subsidised industry of intermittent unreliable wind and solar electricity has been created based on unsubstantiated science. The same hucksters now want subsidised hydrogen, costly inefficient EVs, subsidised mega-batteries and other horribly expensive tried and failed schemes to impoverish people, create unemployment, transfer wealth and enrich China. Germany, Texas, California and the UK had a glimpse of Net Zero with blackouts, astronomically high electricity costs and hundreds of deaths. We once had reliable cheap electricity and now that governments have gone green, we are heading for hard economic times. In this book I charge the greens with murder. They murder humans who are kept in eternal poverty without coal-fired electricity. They support slavery and early deaths of black child miners. They murder forests and their wildlife by clear felling for mining and wind turbines. They murder forests and wildlife with their bushfire policies. They murder economies producing unemployment, hopelessness, collapse of communities, disrupted social cohesion and suicide. They murder free speech and freedoms and their takeover of the education system has ended up in the murdering of the intellectual and economic future of young people. They terrify children into mental illness with their apocalyptic death cult lies and exaggerations. They try to divide a nation. They are hypocrites and such angry ignorant people should never touch other people's money. The greens are guilty of murder. The sentence is life with no parole in a cave in the bush enjoying the benefits of Net Zero.