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George Frederic Watts (1817–1904) was a titanic figure in nineteenth-century British art. The father of British Symbolism and portrait painter of his age, he forged a controversial career that spanned the reign of Queen Victoria. This book, the first in-depth biography of Watts, sheds new light on the pioneering spirit and breadth of mind of the artist. Drawing on Watts’s abundant personal correspondence and diaries and an array of other contemporary documents, the book chronicles the artist’s career and personal life, including his friendships with Edward Burne-Jones, Frederic Leighton, William Gladstone, and Alfred Tennyson and his relationships with a series of singular women. The book also examines Watts’s wide reforming zeal and political agenda as well as his role and dealings in the Victorian art world.
"Watts (1817-1904)" by William Loftus Hare George Frederic Watts OM RA was a British painter and sculptor associated with the Symbolist movement. He said "I paint ideas, not things." Watts became famous in his lifetime for his allegorical works, such as Hope and Love and Life. Hare personally knew Watts and decided to create a memorial for him through this book which depicted his life and career as an artist.
This intimate picture of nineteenth-century artistic London is the first devoted exclusively to Wynfield's photography, and illustrates his unique contribution to the art.
Frederick Watts came to prominence during the nineteenth century as a lawyer and a railroad company president, but his true interests lay in agricultural improvement and in raising the economic, social, and political standing of Pennsylvania’s farmers. After being elected founding president of The Pennsylvania State Agricultural Society in 1851, he used his position to advocate vigorously for the establishment of an agricultural college that would employ science to improve farming practices. He went on to secure the charter for the Farmers’ High School of Pennsylvania, which would eventually become the Pennsylvania State University. This biography explores Watts’s role in founding and leading Penn State through its formative years. Watts adroitly directed the school as it was sited, built, and financed, opening for students in 1859. He hired the brilliant Evan Pugh as founding president, who, with Watts, quickly made it the first successful agricultural college in America. But for all his success in launching the institution, Watts nearly brought it to the brink of closure through a series of ruinous presidential appointments that led to an abandonment of the land-grant focus on agriculture and engineering. Watts’s influence in the agricultural modernization movement and his impact on land-grant education in the United States—both in his role with Penn State and later as US commissioner of agriculture—made him a leader in the history of agricultural and higher education. Roger L. Williams’s compelling biography of Watts reestablishes him in this legacy, providing a balanced analysis of his missteps and accomplishments.
According to one of Julia Margaret Cameron’s great-nieces, “we never knew what Aunt Julia was going to do next, nor did anyone else.” This is an accurate summation of the life of the British photographer (1815–1879), who took up the camera at age forty-eight and made more than twelve hundred images during a fourteen-year career. Living at the height of the Victorian era, Cameron was anything but conventional, experimenting with the relatively new medium of photography, promoting her own art though exhibition and sale, and pursuing the eminent personalities of her age—Alfred Tennyson, Charles Darwin, Thomas Carlyle, and others—as subjects for her lens. For the first time, all known images by Cameron, one of the most important nineteenth-century artists in any medium, are gathered together in a catalogue raisonné. In addition to a complete catalogue of Cameron’s photographs, there is information on her life and times, initial experiments, artistic aspirations, techniques, small-format images, albums, commercial strategies, sitters, and sources of inspiration. Also provided are a selected bibliography of publications on Cameron, a list of exhibitions of her work held both in her time as well as our own, and a summary of important collections where her pictures can be found.
The Watts Memorial to Heroic Self-Sacrifice in Postman’s Park, London, is a Victorian monument containing fifty-four ceramic plaques commemorating sixty-two individuals, each of whom lost their own life while attempting to save another. Every plaque tells a tragic and moving story, but the short narratives do little more than whet the appetite and stimulate the imagination about the lives and deaths of these brave characters. Based upon extensive historical research, this book will, for the first time, provide a full and engaging account of the dramatic circumstances behind each of the incidents, and reveal the vibrant and colourful lives led by those who tragically died.
This book - the first major study of the Holland Park Circle of artists, architects, and their patrons - is both an engrossing narrative of their lives, works and influence and a perceptive analysis of the subtle relationships between high Victorian taste and mercantile values."--BOOK JACKET.