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A lavish, illustrated volume published to accompany an exhibition of Copley's work that will be traveling to several cities during 1996. The focus is on the paintings, miniatures, and pastels that Copley, the supreme portraitist of the colonial era, produced before he moved to London in 1774. Four principal essays place the work in historical and social context and bring new critical methods to bear upon the study of portraits and portraiture; four shorter essays treat various aspects of Copley's art and techniques. Catalog entries detail the sitters' lives and the ways in which Copley enhanced his subjects' status and presence. 10x12.25" Annotation copyright by Book News, Inc., Portland, OR
"A stunning biography…[A] truly singular account of the American Revolution." —Amanda Foreman, author of A World on Fire Through an intimate narrative of the life of painter John Singleton Copley, award-winning historian Jane Kamensky reveals the world of the American Revolution, rife with divided loyalties and tangled sympathies. Famed today for his portraits of patriot leaders like Samuel Adams and Paul Revere, Copley is celebrated as one of America’s founding artists. But, married to the daughter of a tea merchant and seeking artistic approval from abroad, he could not sever his own ties with Great Britain. Rather, ambition took him to London just as the war began. His view from abroad as rich and fascinating as his harrowing experiences of patriotism in Boston, Copley’s refusal to choose sides cost him dearly. Yet to this day, his towering artistic legacy remains shared by America and Britain alike.
Washington Allston (1779-1843), the first major American artist trained in Europe, produced important paintings, explored sculpture and architecture, and published poetry and art criticism. On his return to America he became influential in the cultural and intellectual life of New England. Allston "knew everyone" and corresponded with many of the leading figures of his day, including Wordsworth, Longfellow, Irving, Sully, and Morse. Nathalia Wright's edition is the most comprehensive work to date on Allston, bringing together all known letters by and to him and describing his principal activities in years for which correspondence is lacking. Allston holds an important place in the history of American culture and European art and has long deserved such a volume, which offers a fascinating view of the world of arts and letters during the early American flowering.
The energy and optimism of the new nation are abundantly apparent in this catalogue. It features some of the icons of American art, such as John Singleton Copley's The Copley Family and Gilbert Stuart's portraits of the first five presidents. Numerous paintings, including Benjamin West's Colonel Guy Johnson and Karonghyontye (Captain David Hill), are discussed from a new perspective, the result of information culled from letters, wills, and other previously unpublished documents. The author offers new interpretations of some works, among them Charles Willson Peale's portrait of the Baltimore couple Benjamin and Eleanor Ridgely Laming. The volume is richly illustrated, with carefully selected comparative illustrations.
Stepfamilies were as common in the European past as they are today. Stepfamilies in Europe, 1400–1800 is the first in-depth study to chart four centuries of continuity and change for these complex families created by the death of a parent and the remarriage of the survivor. With geographic coverage from the Mediterranean to Scandinavia and from the Atlantic coast to Central Europe, this collection of essays from leading scholars compares how religious affiliation, laws and cultural attitudes shaped stepfamily realities. Exploring stepfamilies across society from artisans to princely rulers, this book considers the impact of remarriage on the bonds between parents and their children, stepparents and stepchildren, while offering insights into the relationships between full siblings, half siblings and stepsiblings. The contributors investigate a variety of primary sources from songs to letters and memoirs, printed Protestant funeral works, Catholic dispensation requests, kinship puzzles, legitimation petitions, and documents drawn up by notaries, to understand the experiences and life cycle of a family and its members – whether growing up as a stepchild or forming a stepfamily through marital choice as an adult. Featuring an array of visual evidence, and drawing on topics such as widowhood, remarriage, and the guardianship of children, Stepfamilies in Europe will be essential reading for scholars and students of the history of the family.
Now available as an eBook for the first time, this 1998 book from the Melland Schill series looks at The World Trade Organization, which was set up at the conclusion of the Uruguay Round of Trade Negotiations and came into force on 1 January 1995, forming a pillar of the international trading system.This book explains the legal framework established by the WTO, and explores how it can be made to work in practice. Asif H. Qureshi provides a basic guide to the new WTO code of conduct, and then focuses on implementation. First, he explains the institutional provisions of the WTO through an examination of GATT 1994 and the results of the Uruguay Round. Part Two covers techniques of implementation, and the third section covers the issues and problems of implementation relating to both developing countries and trade "blocs". Finally, Qureshi presents a complementary documentary appendix, including a complete copy of the Marrakesh Agreement establishing the WTO.
In a moving intervention into Romantic-era depictions of the dead and wounded, Philip Shaw's timely study directs our gaze to the neglected figure of the common soldier. How suffering and sentiment were portrayed in a variety of visual and verbal media is Shaw's particular concern, as he examines a wide range of print and visual media, from paintings to sketches to political prose and anti-war poetry, and from writings on culture and aesthetics to graphic satires and early photographs. Whilst classical portraiture and history painting certainly conspired with official ideologies to deflect attention from the true costs of war, other works of art, literary as well as visual, proffered representations that countered the view that suffering on and off the battlefield is noble or heroic. Shaw uncovers a history of changing attitudes towards suffering, from mid-eighteenth century ambivalence to late eighteenth- and early nineteenth-century concepts of moral sentiment. Thus, Shaw's story is one of how images of death and wounding facilitated and queried these shifts in the perception of war, qualifying as well as consolidating ideas of individual and national unanimity. Informed by readings of the letters and journals of serving soldiers, surgeons' notebooks and sketches, and the writings of peace and war agitators, Shaw's study shows how an attention to the depiction of suffering and the development of 'liberal' sentiment enables a reconfiguring of historical and theoretical notions of the body as a site of pain and as a locus of violent national imaginings.
"Published with the assistance of the Getty Foundation."
Britannia's Palette looks at the lives of British artists who witnessed the naval war against the French Republic and Empire between 1793 and 1815. This band of brothers, through their artistic and entrepreneurial efforts, established the images of the war at sea that were central to the understanding their contemporaries had of events - images that endure to this day. In this unprecedented book, Nicholas Tracy reveals the importance of the self-employed artist to the study of a nation at war. He includes lively accounts of serving officers, retired sailors, and academy-trained artists who, often under the threat of debtor's prison, struggled to balance the standards of art with the public desire for heroic, reassuring images. Containing over eighty illustrations, Britannia's Palette explores a varied and exciting collection of paintings that reveal the poignancy of the human experience of war.