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"Roger Fenton (1819-1869) was England's most celebrated photographer during the 1850s, the young medium's most glorious moment. After studying law and painting, Fenton took up the camera in 1851 and immediately began to produce highly original images. During a decade of work he mastered every photographic genre he attempted: architectural photography, landscape, portraiture, still life, reportage, and tableau vivant." "This volume presents ninety of Fenton's finest photographs, exactingly reproduced. Six leading scholars have contributed nine illustrated essays that address every aspect of Fenton's career, as well as a comprehensive, documented chronology."--BOOK JACKET.
Built for the Great Exhibition of 1851, the Crystal Palace originally graced London's Hyde Park with Joseph Paxton's remarkable geometric design and groundbreaking use of glass elements, prefiguring the modern movement in architecture. After the exhibition a group of bankers, railway directors, and men of influence moved the structure to a new site in south London, rebuilt it to an even grander scale, and set about its promotion as a "palace for the multitude." Here were exhibitions, concerts, and spectaculars to fill a splendid day out for Londoners of all classes and interests. Filled with plaster casts of great art treasures, life-sized models of dinosaurs, waterworks, and gardens, the Crystal Palace became a center of both education and entertainment from the Victorian era through its destruction by fire in1936. Copublished with C. Hurst & Co., London Wisconsin edition for sale only in North and South America, U.S. territories and dependencies, and the Philippines.
The Holy Thorn of Glastonbury is the stuff that legends are made of. Stories grow on it like fruit and wrap around it like creepers. It’s a shape-shifter. It’s been Catholic, Protestant, Pagan, universal. It’s succoured royalty, loyalty, defiance and subversion. It’s been condemned as patriarchal and revered as a feminine spirit. It’s been harnessed by imperialists and peacemakers and nationalists and universalists. It’s stood for better times and better days. For Christmas cheer and better nature, for all trees and all nature, for peace and for hope. This book is the biography of a symbol. “surely the definitive work on its beloved and important subject” Ronald Hutton "permanently changes our understanding of the mutable mythos without undermining our heart-felt connection to it" Paul Weston "a gem of historical writing" Maria Nita, Material Religion "a coherent and gripping narrative" Charles Watkins, Journal of Historical Geography "If you care about Glastonbury's history, and the origins of its legends, you need this book" Yuri Leitch "utterly accessible, written with flow and humour, zest and zeal" Johanna van Fessem, Glastonbury Oracle "a fusion of critical acumen and human sympathy" Jeremy Harte, Fortean Times "an amazing story unfolds from a hugely impressive mass of sources" Robert Dunning, The Local Historian Adam Stout is a writer and historian, and has been a Visiting Research Fellow at the Universities of Wales, Leicester, Exeter and Southampton. He has written and lectured widely on the idea of Glastonbury.
Photography emerged in 1839 in two forms simultaneously. In France, Louis Daguerre produced photographs on silvered sheets of copper, while in Great Britain, William Henry Fox Talbot put forward a method of capturing an image on ordinary writing paper treated with chemicals. Talbot’s invention, a paper negative from which any number of positive prints could be made, became the progenitor of virtually all photography carried out before the digital age. Talbot named his perfected invention "calotype," a term based on the Greek word for beauty. Calotypes were characterized by a capacity for subtle tonal distinctions, massing of light and shadow, and softness of detail. In the 1840s, amateur photographers in Britain responded with enthusiasm to the challenges posed by the new medium. Their subjects were wide-ranging, including landscapes and nature studies, architecture, and portraits. Glass-negative photography, which appeared in 1851, was based on the same principles as the paper negative but yielded a sharper picture, and quickly gained popularity. Despite the rise of glass negatives in commercial photography, many gentlemen of leisure and learning continued to use paper negatives into the 1850s and 1860s. These amateurs did not seek the widespread distribution and international reputation pursued by their commercial counterparts, nearly all of whom favored glass negatives. As a result, many of these calotype works were produced in a small number of prints for friends and fellow photographers or for a family album. This richly illustrated, landmark publication tells the first full history of the calotype, embedding it in the context of Britain’s changing fortunes, intricate class structure, ever-growing industrialization, and the new spirit under Queen Victoria. Of the 118 early photographs presented here in meticulously printed plates, many have never before been published or exhibited.