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This book sets a new standard as a work of reference. It covers British and Irish art in public collections from the beginning of the sixteenth century to the end of the nineteenth, and it encompasses nearly 9,000 painters and 90,000 paintings in more than 1,700 separate collections. The book includes as well pictures that are now lost, some as a consequence of the Second World War and others because of de-accessioning, mostly from 1950 to about 1975 when Victorian art was out of fashion. By listing many tens of thousands of previously unpublished works, including around 13,000 which do not yet have any form of attribution, this book becomes a unique and indispensable work of reference, one that will transform the study of British and Irish painting.
All the publicly owned oil paintings in Kent have been brought together in this comprehensive volume.
The first time all the publicly owned paintings in Somerset have been brought together in one volume.
"This catalogue reveals all the oil paintings in public collections in the City of Southhampton, part of the ceremonial county of Hampshire, together with those from the Isle of Wight."--Dust Jacket.
"This volume shows some 1,600 oil paintings in public ownership in the county of Hertfordshire. Drawn from over 40 collections across the county including museums, art galleries, council buildings, educational establishments and public libraries, the paintings in this catalogue provide a fascinating insight into the cultural heritage of the county. The catalogue includes Bushey Museum and Art Gallery with its nationally important holding of paintings by Hubert von Herkomer and his students, together with several fine eighteenth-century paintings in the Watford Museum collection and Letchworth Museum and Art Gallery's holding of early twentieth-century British works."--BOOK JACKET.
All the Oil Paintings in public ownership in Staffordshire
All the publicly owned oil paintings in East Sussex have been brought together in this comprehensive volume.
In this, the first comprehensive study of post-Reformation provincial English portraiture, Robert Tittler investigates the growing affinity for secular portraiture in Tudor and early Stuart England, a cultural and social phenomenon which can be said to have produced a 'public' for that genre. He breaks new ground in placing portrait patronage and production in this era in the broad social and cultural context of post-Reformation England, and in distinguishing between native English provincial portraiture, which was often highly vernacular, and foreign-influenced portraiture of the court and metropolis, which tended towards the formal and 'polite'. Tittler describes the burgeoning public for portraiture of this era as more than the familiar court-and-London based presence, but rather as a phenomenon which was surprisingly widespread, both socially and geographically, throughout the realm. He suggests that provincial portraiture differed from the 'mainstream', cosmopolitan portraiture of the day in its workmanship, materials, inspirations, and even vocabulary, showing how its native English roots continued to guide its production. Innovative chapters consider the aims and vocabulary of English provincial portraiture, the relationship of portraiture and heraldry, the painter's occupation in provincial (as opposed to metropolitan) England, and the contrasting availability of materials and training in both provincial and metropolitan areas. The work as a whole contributes to both art history and social history: it speaks to admirers and collectors of painting as well as to curators and academics.
All the publicly owned oil paintings in the Slade School of Fine Arts and University College London have been brought together in this comprehensive volume.
This catalogue reveals all the oil paintings from the Museum's various locations around the country 1,870 works in total. This includes a significant body of work by Connard, Knight, Lavery, the Nashes, Nevinson, Orpen and Weight.