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A New History of Ireland is the largest scholarly project in modern Irish history. In 9 volumes, it provides a comprehensive new synthesis of modern scholarship on every aspect of Irish history and prehistory, from the earliest geological and archaeological evidence, through the Middle Ages, down to the present day. Volume VI opens with a character study of the period, followed by ten chapters of narrative history, and a study of Ireland in 1914. It includes further chapters on the economy, literature, the Irish language, music, arts, education, administration and the public service, and emigration.
The building of asylums throughout the country in the middle of the 19th Century expressly for the pauper mentally ill, who would otherwise have had no means of obtaining any medical care at all for themselves or their family members, was enlightened thinking by the Victorians. Victorian doctors of the mentally ill (or 'alienists' as they were known) were dedicated physicians who laboured under difficult circumstances to provide care, and occasionally cure, for their patients, whose numbers were to rise remorselessly throughout the Century. Unrecognised by the World at Large is a biography of Dr Henry Parsey, the first physician to the Warwick Asylum at Hatton, is a study of a 19th century provincial alienist’s medical training and career – with an intimate glimpse of his domestic life in his last years – and discusses extensively the care of the mentally ill before and after the asylum era. Dr Parsey was a pupil of two of the most famous English physicians to the mentally ill, Dr John Conolly and Sir John Bucknill; both of whom had been in medical practice in Warwickshire. Under Dr Henry Parsey’s supervision, the Warwick Asylum was internationally respected for the excellence of its care, yet he remained unrecognised by the world at large; Alastair’s book offers the same recognition to Dr Parsey as is given to other illustrious Victorian alienists. Inspired by the work of Michael Holroyd and Richard Ellmann, Unrecognised by the World at Largeoffers readers a unique perspective of the life and work of Dr Parsey. It will appeal to readers interested in medical history and the Victorian asylum era, as well as those interested in the history of the Warwickshire area.
Late in his career, Claude Monet returned to London to paint the fog that had entranced him years before. The resulting sequence of pictures represents some of the fascination that French painters felt for Britain. Similarly, many British collectors and young painters embraced and were influenced by the work of the French Impressionists. This book describes the activities of the French Impressionist painters on their visits to Britain, considers the dissemination of Impressionist painting through British dealers and collectors, explores the response of artists from Britain and Ireland to the Impressionist movement, and sets all of these against the backdrop of late Victorian and Edwardian Britain. McConkey and Robins describe the work of Monet, Pissarro, Sisley, and other Impressionists working in London, showing how this art influenced the community of young British painters disenchanted with British art schools and art exhibiting standards. The authors investigate the role played by two innovative painters who were American expatriates, James McNeill Whistler and John Singer Sargent. And they explain how such artists as William Orpen, George Clausen, Stanhope Forbes, Henry La Thangue, Walter Sickert, and Philip Wilson Steer sought out new and radical approaches to picture making, formed new secessionist art societies, and articulated new concepts of the role of art, rejecting historical pageants and fashionable aestheticism and focusing on modern rural and urban conditions. The book is the catalogue of an exhibition that will be at the Barbican Art Gallery in London from January to March 1995, and then move to Dublin.
During this period, his first wife Elizabeth Kerlin was the model in a number of exciting and experimental works such as Convent Garden, Brittany (National Gallery of Ireland). After the First World War, Leech divided his time between London and the South of France, travelling with his companion and later wife May Botterell. In the tradition of the 'Irish Impressionists' he was fascinated by the treatment of light in French painting, though he continued to explore different styles through his career. Leech painted portraits, landscapes and still lifes, including remarkable self-portraits, interiors and luxuriant aloes.
First Published in 1995. Routledge is an imprint of Taylor & Francis, an informa company.
Leech painted portraits, landscapes and still lifes, including remarkable self-portraits, interiors and luxuriant aloes. Throughout his life he regularly exhibited in Ireland and England. The majority of his paintings are still in private hands and little known. This retrospective catalogue documents his reclusive life and confirms his place as a major Irish artist.
Study of the history and development of the visual arts in Ireland during this period, including details of some 52 artists with examples of their work.
Over the past four centuries botanists and gardeners in the British Isles have gathered, maintained and propagated many varying species of plants. Their work has been documented in innumerable books and articles which are often difficult to trace. The Dictionary of British and Irish Botanists and Horticulturalists represents a time-saving reference source for those who wish to discover more about the lives and achievements of the horticulturalists listed. The dictionary's utility comes not only from indicating the major publications of the named authors, but also the location of their herbaria and manuscripts.; The previous 1977 edition of the Dictionary has for many years been a much used source of information for botanists, botanic artists and archivists. In this revised edition the scope has been expanded to include among its 13,000 entries flower painters in addition to botanical artists over 1400 entries and, for the first time, garden designers.; Finally the Dictionary should have international appeal since so many botanists and gardeners worked on collective plants overseas, in particular in North America and the British Commonwealth.; Each entry gives, wherever possible, details of dates and places of birth and death, educational qualifications, professional posts, honours and awards, publications, location of plant collections, manuscripts, drawings and portraits. Its main function, however, is to provide further biographical references to books and periodicals. Comprehensive classified indices facilitate access by professions and activities, countries, and plant interests.