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This title provides an accessible introduction to folk art, an established subject in many countries, but in Britain the genre remains elusive.
One of the Spectator's Books of the Year 2012 'Farewell and adieu to you fair Spanish ladies Farewell and adieu to you ladies of Spain For we've received orders for to sail for old England But we hope in a short while to see you again' One of the great English popular art forms, the folk song can be painful, satirical, erotic, dramatic, rueful or funny. They have thrived when sung on a whim to a handful of friends in a pub; they have bewitched generations of English composers who have set them for everything from solo violin to full orchestra; they are sung in concerts, festivals, weddings, funerals and with nobody to hear but the singer. This magical new collection brings together all the classic folk songs as well as many lesser-known discoveries, complete with music and annotations on their original sources and meaning. Published in cooperation with the English Folk Dance and Song Society, it is a worthy successor to Ralph Vaughan Williams and A.L.Lloyd's original Penguin Book of English Folk Songs. 'Her keen eye did glitter like the bright stars by night The robe she was wearing was costly and white Her bare neck was shaded with her long raven hair And they called her pretty Susan, the pride of Kildare' In association with EFDSS, the English Folk Dance and Song Society
"This is a book about the creative life of Britain and the first attempt since the Festival of Britain to document the popular and folk art of the present day"--http://www.bookworks.org.uk/asp/detail.asp?uid=book_E46009BD-166D-4E0C-9F38-AD0303E0474E&sub=new.
Between the Jacobite Rebellion of 1745 and the American Declaration of Independence, London artists transformed themselves from loosely organized professionals into one of the most progressive schools of art in Europe. In British Art and the Seven Years' War Douglas Fordham argues that war and political dissent provided potent catalysts for the creation of a national school of art. Over the course of three tumultuous decades marked by foreign wars and domestic political dissent, metropolitan artists—especially the founding members of the Royal Academy, including Joshua Reynolds, Paul Sandby, Joseph Wilton, Francis Hayman, and Benjamin West—creatively and assiduously placed fine art on a solid footing within an expansive British state. London artists entered into a golden age of art as they established strategic alliances with the state, even while insisting on the autonomy of fine art. The active marginalization of William Hogarth's mercantile aesthetic reflects this sea change as a newer generation sought to represent the British state in a series of guises and genres, including monumental sculpture, history painting, graphic satire, and state portraiture. In these allegories of state formation, artists struggled to give form to shifting notions of national, religious, and political allegiance in the British Empire. These allegiances found provocative expression in the contemporary history paintings of the American-born artists Benjamin West and John Singleton Copley, who managed to carve a patriotic niche out of the apolitical mandate of the Royal Academy of Arts.
A truly international treatment of its subject, The Spirit of Folk Art draws upon the vast resources of the Girard Collection, amassed by Alexander and Susan Girard and housed at the Museum of International Folk Art in Santa Fe. Distinguished folklorist and scholar Henry Glassie offers a vigorous and often lyrical discussion of the nature of folk art. More than 345 illustrations, including 285 in full color and 50 field photographs showing the various artists at work, provide a rich complement to Glassie's insights.
A stunning collection of English folklore featuring stories of beasts, giants, ghosts, saints, and the Devil, as well as moral tales and tales of origins. Master storyteller, social historian, and folklorist Sybil Marshall scoured English history to bring together a fascinating collection of folk tales in one glorious edition. Out-of-print for over thirty years, Overlook is re-issuing this bewitching book to enchant a new audience. From the great mass of folk tales that exists, Sybil Marshall has chosen a wide variety of stories, retelling them with wit and suspense. We have her tales of the little people and of giants, of the Devil and the saints, and supernatural and moral tales. Let Sybil Marshall lead you through the old English countryside, exploring the beliefs and legends of time gone by. This beautiful edition, complete with wood engraved illustrations by John Lawrence, will entertain, educate, and ensnare audiences of all ages. “A compilation of vivid, sometimes fearsome stories . . . The England we visit here has no afternoon teas or jolly rounds of cricket on lovely green lawns. In these pages, the sophisticated reader steps onto older, darker soil half-soaked in blood, superstition, and magic. . . . Wood engravings by John Lawrence deepen our sense of the blackened accretion of centuries in this fascinating collection.” —Meghan Cox Gurdon, The Wall Street Journal
Folk art still influences everyday art in some surprising ways. Folk Art Fusion shows you how to blend classic subjects with new techniques to create a lovely work of art that is completely unique. Folk Art Fusion explores the colorful combination of art styles and presents them in modern folk art paintings. This is your chance to learn how traditional folk art continues to influence today's painters, and to discover how to create contemporary folk-art paintings yourself! Even if you're new to creating art, Folk Art Fusion makes creating your own works approachable with step-by-step projects. The projects are as varied as they are colorful. You will enjoy painting classic subjects painted with creative techniques and in popular styles, including flower fields, Frida Kahlo, the Tree of Life, a cat, a quaint English cottage, and much more. Colorful, contemporary, and inspirational, Folk Art Fusion allows artists of all skill levels to quickly discover the joy of creating modern, global-inspiredart in this time-treasured genre.
Get creative with the Scandinavian concept of hygge (hoo-gah) and create your own whimsical, colorful artwork inspired by folk art with Creative Folk Art and Beyond! Continuing the hugely popular Creative… and Beyond series, Creative Folk Art and Beyond features the whimsical and colorful folk-art style of Scandinavia… and beyond! Inspired by the concept of hygge (an idea similar to coziness), Creative Folk Art and Beyond includes creative prompts,easy exercises, and step-by-step projects that embrace all things Scandinavian. No matter your skill level, you can learn how to draw and paint beautiful, colorful art using a variety of accessible, affordable supplies. Starting off with basic tools, materials, techniques, and color basics, Creative Folk Art and Beyond then jumps into tips and exercises that will have you drawing and painting your favorite folk-art designs in no time. This book is a must-have for any "Scandophile" or folk-art enthusiast!
In smoky rooms above pubs, bare rooms with battered stools and beer-stained tables, where the stage was little more than a scrap of carpet and sound systems were unheard of, an acoustic revolution took place in Britain in the 1950s and '60s. This was the folk revival, where a generation of musicians, among much drink and raucous cheer, would rediscover the native songs of their own tradition, as well as the folk and blues coming from across the Atlantic by artists such as Leadbelly, Woody Guthrie and Big Bill Broonzy. Singing from the Floor is the story of this remarkable movement, faithfully captured in the voices of those who formed it by JP Bean. We hear from luminaries such as Shirley Collins, Martin Carthy, Peggy Seeger and Ralph McTell, alongside figures such as Billy Connolly, Jasper Carrott and Mike Harding, who all started their careers on the folk circuit. The book charts the revival's improvised beginnings and its ties to the CND movement, through the heyday of the '60s and '70s, when every university, town and many villages across the country boasted a folk club, to the fallow years of the '80s and '90s. The book finishes on a high note, with the recent resurgence of interest in folk, through such artists as the Lakemans, Sam Lee and Eliza Carthy. It is a joyous, boisterous and hugely entertaining book, and an essential document of our recent history stretching into the past.