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In this illustrated book, an eminent art historian examines the intriguing history and significance of the international art exhibition of the Old Master paintings.
In 1769 Thomas Gray (best known for his 'Elegy in a Country Chuchyard') made a tour of the English Lakes, and recorded it in a journal that is now widely accepted as the first example of modern travel writing. He delighted in what he saw and conveys vividly to us the lakes and the mountains through eighteenth-century eyes. A few years later the watercolourist Joseph Farington followed in Gray's footsteps and painted a series of key views along the way. These paintings, which were later engraved and published, are beautiful in the picturesque tradition, and, from a topographical point of view, are remarkably accurate, unlike the work of most artists of the time. John Murray has brought together for the first time Thomas Gray's journal, Joseph Farington's watercolours, and the engravings after the watercolours that sold widely at the time and were key to the popularising of the lakes. In addition he has photographed Farington's views as they appear today, and it is remarkable how many of them are so clearly and still easily recognisable today. Here is an unusual and original view of the Lake District, and one that has not been attempted before.
n this unflinching look at depression and the human struggle to find hope in its midst, acclaimed author Tim Farrington writes with heartrending honesty of his lifelong struggle with the condition he calls "a hell of mercy." With both wry humor and poignancy, he unravels the profound connection between depression and the spiritual path, the infamous dark night of the soul made popular by mystic John of the Cross. While depression can be a heartbreaking time of isolation and lethargy, it can also provide powerful spiritual insights and healing times of surrender. When doctors prescribe medication, patients are often left feeling as if part of their very selves has been numbed in order to become what some might call "normal." Farrington wrestles with profound questions, such as: When is depression a part of your identity, and when does it hold you back from realizing your potential? In the tradition of Darkness Visible and An Unquiet Mind, A Hell of Mercy is both a much needed companion for those walking this difficult terrain as well as a guide for anyone who has watched a loved one grapple with this inner emotional darkness.
DIVProminent art historian looks at the birth of the art museum and contemplates its future as a public institution./div
The essays in this volume provide an unusual historical perspective on the experience of illness: they try to reconstruct what being ill (from a minor ailment to fatal sickness) was like in pre-industrial society from the point of view of the sufferers themselves. The authors examine the meanings that were attached to sickness; popular medical beliefs and practices; the diffusion of popular medical knowledge; and the relations between patients and their doctors (both professional and 'fringe') seen from the patients' point of view. This is an important work, for illness and death dominated life in earlier societies to an enormous degree. Yet almost no studies of this kind have ever been carried out before, practically all previous treatments having been written from the traditional point of view of the doctor, the hospital, or medical science. It will accordingly interest a wide range of readers interested in social history as well as the history of medicine itself.
This catalogue includes such famous figures as David Garrick and Dr Samuel Johnson, Sarah Siddons and Emma Hamilton, and the work of such artists as Gainsborough, Reynolds and Romney. It has been compiled by one of the leading authorities on 18th-century English portraiture, John Ingamells.
This illustrated volume records the next stages of Addey's journey from Land's End to Conway and Liverpool to the Clyde - and again contrasts his work with Daniell's engravings and descriptions.