Andrew Brink – författare

Covering the topics of God, immortality, conscience and immortality, this volume presents a selection of essays of the first decade of Russell as an independent thinker. It includes his graduate essays, adolescent writings and ideas on ethics, Bacon, Hobbes and DesCartes, psychology and politics.

Contemplation and Action 1902-14 is the first volume devoted exclusively to Russell's non-technical writings. It follows chronologically Volume 1, Cambridge Essays: 1888-99 which presented his earliest papers.

Claude Lorrain (1600-1682), an eminent seventeenth-century landscape painter, was an equally talented graphic artist. Lorrain''s etchings match the mastery and execution of his paintings and yet are largely unrecognized by contemporary collectors and art historians. Andrew Brink, an astute and discriminating art collector, amassed an impressive collection of etchings, engravings, and mezzotints by European master printmakers from the sixteenth century onwards. The keystone works in the Brink Collection, now housed in Guelph, Ontario''s Macdonald Stewart Art Centre, are by Claude Lorrain. In Ink and Light, Brink positions Lorrain''s prints as seminal to the establishment of seventeenth- and eighteenth-century aesthetics in England, which gave rise to the English pictorialism in art and landscape architecture that would have international influence in the nineteenth and twentieth centuries. He discusses the technical and material character of Lorrain''s etchings, as well as their connection to literature and philosophy in early modern times. While Brink''s main focus is the impact of the etchings, he also looks at paintings and drawings by Lorrain, in addition to works made by other artists after Lorrain. Featuring forty of Claude Lorrain''s etchings from the Brink Collection, Ink and Light fills a significant gap in British art history by providing a close reading of Lorrain''s prints, their reception in England, and the enduring impact they had on a distinctive British aesthetic.

Claude Lorrain (1600-1682), an eminent seventeenth-century landscape painter, was an equally talented graphic artist. Lorrain''s etchings match the mastery and execution of his paintings and yet are largely unrecognized by contemporary collectors and art historians. Andrew Brink, an astute and discriminating art collector, amassed an impressive collection of etchings, engravings, and mezzotints by European master printmakers from the sixteenth century onwards. The keystone works in the Brink Collection, now housed in Guelph, Ontario''s Macdonald Stewart Art Centre, are by Claude Lorrain. In Ink and Light, Brink positions Lorrain''s prints as seminal to the establishment of seventeenth- and eighteenth-century aesthetics in England, which gave rise to the English pictorialism in art and landscape architecture that would have international influence in the nineteenth and twentieth centuries. He discusses the technical and material character of Lorrain''s etchings, as well as their connection to literature and philosophy in early modern times. While Brink''s main focus is the impact of the etchings, he also looks at paintings and drawings by Lorrain, in addition to works made by other artists after Lorrain. Featuring forty of Claude Lorrain''s etchings from the Brink Collection, Ink and Light fills a significant gap in British art history by providing a close reading of Lorrain''s prints, their reception in England, and the enduring impact they had on a distinctive British aesthetic.

Desire and Avoidance in Art argues that while early developmental traumas can produce life-long creative endeavors with striking aesthetic results, they may also, for the male artist, result in destructive relations with women. Brink introduces the scheme of personality formation – as found in the work on infant and child development of John Bowlby, Mary Ainsworth, Mary Main, Patricia Crittenden, Allen N. Schore, and others – to explore a new venture in psychobiography. He effectively uses the concept of «anxious attachment» to describe mother-infant/child relations and their sequelae. Using pertinent developmental data found in each artist’s childhood, Andrew Brink accounts for the anxious-avoidant attachment style (or, in Crittenden’s terminology, the Anxious/Controlling style) from which these artists suffered. He aims to explain why partnerships with women are sometimes hazardous and frequently tragic for male artists by referencing various feminist writers. Based on their viewpoints, Brink extracts psychodynamic explanations that are largely based on what the artists’ imagery reveals. Furthermore, he explains how the attachment theory of attraction-avoidance is shown to supplement and enrich other ways of understanding chronically tense relations between the sexes. Brink focuses his attention on artists such as Picasso, Bellmer, Balthus, and Cornell, who are culturally powerful and often stimulate discussion about misogynic figures within a social context.

Covering the topics of God, immortality, conscience and immortality, this volume presents a selection of essays of the first decade of Russell as an independent thinker. It includes his graduate essays, adolescent writings and ideas on ethics, Bacon, Hobbes and DesCartes, psychology and politics.

Contemplation and Action 1902-14 is the first volume devoted exclusively to Russell''s non-technical writings. It follows chronologically Volume 1, Cambridge Essays: 1888-99 which presented his earliest papers.

Covering the topics of God, immortality, conscience and immortality, this volume presents a selection of essays of the first decade of Russell as an independent thinker. It includes his graduate essays, adolescent writings and ideas on ethics, Bacon, Hobbes and DesCartes, psychology and politics.

Contemplation and Action 1902-14 is the first volume devoted exclusively to Russell''s non-technical writings. It follows chronologically Volume 1, Cambridge Essays: 1888-99 which presented his earliest papers.