Claire Jones – författare

Collins Gardener’s Bible is the sixth title in this stunning and engaging series. It is packed with absolutely everything you need to be an effective, sustainable and fulfilled gardener.Collins Gardener’s Bible pairs a sumptuous aesthetic with practical tips on how to plan and prepare the right garden for you. This book highlights organic and sustainable gardening techniques, provides advice on troubleshooting, pruning, maintenance and care and helps to recognise native vs non-native plants. There are tips on considering the seasons, climate and altitude, as well as the best equipment and soil and advice on community gardening, swaps and much more. This all comes packaged in a beautiful illustrated gift book perfect for the gardening beginner all the way to the esteemed horticulturist. Discover how to prepare for and plant the best garden for your climate and lifestyle – from low-maintenance, drought-resistant beds, pollinator patches, atmospheric cottage arrangements and stunning Japanese-inspired gardens. With Collins Gardener’s Bible, embrace the botanical abundance of your home garden.CONTENTSHow to Use This Book · How to Garden Safely & Sustainably · Brief Glossary Chapter 1: Gardening Through the Ages Early Gardening · Modern Gardening Around the World · Notable Gardeners, Past and Present · Gardening for Sustenance and Gardening for Pleasure Chapter 2: Gardening for Beginners Becoming a Gardener · Times, Weather, Seasons · Climate, Altitude, and City vs Urban Gardening Basics · Planning, Preparing, and Beginning Your Home Garden · Native vs Non-native Plants · Organic and Sustainable Gardening · Complementary Planting Garden Types and How to Create Them, featuring: Pollinator Gardens, Low-maintenance Gardens, Annual and Perennial Gardens, Flower Gardens, Cottage Gardens, English/French/Mediterranean Gardens, Japanese-inspired Gardens, Fruit and Vegetable Gardens, Herb Gardens, Cocktail Gardens, Drought-resistant Gardens, Night Gardens, Shade Gardens, Healing/Medicinal Gardens · Balcony and Container Gardens · Plant Directory Chapter 3: Gardening Tools and Techniques Equipment and Supplies · Pruning, Maintenance, and Care · Troubleshooting · Soil, Fertilizers, and More · Raised Beds · Gardening Communities, Organizations, and Clubs · Composting and Sustainable Irrigation Chapter 4: The Art of Gardens Gardens in art · Beautiful Gardens Around the World · Make a Simple Trellis/A-frame · Make a Raised Bed · Make a Garden Path · Make a Gardening Station/Potting Bench Further Reading & Resources · Observing & Recording · Index

Challenging distinctions between fine and decorative art, this book begins with a critique of the Rodin scholarship, to establish how the selective study of his oeuvre has limited our understanding of French nineteenth-century sculpture. The book's central argument is that we need to include the decorative in the study of sculpture, in order to present a more accurate and comprehensive account of the practice and profession of sculpture in this period. Drawing on new archival sources, sculptors and objects, this is the first sustained study of how and why French sculptors collaborated with state and private luxury goods manufacturers between 1848 and 1895. Organised chronologically, the book identifies three historically-situated frameworks, through which sculptors attempted to validate themselves and their work in relation to industry: industrial art, decorative art and objet d'art. Detailed readings are offered of sculptors who operated within and outside the Salon, including Sévin, Chéret, Carrier-Belleuse and Rodin; and of diverse objects and materials, from Sèvres vases, to pewter plates by Desbois, and furniture by Barbedienne and Carabin. By contesting the false separation of art from industry, Claire Jones's study restores the importance of the sculptor-manufacturer relationship, and of the decorative, to the history of sculpture.

Challenging distinctions between fine and decorative art, this book begins with a critique of the Rodin scholarship, to establish how the selective study of his oeuvre has limited our understanding of French nineteenth-century sculpture. The book's central argument is that we need to include the decorative in the study of sculpture, in order to present a more accurate and comprehensive account of the practice and profession of sculpture in this period. Drawing on new archival sources, sculptors and objects, this is the first sustained study of how and why French sculptors collaborated with state and private luxury goods manufacturers between 1848 and 1895. Organised chronologically, the book identifies three historically-situated frameworks, through which sculptors attempted to validate themselves and their work in relation to industry: industrial art, decorative art and objet d'art. Detailed readings are offered of sculptors who operated within and outside the Salon, including Sévin, Chéret, Carrier-Belleuse and Rodin; and of diverse objects and materials, from Sèvres vases, to pewter plates by Desbois, and furniture by Barbedienne and Carabin. By contesting the false separation of art from industry, Claire Jones's study restores the importance of the sculptor-manufacturer relationship, and of the decorative, to the history of sculpture.

By foregrounding the overlaps between sculpture and the decorative, this volume of essays offers a model for a more integrated form of art history writing. Through distinct case studies, from a seventeenth-century Danish altarpiece to contemporary British ceramics, it brings to centre stage makers, objects, concepts and spaces that have been marginalized by the enforcement of boundaries within art and design discourse. These essays challenge the classed, raced and gendered categories that have structured the histories and languages of art and its making. Sculpture and the Decorative in Britain and Europe is essential reading for anyone interested in the history and practice of sculpture and the decorative arts and the methodologies of art history.

By foregrounding the overlaps between sculpture and the decorative, this volume of essays offers a model for a more integrated form of art history writing. Through distinct case studies, from a seventeenth-century Danish altarpiece to contemporary British ceramics, it brings to centre stage makers, objects, concepts and spaces that have been marginalized by the enforcement of boundaries within art and design discourse. These essays challenge the classed, raced and gendered categories that have structured the histories and languages of art and its making. Sculpture and the Decorative in Britain and Europe is essential reading for anyone interested in the history and practice of sculpture and the decorative arts and the methodologies of art history.

By foregrounding the overlaps between sculpture and the decorative, this volume of essays offers a model for a more integrated form of art history writing. Through distinct case studies, from a seventeenth-century Danish altarpiece to contemporary British ceramics, it brings to centre stage makers, objects, concepts and spaces that have been marginalized by the enforcement of boundaries within art and design discourse. These essays challenge the classed, raced and gendered categories that have structured the histories and languages of art and its making. Sculpture and the Decorative in Britain and Europe is essential reading for anyone interested in the history and practice of sculpture and the decorative arts and the methodologies of art history.