Michael Charlesworth – författare

A study of the ways landscape was perceived in nineteenth-century Britain and France, this book draws on evidence from poetry, landscape gardens, spectacular public entertainments, novels and scientific works as well as paintings in order to develop its basic premise that landscape and the processes of perceiving it cannot be separated. Vision embraces panoramic seeing from high places, but also the seeing of ghosts and spectres when madness and hallucination impinge upon landscape. The rise of geology and the spread of empires upset the existing comfortable orders of comprehension of landscape. Reverie and imagination produced powerful interpretive actions, while landscape in French culture proved central to the rejection of conservative classicism in favour of perceptual questioning of experience. The experience of subjectivity proved central to the perception of landscape while the visual culture of landscape became of paramount importance to modernity during the period in question.

A study of the ways landscape was perceived in nineteenth-century Britain and France, this book draws on evidence from poetry, landscape gardens, spectacular public entertainments, novels and scientific works as well as paintings in order to develop its basic premise that landscape and the processes of perceiving it cannot be separated. Vision embraces panoramic seeing from high places, but also the seeing of ghosts and spectres when madness and hallucination impinge upon landscape. The rise of geology and the spread of empires upset the existing comfortable orders of comprehension of landscape. Reverie and imagination produced powerful interpretive actions, while landscape in French culture proved central to the rejection of conservative classicism in favour of perceptual questioning of experience. The experience of subjectivity proved central to the perception of landscape while the visual culture of landscape became of paramount importance to modernity during the period in question.

Derek Jarman's place in the history of film is assured by virtue of his vibrant, defiant films that experiment with the very process of film-making and create new forms. His paintings, their excitements and their profundity, are less well known. Michael Charlesworth sheds light on the varied ramifications of Jarman's artistic practice from his years at Prospect Cottage, Dungeness, and provides the first book-length study of his interest in depth psychology. He draws on Jarman's paintings, especially his landscapes from the 1960s and 70s, his multiple series such as 'black' and 'broken glass', GBH, Queer and Evil Queen, and his last Ecstatic Landscapes (1991-3). He also showcases Jarman's excellence as a writer with respect to his memoir, Kicking the Pricks. In a novel approach to Jarman's cinema, selecting films such as Journey to Avebury (1973), Caravaggio (1986), The Garden (1990) and Blue (1993), Charlesworth emphasizes themes and artistry rather than narrative.Exploring the ways in which Jungian and post-Jungian psychology were absorbed into Jarman's varied works, Derek Jarman’s Visionary Arts provides a fresh perspective on his painting, film and writing. It celebrates him as one of the major British artists of the late 20th century, engaging with current debates about queer sexualities, environmentalism and climate catastrophe.

Derek Jarman''s place in the history of film is assured by virtue of his vibrant, defiant films that experiment with the very process of film-making and create new forms. His paintings, their excitements and their profundity, are less well known. Michael Charlesworth sheds light on the varied ramifications of Jarman''s artistic practice from his years at Prospect Cottage, Dungeness, and provides the first book-length study of his interest in depth psychology. He draws on Jarman''s paintings, especially his landscapes from the 1960s and 70s, his multiple series such as ''black'' and ''broken glass'', GBH, Queer and Evil Queen, and his last Ecstatic Landscapes (1991-3). He also showcases Jarman''s excellence as a writer with respect to his memoir, Kicking the Pricks. In a novel approach to Jarman''s cinema, selecting films such as Journey to Avebury (1973), Caravaggio (1986), The Garden (1990) and Blue (1993), Charlesworth emphasizes themes and artistry rather than narrative. Exploring the ways in which Jungian and post-Jungian psychology were absorbed into Jarman''s varied works, Derek Jarman''s Visionary Arts provides a fresh perspective on his painting, film and writing. It celebrates him as one of the major British artists of the late 20th century, engaging with current debates about queer sexualities, environmentalism and climate catastrophe.

Derek Jarman''s place in the history of film is assured by virtue of his vibrant, defiant films that experiment with the very process of film-making and create new forms. His paintings, their excitements and their profundity, are less well known. Michael Charlesworth sheds light on the varied ramifications of Jarman''s artistic practice from his years at Prospect Cottage, Dungeness, and provides the first book-length study of his interest in depth psychology. He draws on Jarman''s paintings, especially his landscapes from the 1960s and 70s, his multiple series such as ''black'' and ''broken glass'', GBH, Queer and Evil Queen, and his last Ecstatic Landscapes (1991-3). He also showcases Jarman''s excellence as a writer with respect to his memoir, Kicking the Pricks. In a novel approach to Jarman''s cinema, selecting films such as Journey to Avebury (1973), Caravaggio (1986), The Garden (1990) and Blue (1993), Charlesworth emphasizes themes and artistry rather than narrative. Exploring the ways in which Jungian and post-Jungian psychology were absorbed into Jarman''s varied works, Derek Jarman''s Visionary Arts provides a fresh perspective on his painting, film and writing. It celebrates him as one of the major British artists of the late 20th century, engaging with current debates about queer sexualities, environmentalism and climate catastrophe.

Derek Jarman's place in the history of film is assured by virtue of his vibrant, defiant films that experiment with the very process of film-making and create new forms. His paintings, their excitements and their profundity, are less well known. Michael Charlesworth sheds light on the varied ramifications of Jarman's artistic practice from his years at Prospect Cottage, Dungeness, and provides the first book-length study of his interest in depth psychology. He draws on Jarman's paintings, especially his landscapes from the 1960s and 70s, his multiple series such as 'black' and 'broken glass', GBH, Queer and Evil Queen, and his last Ecstatic Landscapes (1991-3). He also showcases Jarman's excellence as a writer with respect to his memoir, Kicking the Pricks. In a novel approach to Jarman's cinema, selecting films such as Journey to Avebury (1973), Caravaggio (1986), The Garden (1990) and Blue (1993), Charlesworth emphasizes themes and artistry rather than narrative.Exploring the ways in which Jungian and post-Jungian psychology were absorbed into Jarman's varied works, Derek Jarman’s Visionary Arts provides a fresh perspective on his painting, film and writing. It celebrates him as one of the major British artists of the late 20th century, engaging with current debates about queer sexualities, environmentalism and climate catastrophe.

The Garden Retreat in Asia and Europe explores the meaning of gardens and designed landscapes as places of retreat and refuge in times of need or emergency. In the current times of war, pandemic, climate change, and global anxiety, the value of the garden as a sanctuary, a space where we can find refuge in a natural environment, has taken on new and poignant meanings and has attracted increasing academic interest. Multidisciplinary and multicultural in scope, this book explores the meaning of gardens and designed landscapes as places of retreat and refuge in times of need or emergency. Examining perspectives from scholars including art historians, architects, philosophers, landscape architects and garden practitioners, it reassess the restorative impact of the garden, whether understood from an individual, cultural or environmental point of view.Ranging widely across Asia and Europe, its chapters examine ideas, narratives and practices from the 4th-century Chinese poet Tao Yuanming, to the 12th century Iranian polymath Omar Khayyam, through to the late 20th-century British artist and film-maker Derek Jarman. Drawing upon traditional Asian philosophies like Buddhism, Daoism and Sufism and combining these with more recent western philosophies, the aim is to question how the unique virtues of gardens and designed landscapes can help to poise, educate, and possibly transform attitudes and behaviours in a time of personal, environmental, or cultural crisis.At once poetic, scholarly, and rigorous, this book provides insightful reading for students and researchers in landscape architecture, garden history, architectural history, art history, and cultural history.

The Garden Retreat in Asia and Europe explores the meaning of gardens and designed landscapes as places of retreat and refuge in times of need or emergency. In the current times of war, pandemic, climate change, and global anxiety, the value of the garden as a sanctuary, a space where we can find refuge in a natural environment, has taken on new and poignant meanings and has attracted increasing academic interest. Multidisciplinary and multicultural in scope, this book explores the meaning of gardens and designed landscapes as places of retreat and refuge in times of need or emergency. Examining perspectives from scholars including art historians, architects, philosophers, landscape architects and garden practitioners, it reassess the restorative impact of the garden, whether understood from an individual, cultural or environmental point of view.Ranging widely across Asia and Europe, its chapters examine ideas, narratives and practices from the 4th-century Chinese poet Tao Yuanming, to the 12th century Iranian polymath Omar Khayyam, through to the late 20th-century British artist and film-maker Derek Jarman. Drawing upon traditional Asian philosophies like Buddhism, Daoism and Sufism and combining these with more recent western philosophies, the aim is to question how the unique virtues of gardens and designed landscapes can help to poise, educate, and possibly transform attitudes and behaviours in a time of personal, environmental, or cultural crisis.At once poetic, scholarly, and rigorous, this book provides insightful reading for students and researchers in landscape architecture, garden history, architectural history, art history, and cultural history.