Cambridge Library Collection - Art and Architecture – serie
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145 produkter
396 kr
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G. F. Watts was one of the major artistic figures of the nineteenth century. In this work published in 1905, only a year after Watts' death, Emilie Barrington (1841-1933) reflects on the close friendship she and her husband had with the renowned artist. Her aim in writing her volume of reminiscences was to accurately record her knowledge of Watts' life. She describes her first impressions, when she first met him in Dante Gabriel Rossetti's studio. Chapters also cover Watts' aims as an artist, his relationships and his genius. This fascinating book is highly illustrated throughout, including Watts' sketches, symbolical paintings and portraits. The reader will gain an intriguing insight into the life and work of this complex character, widely considered to be the greatest painter of the Victorian age. For more information on this author, see http://orlando.cambridge.org/public/svPeople?person_id=barrem
358 kr
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Augustus Welby Pugin (1812-52), architect, writer, and designer, learned his draughtsmanship and love of medieval architecture from his father. Initially he was better known as a designer rather than an architect. His conversion to Roman Catholicism was a key moment for him, and shaped his subsequent career. His most famous book, Contrasts, was published in 1836, and expressed his belief in the aesthetic and moral superiority of pre-Reformation architecture. This 1843 book comprises two illustrated articles which had been published in the Dublin Review in 1841 and 1842, and examined recent English church buildings. During the 1840s there was a surge in church building, and bodies such as the Cambridge Camden Society hotly debated the connection between architecture and spirituality. In the first paper, Pugin discusses how to meet the needs of a small Catholic parish. In the second, he commends the influence of the Ecclesiologist on church architecture.
The Life and Letters of Sir John Everett Millais
President of the Royal Academy
Häftad, Engelska, 2012
590 kr
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A prodigiously talented artist, Sir John Everett Millais (1829-96) co-founded the Pre-Raphaelite Brotherhood with Rossetti and others, helping to revolutionise the Victorian art world. The minute realism of paintings like Christ in the House of his Parents, and his high-profile marriage to Ruskin's ex-wife Effie, were gradually accepted, and the iconic Ophelia was widely admired. Success as an illustrator also put him in the public eye, with the engravings market bringing him new wealth. With popularity came a return to more traditional forms in portraiture and landscape, inspired by Reynolds, Velázquez and the Old Masters, although he also played off Whistler and the aesthetic movement. He became president of the Royal Academy in the last year of his life. His son, John Guille Millais (1865-1931), published this highly illustrated and acclaimed two-volume biography in 1899. Volume 1 provides an account of Millais' most influential years up to 1867.
The Life and Letters of Sir John Everett Millais
President of the Royal Academy
Häftad, Engelska, 2012
674 kr
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A prodigiously talented artist, Sir John Everett Millais (1829-96) co-founded the Pre-Raphaelite Brotherhood with Rossetti and others, helping to revolutionise the Victorian art world. The minute realism of paintings like Christ in the House of His Parents, and his high-profile marriage to Ruskin's ex-wife Effie, were gradually accepted, and the iconic Ophelia was widely admired. Success as an illustrator also put him in the public eye, with the engravings market bringing him new wealth. With popularity came a return to more traditional forms in portraiture and landscape, inspired by Reynolds, Velázquez and the Old Masters, although he also played off Whistler and the aesthetic movement. He became president of the Royal Academy in the last year of his life. His son, John Guille Millais (1865-1931), published this highly illustrated and acclaimed two-volume biography in 1899. Volume 2 applauds the freedom and breadth of treatment in Millais' later work.
Architectural Notes on German Churches
With Remarks on the Origin of Gothic Architecture
Häftad, Engelska, 2013
327 kr
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A tutor of mathematics at Cambridge, William Whewell (1794-1866) mostly published on mechanics. He became professor of mineralogy in 1828, Knightbridge professor of moral philosophy in 1838, and master of Trinity College in 1841. This work is unusual among his writings for its focus on architecture, yet the emphasis placed on terminology is consistent with his other publications, such as An Essay on Mineralogical Classification and Nomenclature (1828). Architectural Notes is significant for offering a detailed theoretical analysis of the origins of Gothic architecture, especially of the mechanical principles underlying it, notably the pointed arch. The discussion of German churches, despite the book's title, is of secondary concern, although guidance is given for recording Gothic buildings. This first edition was published anonymously in 1830. The second (1835) and third (1842) editions bore Whewell's name and were partially revised to reflect recent research on the origin of the pointed arch.
368 kr
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Professor of natural and experimental philosophy at the University of Cambridge, Robert Willis (1800-75) mostly lectured on mechanism, and was elected an honorary member of the Institution of Civil Engineers in 1838. But Willis's interests also included Italian Gothic architecture, and his observations on the style, amassed in 1832-3 while travelling in France, Italy and Germany, were presented in this book, first published in 1835. The work is a pioneering study of Italian Gothic, a mode overlooked by his contemporaries, and key examples are brought together. It places Italian Gothic architecture within a European context and argues that the style represents an evolutionary assemblage of architectural motifs from different places and earlier periods. Willis's narrative refocused attention on Italian Gothic, winning the approval of the Institution of British Architects, which made him an honorary member in the year of its publication.
590 kr
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Published in 1848, this two-volume work was received with great praise. During a celebrated career, Anna Brownell Jameson (1794-1860) produced Shakespeare criticism, travel writing, biography, and art history, and was admired by contemporaries such as Mary Shelley and Thomas Carlyle. Taking an aesthetic rather than religious approach, the work is a study of the legends represented in Western art of the Middle Ages, ordered taxonomically. Though Jameson is considered the first professional female art critic, this is a reductive label; she was, rather, one of the great art critics of her age and her work is still of importance to art historians. Volume 1, which is richly illustrated, covers the literary origins of the legends and surveys the representation of angels and archangels, the Four Evangelists, the Twelve Apostles, the Doctors of the Church, and a number of significant saints, including Mary Magdalene.
590 kr
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Published in 1848, this two-volume work was received with great praise. During a celebrated career, Anna Brownell Jameson (1794-1860) produced Shakespeare criticism, travel writing, biography, and art history, and was admired by contemporaries such as Mary Shelley and Thomas Carlyle. Taking an aesthetic rather than religious approach, the work is a study of the legends represented in Western art of the Middle Ages, ordered taxonomically. Though Jameson is considered the first professional female art critic, this is a reductive label; she was, rather, one of the great art critics of her age and her work is still of importance to art historians. Volume 2, which is richly illustrated, examines the Patron Saints of Christendom, the Virgin Patronesses, the early martyrs, the Greek and Latin martyrs, the early bishops, the hermits, and the warrior saints.
494 kr
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The celebrated Victorian narrative painter William Powell Frith (1819-1909) was a born raconteur. His two-volume autobiography of 1887 ran to three editions in the same year. The third edition is reissued here, together with its supplementary volume of 1888. Frith was an ideal commentator on his age. He never lost his early interest in literary and historical subjects, and moved in the highest artistic and literary circles. Yet he also saw himself as a man of the people. His most famous works were his 'modern-life' panoramas, Ramsgate Sands (1854), Derby Day (1858) and The Railway Station (1862). Discussing such projects, he reflects on everything from costume to portraiture, art dealers to female artists, and even picture frames. Volume 1 covers his childhood, training, friendships with Dickens and others, and the phenomenal success of his first crowd scenes, up to and including The Marriage of the Prince of Wales (1865).
438 kr
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The celebrated Victorian narrative painter William Powell Frith (1819-1909) was a born raconteur. His two-volume autobiography of 1887 ran to three editions in the same year. The third edition is reissued here, together with its supplementary volume of 1888. Frith was an ideal commentator on his age. He never lost his early interest in literary and historical subjects, and moved in the highest artistic and literary circles. Yet he also saw himself as a man of the people. His most famous works were his 'modern-life' panoramas, Ramsgate Sands (1854), Derby Day (1858) and The Railway Station (1862). Discussing such projects, he reflects on everything from costume to portraiture, art dealers to female artists, and even picture frames. In Volume, 2 Frith discusses his Hogarthian subjects, 'Dickens and his Beard' (the story behind the famous portrait), and his last great crowd scene, A Private View at the Royal Academy (1883).
549 kr
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The celebrated Victorian narrative painter William Powell Frith (1819-1909) was a born raconteur. His two-volume autobiography of 1887 ran to three editions in the same year. The third edition is reissued here, together with its supplementary volume of 1888. Frith was an ideal commentator on his age. He never lost his early interest in literary and historical subjects, and moved in the highest artistic and literary circles. Yet he also saw himself as a man of the people. His most famous works were his 'modern-life' panoramas, Ramsgate Sands (1854), Derby Day (1858) and The Railway Station (1862). Discussing such projects, he reflects on everything from costume to portraiture, art dealers to female artists, and even picture frames. In particular, Volume 3 records the breakdown of the talented Richard Dadd, Frith's admiration for Daniel Maclise, John Tenniel and George du Maurier, and reflections on the vagaries of fashions in art.
A History of the Gothic Revival
An Attempt to Show How the Taste for Medieval Architecture which Lingered in England during the Two Last Centuries Has since Been Encouraged and Developed
Häftad, Engelska, 2012
590 kr
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Charles Locke Eastlake (1833-1906), an interior, furniture and industrial designer, showed talent as an architect and was awarded a Silver Medal in 1854 by the Royal Academy. He is known for influencing the style of later nineteenth-century 'Modern' Gothic furniture with his Hints on Household Taste (1868), but his passion for medieval architecture developed much earlier while he was in Europe during the 1850s. In 1866 he became Secretary to the Royal Institute of British Architects, and it was in 1872 that this work was published. The book is notable for being released at the height of the Gothic Revival movement in the later nineteenth century. It includes detailed comments on the architects, societies, literature and buildings that formed the cornerstones of the Gothic Revival, primarily in Britain, from around 1650 to 1870. A valuable mine of information, it remains a key source on the topic.
479 kr
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An architect and architectural theorist, George Edmund Street (1824-81) was one of the key proponents of the 'High Victorian' Gothic style in nineteenth-century Britain. He is best known as the mind behind London's Royal Courts of Justice. Elected an associate of the Royal Academy in 1866, Street became its professor of architecture in 1880. In 1874 he received the gold medal of the Royal Institute of British Architects after John Ruskin declined it, and he served as the Institute's president in 1881. Street's Gothic architecture was influenced by continental examples: this book, first published in 1855, serves as an important source for interpreting his output. It is copiously illustrated, arranged as a travelogue of mostly pointed-arch architecture seen in Italy, and covers exterior and interior elevations, sculptural details, metalwork and furniture.
538 kr
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Alexander Lindsay (1812-80) was the head of an aristocratic family who owned vast coalfields in Lancashire, generating enormous wealth. Educated at Eton and Trinity College, Cambridge, he spent the majority of his time travelling in Italy, collecting, and writing on a variety of subjects, including art, the Indo-Aryan race and the Etruscans. This important work, published in three volumes in 1847, surveys Christian painting and sculpture. Addressing Romance literature of the Middle Ages, iconography and legends of the saints, the book's historical narrative is infused with the author's strong moral approach to the subject. Volume 1 covers philosophical method, Christian symbolism and mythology, Roman art, and Byzantine art, which Lindsay sees as having stimulated the Western revival. Though derided by John Ruskin, the work strongly influenced aristocratic collecting, and remains relevant to readers interested in the Victorian construction of morals and artistic taste.
488 kr
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Alexander Lindsay (1812-80) was the head of an aristocratic family who owned vast coalfields in Lancashire, generating enormous wealth. Educated at Eton and Trinity College, Cambridge, he spent the majority of his time travelling in Italy, collecting, and writing on a variety of subjects, including art, the Indo-Aryan race and the Etruscans. This important work, published in three volumes in 1847, surveys Christian painting and sculpture. Addressing Romance literature of the Middle Ages, iconography and legends of the saints, the book's historical narrative is infused with the author's strong moral approach to the subject. Volume 2 covers Gothic architecture; the art of the Lombards; Pisano and Giotto, and their schools and followers. Though derided by John Ruskin, the work strongly influenced aristocratic collecting, and remains relevant to readers interested in the Victorian construction of morals and artistic taste.
535 kr
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Alexander Lindsay (1812-80) was the head of an aristocratic family who owned vast coalfields in Lancashire, generating enormous wealth. Educated at Eton and Trinity College, Cambridge, he spent the majority of his time travelling in Italy, collecting, and writing on a variety of subjects, including art, the Indo-Aryan race and the Etruscans. This important work, published in three volumes in 1847, surveys Christian painting and sculpture. Addressing Romance literature of the Middle Ages, iconography and legends of the saints, the book's historical narrative is infused with the author's strong moral approach to the subject. Volume 3 covers the schools of Siena, Florence and Bologna, then moves north to look at Cologne, Dürer, and Cranach, the Van Eycks and the Netherlandish School. Though derided by John Ruskin, the work strongly influenced aristocratic collecting, and remains relevant to readers interested in the Victorian construction of morals and artistic taste.
Dante Gabriel Rossetti
His Family-Letters, with a Memoir by William Michael Rossetti
Häftad, Engelska, 2012
590 kr
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The Rossettis were one of the most remarkable and talented families in Victorian Britain. Of the two parents and three siblings, Dante Gabriel (1828-82) and Christina (1830-94) stood out, but throughout their lives they remained a tightly-knit unit. William Michael (1829-1919), who published this two-volume work in 1895, was the family record keeper and in the memoir of his brother we have an unmatched account of the family dynamic. He was not always candid about his brother's affairs but his biography is unparalleled for its fresh directness. Unlike all subsequent biographers, William wrote from the inside, and even if he was unable to tell the whole story, the intimate details of the day-to-day life of the great painter and poet have about them the ring of truth and authenticity. Volume 1 is given over to William's extensive and sympathetic memoir of his brother's life.
Dante Gabriel Rossetti
His Family-Letters, with a Memoir by William Michael Rossetti
Häftad, Engelska, 2012
590 kr
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The Rossettis were one of the most remarkable and talented families in Victorian Britain. Of the two parents and three siblings, Dante Gabriel (1828-82) and Christina (1830-94) stood out, but throughout their lives they remained a tightly-knit unit. William Michael (1829-1919), who published this two-volume work in 1895, was the family record keeper and in the memoir of his brother we have an unmatched account of the family dynamic. He was not always candid about his brother's affairs but his biography is unparalleled for its fresh directness. Unlike all subsequent biographers, William wrote from the inside, and even if he was unable to tell the whole story, the intimate details of the day-to-day life of the great painter and poet have about them the ring of truth and authenticity. Volume 2 contains hundreds of Dante's letters to his family, with helpful explanatory notes by William.
410 kr
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Jane Ellen Panton (1847-1923) was the second daughter of the artist William Powell Frith, and an expert on domestic issues. First published in 1911, this is a further collection of her memoirs, following her earlier autobiography Leaves from a Life (also reissued in this series). The focus of this book is her close friend Basil Hodges and his great influence on her life. She describes Hodges, an artist she met in her childhood, as an 'underdog' whom she set out to help, and went on to support him through difficulties in his marriage and career, accompanying him on his travels. Her friendship with Hodges led her to travel abroad and meet a range of colourful characters, all recounted here in vivid and often humorous detail. Offering reflections on life in England and France in the later nineteenth and early twentieth centuries, this book has much to offer social historians.
465 kr
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Jane Ellen Panton (1847-1923) was the second daughter of the artist William Powell Frith, and a journalist and author on domestic issues. She grew up in London, where she developed an aesthetic and practical interest in the various homes she lived in, and went on to publish a series of advice guides on buying property, decorating, and running households. Given her family's background and diverse interests, art, literature and theatre were also prominent in her life, as well as law and religion. First published in 1908, this is Panton's revealing autobiography, in which she recalls the places she lived, as well as the painters, actors, writers, and religious and legal figures who were central to her family's circle, influencing her tastes and interests. Offering a portrait of a creative milieu in the late nineteenth and early twentieth centuries, this book is both historically valuable and highly readable.
465 kr
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Jane Ellen Panton (1847-1923) was the second daughter of the artist William Powell Frith, and an expert on domestic issues. Published in 1909, this is a further collection of Panton's memoirs, following her earlier autobiography Leaves from a Life (also reissued in this series). It looks back on life in mid-nineteenth-century England and the changes that had taken place since then, beginning by asking the question of how much the present generation knew about their country's past. Over fifteen chapters, Panton explores developments in the nature and structure of institutions such as the family, the community, the church, the electorate and the military, deeming certain changes as negative, such as the decline of county families and the gentry, while welcoming others, such as increased opportunities for women. Providing revealing insight into English middle-class concerns in the nineteenth and early twentieth centuries, this book remains of interest to social historians.
757 kr
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First published in 1913, this highly illustrated two-volume work was intended to give as full an account as possible of the lives and works of painters, sculptors and engravers in Ireland from the earliest times to the nineteenth century. Until then, the history of Irish art had been largely neglected, so this project was an extensive undertaking for Walter George Strickland (1850-1928), who became Director of the National Gallery of Ireland. It took him two decades to compile, and involved accessing private collections, corresponding with experts, meeting with the artists' descendants, and consulting letters, diaries and notes relating to their works. Volume 1 covers artists with surnames beginning A to K. Each entry contains biographical information on the artist and details of their works, with portraits and examples provided in hundreds of plates. This unique reference work remains of great interest to art historians and historians of Ireland.
798 kr
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First published in 1913, this highly illustrated two-volume work was intended to give as full an account as possible of the lives and works of painters, sculptors and engravers in Ireland from the earliest times to the nineteenth century. Until then, the history of Irish art had been largely neglected, so this project was an extensive undertaking for Walter George Strickland (1850-1928), who became Director of the National Gallery of Ireland. It took him two decades to compile, and involved accessing private collections, corresponding with experts, meeting with the artists' descendants, and consulting letters, diaries and notes relating to their works. Volume 2 covers artists with surnames beginning L to Z. Each entry contains biographical information on the artist and details of their works, with portraits and examples provided in hundreds of plates. This unique reference work remains of great interest to art historians and historians of Ireland.
771 kr
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A tireless champion of her father William, and a gifted designer and craftswoman in her own right, Mary (May) Morris (1862-1938) had a unique insight into his extraordinary career and creativity. It was she who undertook the exacting task of editing the twenty-four volumes of her father's collected works (also reissued in the Cambridge Library Collection). In 1936, towards the end of her life, she published this supplementary two-volume work, which includes further writings and sympathetic commentary, revealing 'the development of a mind which was singularly of one piece, however many-sided'. Volume 1 addresses William Morris' artistic and literary achievements. It contains May's introductory remarks and chapters of analysis, nearly fifty miscellaneous pieces by Morris on arts and crafts, items of verse juvenilia, several poems of the Earthly Paradise period, two translations from Icelandic, and several letters.
757 kr
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A tireless champion of her father William, and a gifted designer and craftswoman in her own right, Mary (May) Morris (1862-1938) had a unique insight into his extraordinary career and creativity. It was she who undertook the exacting task of editing the twenty-four volumes of her father's collected works (also reissued in the Cambridge Library Collection). In 1936, towards the end of her life, she published this supplementary two-volume work, which includes further writings and sympathetic commentary, revealing 'the development of a mind which was singularly of one piece, however many-sided'. Volume 2 addresses William Morris' political aims and ideals. Opening with the essay 'Morris as I Knew Him' by George Bernard Shaw, it includes May's substantial assessment of her father's socialism, along with many previously unpublished examples of his output of lectures, articles and letters on the subject. Also included is the index to the entire collected works.
A Treatise on the Decorative Part of Civil Architecture
With Illustrations, Notes, and an Examination of Grecian Architecture
Häftad, Engelska, 2012
410 kr
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Sir William Chambers (1722-96), architect and furniture designer, wished to further his career in the 1750s by publishing on architecture. He also became the Prince of Wales' architectural tutor, architect to the office of works, then head of the royal works (comptroller and surveyor-general from 1782). Notably, he remodelled Buckingham House (1762-73) and designed Somerset House (1775-96), but Chambers' reputation rests also on his Treatise on Civil Architecture (1759), which he revised and expanded in 1791 as A Treatise on the Decorative Part of Civil Architecture. It is regarded as one of the standard English texts on classical architecture, and remains essential reading. This reissue is of the two-volume edition of 1825, annotated by the architect and writer Joseph Gwilt (1784-1863). Volume 1 contains Gwilt's prefatory material, including an analysis of Grecian architecture's development, followed by Chambers' systematic treatment of the orders of architecture.
A Treatise on the Decorative Part of Civil Architecture: Volume 2
With Illustrations, Notes, and an Examination of Grecian Architecture
Häftad, Engelska, 2012
479 kr
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Sir William Chambers (1722-96), architect and furniture designer, wished to further his career in the 1750s by publishing on architecture. He also became the Prince of Wales' architectural tutor, architect to the office of works, then head of the royal works (comptroller and surveyor-general from 1782). Notably, he remodelled Buckingham House (1762-73) and designed Somerset House (1775-96), but Chambers' reputation rests also on his Treatise on Civil Architecture (1759), which he revised and expanded in 1791 as A Treatise on the Decorative Part of Civil Architecture. It is regarded as one of the standard English texts on classical architecture, and remains essential reading. This reissue is of the two-volume edition of 1825, annotated by the architect and writer Joseph Gwilt (1784-1863). Volume 2 focuses on the application of the orders as well as smaller architectural features, including doors, windows, balustrades, chimney-pieces and ceilings.
479 kr
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Sir Edward Coley Burne-Jones (1833-98) emerged from a solitary, motherless childhood to form close friendships with William Morris and such other luminaries of the Victorian art world as Dante Gabriel Rossetti and John Ruskin. A second generation Pre-Raphaelite and founder member of the Morris firm, he was influential in many areas, from painting, stained glass and tapestry design to book illustration. His later work, including such iconic paintings as The Wheel of Fortune, The Golden Stairs (which caused a sensation when exhibited at the Grosvenor Gallery) and The Sleep of Arthur in Avalon, influenced and exemplified the Aesthetic Movement, and inspired the European Symbolists. His wife, Georgiana Burne-Jones (1840-1920), published this engaging two-volume biography in 1904. Volume 1 describes his formative years, important early relationships, projects such as the murals for the Oxford Union debating chamber, and his arrival at full maturity with the St George series of 1865-7.
535 kr
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Sir Edward Coley Burne-Jones (1833-98) emerged from a solitary, motherless childhood to form close friendships with William Morris and such other luminaries of the Victorian art world as Dante Gabriel Rossetti and John Ruskin. A second generation Pre-Raphaelite and founder member of the Morris firm, he was influential in many areas, from painting, stained glass and tapestry design to book illustration. His later work, including such iconic paintings as The Wheel of Fortune, The Golden Stairs (which caused a sensation when exhibited at the Grosvenor Gallery) and The Sleep of Arthur in Avalon, influenced and exemplified the Aesthetic Movement, and inspired the European Symbolists. His wife, Georgiana Burne-Jones (1840-1920), published this engaging two-volume biography in 1904. Volume 2 hints at the emotional turmoil behind paintings like Love Among the Ruins, reveals the impact of his visits to Italy, and usefully contextualises the haunting masterpieces of his later years.
The Bewick Collector
A Descriptive Catalogue of the Works of Thomas and John Bewick
Häftad, Engelska, 2013
690 kr
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The names of Thomas Bewick (1753-1828) and his brother John (1760-1795) are synonymous with beautiful, delicate and accurate woodcuts of the natural world. Their instantly recognisable style was to influence book illustration well into the nineteenth century. The antiquary and print collector Thomas Hugo (1820-76), best known as a collector of Bewick woodcuts, first published this two-volume catalogue of his extensive collection in 1866-8. It has since emerged that many of the items sourced from printers' offices and booksellers across the country - including Thomas Bewick's own publisher, Emerson Charnley - cannot be authenticated as the Bewicks' work. The collection was nonetheless a remarkable assemblage of valuable materials, including uncut first editions, woodblocks, handbills and broadsides (all regrettably dispersed after Hugo's death) which might otherwise have been lost. Lavishly illustrated throughout, Volume 1 comprises the catalogue, which includes an appendix of Bewick portraits, letters and memorabilia.