Gotowe bibliografie tematyczne / Painters – England

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Gotowa bibliografia na temat „Painters – England”

Autor: Grafiati

Data publikacji: 29 lipca 2024

Data aktualizacji: 30 lipca 2024

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Artykuły w czasopismach na temat "Painters – England"

TITTLER, ROBERT. "Rural Society and the Painters’ Trade in Post-Reformation England". Rural History 28, nr 1 (28.02.2017): 1–19. http://dx.doi.org/10.1017/s0956793316000121.

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Abstract:This article examines two opposing views on the role and presence of painters in post-Reformation rural England. The art historian William Gaunt concluded that painters simply ‘vanished’ from the local scene in their flight to London; the historical geographer John Patten saw non-agricultural workers in general flocking to the rural scene in the same era. Drawing on a database of over 2,600 working painters, the article explores the presence and role of the painters’ occupation in rural England between 1500 and 1640. It emphasises the painters’ accommodation to changing consumer demands; it offers a revised view of their geographic distribution over time; it shows that painters continued to serve the rural scene, albeit in somewhat different ways and from different locales than before.

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Teukolsky, Rachel. "Modernist Ruskin, Victorian Baudelaire: Revisioning Nineteenth-Century Aesthetics". PMLA/Publications of the Modern Language Association of America 122, nr 3 (maj 2007): 711–27. http://dx.doi.org/10.1632/pmla.2007.122.3.711.

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John Ruskin's Modern Painters V (1860) and Charles Baudelaire's “The Painter of Modern Life” (1863) are contemporaneous texts that both champion modern painters. Yet the two have rarely been considered together; while Ruskin's work is usually taken to represent a moralistic Victorianism, Baudelaire's essay is a foundational text of aesthetic modernism. This article compares the two texts in order to arrive at a more accurate, descriptive sense of nineteenth-century aesthetics, especially at the mid-century moment when “the modern” emerges as an aesthetic value in both England and France. Ruskin and Baudelaire are shown to propose surprisingly similar aesthetic theories, in part because they negotiate the same traumas of modernity, such as the derailment of religion and the commodification of the material world. Positioned on the ruins of Romanticism, each text intimates an idea of the modern that is not quite modernism but is, in fact, eminently Victorian.

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Monod, Paul. "Painters and Party Politics in England, 1714-1760". Eighteenth-Century Studies 26, nr 3 (1993): 367. http://dx.doi.org/10.2307/2739409.

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Palmer, C. "Brazen Cheek: Face-Painters in Late Eighteenth-Century England". Oxford Art Journal 31, nr 2 (30.05.2008): 195–213. http://dx.doi.org/10.1093/oxartj/kcn014.

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Allen, Jane E., i Caroline F. Sloat. "Meet Your Neighbors: New England Portraits, Painters & Society, 1790-1850". Journal of the Early Republic 13, nr 2 (1993): 260. http://dx.doi.org/10.2307/3124095.

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Rollison, D. "ROBERT TITTLER. Portraits, Painters, and Publics in Provincial England, 1540-1640." American Historical Review 118, nr 2 (1.04.2013): 576–77. http://dx.doi.org/10.1093/ahr/118.2.576.

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Bushman, Claudia L., Richard L. Bushman, Jessica F. Nicoll, Jack Larkin, Elizabeth Mankin Kornhauser i David Jaffee. "Meet Your Neighbors--New England Portraits, Painters, and Society, 1790- 1850." William and Mary Quarterly 50, nr 1 (styczeń 1993): 235. http://dx.doi.org/10.2307/2947265.

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Rinck, Jonathan. ":Portraits, Painters, and Publics in Provincial England, 1540–1640". Sixteenth Century Journal 44, nr 2 (1.06.2013): 553–54. http://dx.doi.org/10.1086/scj24245154.

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CUMMINGS, HILDEGARD Z. "Meet Your Neighbors: New England Portraits, Painters, and Society, 1790-1850. An exhibition". Connecticut History Review 34, nr 1 (1.04.1993): 68–71. http://dx.doi.org/10.2307/44369362.

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Brighton, Trevor, i Brian Sprakes. "Medieval and Georgian Stained Glass in Oxford and Yorkshire. The Work of Thomas of Oxford (1385–1427) and William Peckitt of York (1731–95) in New College Chapel, York Minster and St James, High Melton". Antiquaries Journal 70, nr 2 (wrzesień 1990): 380–415. http://dx.doi.org/10.1017/s0003581500070840.

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In the story of the survival and revival of glass-painting in post-Reformation England, York and Oxford play a significant part. York was especially important because it supported three important artists who helped to maintain the city as a major glass-painting centre, namely Bernard Dinninckhoff (fl. 1585-c. 1620), Henry Gyles (1645–1709), and William Peckitt (1731–95). Oxford's part lay in its patronage of glass-painters. Various colleges patronized foreign and native artists, in particular Abraham and Bernard van Linge, Henry Gyles, William Price and William Peckitt.

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Rozprawy doktorskie na temat "Painters – England"

Reimer, Melissa. "Katherine Mansfield: A Colonial Impressionist". Thesis, University of Canterbury. School of Humanities, 2010. http://hdl.handle.net/10092/5289.

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This thesis considers Katherine Mansfield’s development as a writer in relation to late nineteenth and early twentieth century developments and trends in the visual arts in New Zealand, England and France. Mansfield’s notebooks, letters and stories evidence a definite response to developments in modern art and reveal that she aligned herself more closely with painters than with her literary colleagues; something Francis Carco hints at in his fictional account of her in Les Innocents (1916): he describes Mansfield as a predatory and exploitative woman with a detached manner, who “used him just the way a painter uses a model, studying character and movements” (cited in Mortelier 150). There exists in Mansfield’s stories evidence of the influence of the Impressionist and, to a lesser degree, the Post-Impressionist painters. While this influence has been noted by a selection of critics or rather her work has been described as impressionistic, it has been neither explored nor substantiated from an art historical perspective. My methodology has entailed identifying the defining characteristics of Mansfield’s stories that are also found in Impressionism, in as much as two different aesthetic forms can be compared. I then trace the exhibition history and contemporaneous criticism of modern French art in London and Paris alongside Mansfield’s trajectory in adulthood to ascertain the degree of exposure she had to Impressionism. In addition to that which she encountered in Europe, much consideration has been given to the artistic milieu of New Zealand prior to and following her schooling in London. I have sought to identify which of the modern artists and styles Mansfield most closely identified with, and to determine how precisely and extensively she applied the Impressionists’ painterly techniques and stylistic effects to her own prose. Broadly speaking, Mansfield’s preferred subjects may be grouped under three titles: Domestic Interiors, Urban Landscapes and Rural Landscapes – these were also the Impressionists’ favoured subjects. These categories, then, form the basis of my investigations.1 This thesis also explores the degree to which Mansfield’s colonial upbringing influenced, inspired and determined the themes and issues she chose to address, from the various forms of expression that were available to her to inherit and modify. My research reveals how both the cultural climate and the unique light and landscape of her own country made her susceptible to the ideas of the Impressionists and Post-Impressionists, even before she reached the more art-oriented cities of London and Paris. Mansfield’s status as a foreigner in Europe allowed her greater freedom to experiment and greater licence to borrow from other cultural forms and traditions. Though strains of Realism, Naturalism, Symbolism and 1 The consequence of choosing to structure my material around Mansfield’s three dominant subjects has resulted in some degree of repetition within this manuscript. This also means, however, that the individual chapters are strong enough to stand alone and thus this doctoral thesis should prove a valuable reservoir for future research. 6 Expressionism are all evident in Mansfield’s modernist fiction, it is the impressionistic quality of her work – evident in the fleeting and evocative sketches of the everyday – that is the overriding feature. Her colonial heritage was not only a significant factor in this development, but to a degree, the enabling condition – allowing her to reconcile the lessons of Europe within a New Zealand literary context resulting in a unique brand of Colonial Impressionism. NOTE ON THE TEXT Mansfield’s inconsistent and idiosyncratic spelling and punctuation have been retained within quotes in this thesis. In her letters she often dispensed with apostrophes and rarely used commas, instead preferring the dash. When citing, I have chosen not to follow these particular oddities with [sic] as these would be too numerous and would disrupt the flow of the text. I have instead followed the conventions of Mansfield’s editors.

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Casaliggi, Carmen D. A. "Ruskin and Turner : a study of the literary and painterly significance of water, with particular reference to The Harbours of England". Thesis, University of Kent, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.411942.

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Laycock, Kathleen Mary. "Out of obscurity: the artist Jane Maria Bowkett (1837-1891)". Thesis, 2006. http://hdl.handle.net/1828/2000.

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This thesis assembles a biographical portrait of the understudied Victorian figure painter Jane Maria Bowkett. I place Bowkett in the context of her family and London's nineteenth-century art world, a milieu in which professional identity and commercial success was determined by gender and class. As a professional artist. working for money, Bowkett contravened socially constructed ideals of feminine dependency. Through this study, I establish that little-known artists and commonplace pictures can contribute substantially to the historical record. Bowkett's paintings provide an untapped source of market-dependant work practices as well as a record of the middle classes' preference for particularly British scenes. Women form the subject of Bowkett's narrative genre pictures, which affirm and fracture class distinctions, index social progress, and subvert ideologically coded feminine norms.

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Książki na temat "Painters – England"

David, Jaffee, Larkin Jack 1943-, Kornhauser Elizabeth Mankin 1950-, Nicoll Jessica F, Sloat Caroline i Old Sturbridge Village, red. Meet your neighbors: New England portraits, painters, & society, 1790-1850. Sturbridge, Mass: Old Sturbridge Village, 1992.

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F, Nicoll Jessica, i Sloat Caroline F, red. Meet your neighbors: New England portraits, painters & society, 1790-1850. Sturbridge, Mass: University of Massachusetts P., 1992.

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Kristiansen, Rolf H. Rediscovering some New England artists, 1875-1900: Biographies and memorabilia of some little known and forgotten master New England painters. Dedham, MA: Gardner-O'Brien Associates, 1987.

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Hugh, Fortmiller, red. Loring W. Coleman: Living and painting in a changing New England : an autobiography. Stockbridge, Mass: Hard Press Editions, 2011.

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Bailey, Martin. Young Vincent: The story of Van Gogh's years in England. London: W. H. Allen, 1990.

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Art, Philadelphia Museum of, red. The Etching Club of London: A taste for painters' etchings. Philadelphia, Pa: Philadelphia Museum of Art, 2002.

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Davenport, Will. The painter. New York: Bantam Books, 2003.

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Huish, Marcus Bourne. The happy England of Helen Allingham. London: Bracken Books, 1985.

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Jane, Vickers, i Laing Art Gallery, red. Pre-Raphaelites: Painters and patrons in the North East. [Newcastle-upon-Tyne]: Tyne and Wear Museums Service with assistance from the Paul Mellon Centre for Studies in British Art, 1989.

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Mosher, Donald Allen. The seasons of New England: Landscape paintings of Donald Allen Mosher. Beverly, Mass: Commonwealth Editions, 2003.

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Części książek na temat "Painters – England"

Bullen, J. B. "J-B. M[anson], ‘Four Modern French Painters’". W Post-Impressionists in England, 260–63. London: Routledge, 2024. http://dx.doi.org/10.4324/9781032699707-56.

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Bullen, J. B. "Frank Rutter, ‘Round the Galleries: The Futurist Painters’". W Post-Impressionists in England, 301–4. London: Routledge, 2024. http://dx.doi.org/10.4324/9781032699707-63.

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Bullen, J. B. "C.J. Holmes, Introduction to Notes on the Post-Impressionist Painters". W Post-Impressionists in England, 184–86. London: Routledge, 2024. http://dx.doi.org/10.4324/9781032699707-37.

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Partner, Jane. "The ‘Advice to a Painter’ Poems and the Politics of Visual Representation". W Poetry and Vision in Early Modern England, 169–211. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71017-4_5.

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Strunck, Christina. "Londoner Reaktionen auf die Querelle des Anciens et des Modernes. John Evelyns Übersetzung von Fréart de Chambrays Parallèle, Christopher Wren, Antonio Verrio und das Royal Hospital in Chelsea (1682‒1689)". W Übersetzungspolitiken in der Frühen Neuzeit / Translation Policy and the Politics of Translation in the Early Modern Period, 335–59. Berlin, Heidelberg: Springer Berlin Heidelberg, 2024. http://dx.doi.org/10.1007/978-3-662-67339-3_14.

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ZusammenfassungThis article cites the example of the Royal Hospital in Chelsea endowed by King Charles II of England in 1681 to discuss interlingual, inter- and intramedial translations processes that apply not only to that hospital (a home for war veterans), but to the entire replanning of London after the major conflagration of 1666. John Evelyn’s English translation of the Parallèle de l’architecture antique et de la moderne by Roland Fréart de Chambray, published in 1664, forms a frame of reference enabling a more precise understanding of the guidelines of urbanist design and the characteristics of the architecture and interior decoration of the Royal Hospital in Chelsea. Both the architect Christopher Wren and the painter Antonio Verrio made reference to the Querelle et Anciens und des Modernes in their contributions to the hospital’s design, thus addressing the political and cultural competition between England and France in the late phase of the Stuart reign by visual means.

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Sweetinburgh, Sheila. "‘To Move the Mind’: Scenes from Christ’s Life on Faversham’s Painted Pillar". W Devotional Culture in Late Medieval England and Europe, 291–314. Turnhout: Brepols Publishers, 2014. http://dx.doi.org/10.1484/m.mcs-eb.5.103042.

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Evans, Dorinda. "1. A Secret Inheritance". W William Rimmer, 1–22. Cambridge, UK: Open Book Publishers, 2022. http://dx.doi.org/10.11647/obp.0304.01.

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Chapter one gives an overall view of William Rimmer's life, how he was perceived, and the impact of family mental illness on his life and reputation. Not only was Rimmer a bipolar artist but also his father mistakenly claimed to be the heir to the French throne, the missing Dauphin. Rimmer tried to make a living as a printmaker, a painter, and a sculptor. He also became a physician and an instructor in art anatomy. This last occupation provided his chief source of income. Self-taught and a Bostonian, he strayed outside of New England only to teach in New York at the Cooper Union School of Design for Women of which he became director. Although he achieved fame internationally as a sculptor and author of two books on art anatomy, he exhibited rarely and created most of his artwork for family and friends.

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Tittler, Robert. "Provincial Painters". W Portraits, Painters, and Publics in Provincial England, 1540-1640, 60–86. Oxford University Press, 2012. http://dx.doi.org/10.1093/acprof:osobl/9780199585601.003.0004.

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Tittler, Robert. "Painters’ Resources". W Portraits, Painters, and Publics in Provincial England, 1540-1640, 87–101. Oxford University Press, 2012. http://dx.doi.org/10.1093/acprof:osobl/9780199585601.003.0005.

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"Glass Painters". W Painting for a Living in Tudor and Early Stuart England, 139–56. Boydell & Brewer Ltd, 2022. http://dx.doi.org/10.2307/j.ctv24tr6v2.13.

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Streszczenia konferencji na temat "Painters – England"

Lewcock, Andrew, Colette Grundy, Catherine Shaw, Paddy Copeland i Duncan Jackson. "Managing the Removal of Radioactive Materials Found in Public Locations". W ASME 2009 12th International Conference on Environmental Remediation and Radioactive Waste Management. ASMEDC, 2009. http://dx.doi.org/10.1115/icem2009-16032.

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Managing the removal of Radioactive Materials found in public locations. In January 2006 the Environment Agency for England and Wales requested assistance in preparing a project to plan, collect and safely dispose of radium painted aluminium aircraft hatches, discovered in 3 separate business premises in the UK. These World-War Two aircraft hatches had been marked with radium “luminous” paint, to guide crew in the dark to the escape exits if they needed to bale out. The hatches had been stored since the early 1960s in one location, with some of the inventory being moved two other locations in 2003/2004. The North West Region of the Environment Agency appointed a consortium of Enviros, Safeguard International and Aurora Health Physics to undertake the work, and they funded it from the sealed sources disposal budget. The paper will set out how the project was complicated by an assortment of “real world” problems; preliminary estimates of both the activity per hatch and the number of hatches established the potential for a significant quantity of radium to be disposed of safely. The total number of hatches was not known for sure at the start of the work. Access to retrieve the majority of the frames was hazardous due to the poor structural condition of the building roof. Other difficulties included constrained access under a railway line, and bird-related biohazards. The sites involved in the collections were not intended to house radioactive materials, so physical security was another important issue. Some of the hatches were known to be in poor condition, with a very high probability of radium contamination being spread to the surrounding areas. The hatches had to be removed from the sites before the full extent of contamination of other materials could be established. As it was difficult to identify a disposal route in the UK at the time for the estimated inventory, a novel metal recycling option, using a facility in the USA, was proposed as a solution. This was a new approach for dealing with such radioactive materials in the UK. The hatches were successfully recovered, sectioned appropriately and packaged for transport by road and air to the USA for metal recycling in June 2007. Subsequently approximately 0.75 tonnes of other contaminated materials were finally removed from the premises later in the year for authorised waste disposal in the UK.

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