Search results for ""author david peters corbett""

In the first decades of the 20th century, George Bellows and other painters of the Ashcan School, a loosely connected group of gritty, urban realists, created images of the city from street level. Following older artist Robert Henri's insistence that artists should make "pictures from life," the Ashcanners renounced the polished academic style taught in art schools of the time. Instead they practiced a more urgent manner working with bold, highly saturated color, seeking to catch the ebb and flow of life in urban America. Some of them, particularly Bellows, also produced vivid landscapes and portraits. This book introduces the artists of the Ashcan School and the key characteristics and themes of their work. Detailed commentaries are provided for twelve significant paintings by George Bellows, William Glackens, Robert Henri, George Luks, and John Sloan, ranging from depictions of the metropolitan throng to Bellows's vivid seascapes. In their visual contemplation of early-20th-century America, these artists offer deep insights into the nature of ordinary life not only in their time but also in our own.Published by National Gallery Company / Distributed by Yale University PressExhibition Schedule:The National Gallery, London(03/03/11-05/30/11)

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Familiar narratives about the nature of English modernism, "tradition," and "periodization," together with the "literary" character of English art from the mid-nineteenth to the early twentieth centuries, are abandoned in this innovative and important book. In their stead, David Peters Corbett proposes a new way of looking at this painting from the Pre-Raphaelites to the Vorticists. Arguing that art history has been too reluctant to confront the fundamental question of how and what the consistency and application of paint signifies, Corbett investigates the work of English artists—among them Rossetti, Burne-Jones, Leighton, Watts, Whistler, Sickert, and the modernists of 1914 —through a historical examination of the meanings of the visual in English culture. By revealing that for many artists and thinkers the visual promised to deliver a more profound understanding of the world than language, the book offers a new reading of the art of the period between 1848 and the First World War.

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This companion is a collection of newly-commissioned essays written by leading scholars in the field, providing a comprehensive introduction to British art history. A generously-illustrated collection of newly-commissioned essays which provides a comprehensive introduction to the history of British art Combines original research with a survey of existing scholarship and the state of the field Touches on the whole of the history of British art, from 800-2000, with increasing attention paid to the periods after 1500 Provides the first comprehensive introduction to British art of the eighteenth, nineteenth, and twentieth centuries, one of the most lively and innovative areas of art-historical study Presents in depth the major preoccupations that have emerged from recent scholarship, including aesthetics, gender, British art’s relationship to Modernity, nationhood and nationality, and the institutions of the British art world

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For the first time, a set of distinguished American and British art historians consider the complex history of Anglo-American relations from the colonial period through to the 1960s Features a transatlantic group of scholars considering the impact of this relationship on the history of art in both nations Offers a set of new approaches, and much new material relating to the history of British and American art Situates the history of British and American art in the context of recent scholarship, offering a new reading of this key artistic interaction

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