During the years following World War II, Britain was plagued by privation, xenophobia, and humiliation from the loss of colonial territories and political power. At the same time, the country was in the midst of a dawning triumphalism, seen first in the Festival of Britain, then in the new Coventry Cathedral, and finally in the international status accorded to British art by the early 1960s. This book sets the visual arts in the social and political context of these complex years. Margaret Garlake establishes the intellectual, historical, and organizational frameworks within which art was made and received by critics and the public. She discusses problems raised by abstract art, links between art and politics (culminating in the Unknown Political Prisoner competition), and misapprehensions concerning art from the colonial territories. She describes such new institutions as the Arts and British Councils, the Institute of Contemporary Arts, and commercial galleries, all of which played crucial roles in sustaining artists and promoting their work. She examines the perception of a national tradition, grounded visually in landscape and place but heavily influenced by politics. And she investigates the negotiations undertaken by artists and critics sensitive to the nuances of tradition to respond to the impact of an international, American- oriented art. Finally, Garlake focuses on the broad themes within which many artists worked, including public art, landscape, the city, and the human body as mother, sex object, survivor, or worker.
Blue Book of Art Values: Artists & Their Works from Around the World
Peter Jennings and Todd Brewster, The Century (New York: Doubleday, 1998), 154. 8. Time-Life Editors, This Fabulous Century, Vol. IV, 23. 9.
Offers a selection of eighty-seven full-color reproductions of Timberlake's paintings, with an introduction by the painter
THE FERRELL BROTHERS, WILBUR AND WARREN , in their own words "were not known as singular artists but a duo." Wilbur began his career as a motion picture ...
Adelson, Warren, “John Singer Sargent and the 'New Painting,'” in Stanley Olson, Warren Adelson, and Richard Ormond, Sargent at Broadway: The Impressionist ...
This is a rich undiscovered history—a history replete with competing art departments, dynastic scenic families, and origins stretching back to the films of Méliès, Edison, Sennett, Chaplin, and Fairbanks.
Through careful research, Carol Gibson-Wood exposes the mythology surrounding the Morellian method, especially the mythology of the coherence and primacy of his method of attribution. She argues that it “could also be said that Berenson ...
Gibson translates from the Phoenician: “Beware! Behold, there is disaster for you ... !” (SSI 3, no. 5=KAI nr. 2). Examples from Cyprus include SSI 3, no. 12=KAI nr. 30. Gibson's translation of the Phoenician reads (SSI 3, ...
Examines the emergence of abstract organic forms and their assimilation into the popular arts and culture of American life from 1940-1960, covering advertising, decorative arts, commercial design, and the fine arts.
... S. Newman ACCOUNTING Christopher Nobes ADAM SMITH Christopher J. Berry ADOLESCENCE Peter K. Smith ADVERTISING ... ALGEBRA Peter M. Higgins AMERICAN CULTURAL HISTORY Eric Avila AMERICAN HISTORY Paul S. Boyer AMERICAN IMMIGRATION ...