400 pages, paperback, 297 x 290 mm, 80 colour, 250 b/w illustrations
PRICE: £45.00
ISBN: 9780955406300
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A radical reappraisal of the art and achievement of William Hogarth (1697-1764).
Hogarth has long been viewed as an insular and chauvinistic individual, with a particular aversion to all things French. On the contrary, while Hogarth himself liked to project this image, his effective invention of British art was founded upon a profound knowledge of contemporary French art and theory. This lavishly illustrated book conjures up in great detail the French and wider European context within which Hogarth's art was formed.
Robin Simon examines the ways in which Hogarth interacted with and influenced his contemporaries not only in painting and print-making, but also in sculpture, poetry, the novel, the theatre, public life, art education, copyright law, music and opera. In this wide-ranging but richly detailed book, full of analyses of individual works, the author draws upon a mass of new material, with fresh analyses of Hogarth's most famous and less well-known works alike, opening a window on to one of the most creative and formative periods in British life.
The book is published to coincide with the major international Hogarth exhibition on view in Paris, London and Madrid.
Robin Simon, FSA, is Editor of The British Art Journal, having been Editor of Apollo magazine and a tenured university academic for many years before that. He is the author of many scholarly articles on British art, and his books include The Portrait in Britain and America (1987).
This is the only mongraph on the British sculptor Thomas Banks (1735–1805): it covers his entire oeuvre and is richly illustrated with new photographs of his remarkably accomplished sculpture. More
Almost 200 years ago, William Hunter (1718–1783), founder of the Hunterian Museum, Glasgow, was one of a small number of British art collectors to acquire works by his contemporary Jean-Siméon Chardin. Among these, Woman taking Tea (1735) has become something of an iconic image of French art from this period. It has a pair in a near contemporary painting Madame Boucher (1743) by François Boucher in the Frick Collection, New York. Accompanying an exhibition at the Wallace Collection, this catalogue will seek to examine relationships between these two works and their creation... More
A Rake’s Progress (1734-5) and An Election (1755) are the most famous of William Hogarth’s series of ‘modern moral subjects’. Hazlitt described Hogarth’s paintings as ‘A perpetual collision of eccentricities, a tilt and tournament of absurdities, the prejudices and caprices of mankind let loose’ and they still delight, interest and amuse as much today as two hundred years ago and the biting quality of their moral satire is undiminished. More
This catalogue accompanies the first ever loan exhibition of drawings from Waddesdon Manor, the house that was built and furnished by Ferdinand de Rothschild (1839-1989) to show off his works of art and to entertain the fashionable world. More
The Spooner collection of British watercolours is one of the finest of its kind, featuring all the leading artists of the period 1750–1850. Among the fine sheets included are watercolours of the Lake District by John White Abbott, and rural scenes by several artists – Gainsborough, Turner, Cozens, Rowlandson, Francis Towne, Samuel Palmer. Architecture dominates the setting in works by Girtin, Cotman and Sandby. More
‘A Time & a Place: Two centuries of Irish social life' focuses, through the art of their time, on Irish people engaged in recreational activities across the last two centuries. The book is arranged thematically, covering areas and subjects such as sport, music and dance, visits to the beach, religious observance and pilgrimage, theatre, circus, calendar customs, fairs and markets, pubs, clubs and parades. More
Philip IV of Spain (ruled 1621-1665) was known as the 'Planet King', shining brightly in the universe of the arts even if the Golden Age of Spanish painting coincided with imperial decline. The Buen Retiro Palace surpassed any palace ever built in Europe for the collection of paintings it contained - Velázquez, Zurbarán, Rubens, Claude, Poussin.< More
The first monograph to appear on Boucher in English for nearly twenty years, this book is an invaluable contribution to the study of eighteenth-century art. Boucher has cried out for reassessment, and here at last, following the tercentenary year of his birth, his work is seen at its very best in numerous beautiful reproductions. More
This lavish and beautiful catalogue illustrates and discusses fifty-two French drawings dating from the late seventeenth century to the early nineteenth century, all from the Chateau de Versailles, which owns one of the finest collections of French drawings in the world. The catalogue has been prepared to accompany their exhibition at the Wallace Collection in autumn 2006. This is the only venue, and the drawings have never been discussed as a group. More
This beautifully designed and illustrated publication is the first comprehensive biography of the portrait painter Johan Zoffany (1733–1810), one of the leading figures of eighteenth-century British art. ALSO AVAILABLE IN PAPERBACK. More
The sculptor and draughtsman John Flaxman (1755-1826) is here celebrated and described in six essays followed by a catalogue illustrating the various directions of his work. More
This beautifully designed and illustrated publication is the first comprehensive biography of the portrait painter Johan Zoffany (1733–1810), one of the leading figures of eighteenth-century British art. ALSO AVAILABLE IN HARDBACK. More
This catalogue accompanies an exhibition at Dove Cottage, Grasmere, and The Courtauld Gallery, London, which will be the first full display of the Courtauld’s outstanding collection of watercolours by J.M.W. Turner (1775–1851). The collection spans the artist’s career, ranging from an important early view of the Avon Gorge, Bristol, made when Turner was just sixteen years old, to examples of the monumental highly finished watercolours of his maturity and the celebrated expressive late works. More
A Rake’s Progress (1734-5) and An Election (1755) are the most famous of William Hogarth’s series of ‘modern moral subjects’. Hazlitt described Hogarth’s paintings as ‘A perpetual collision of eccentricities, a tilt and tournament of absurdities, the prejudices and caprices of mankind let loose’ and they still delight, interest and amuse as much today as two hundred years ago and the biting quality of their moral satire is undiminished. More