Since the early Bronze Age the sword has been a sign of wealth, status and the power of divine right. Yet, before the sixteenth century the sword was almost never carried on the person in everyday life. It was a rare, noble weapon, carried into battle by the aristocratic warrior class but set aside in time of peace. However, the increasing prominence of the Renaissance middle classes brought a fundamental change to the sword's place in society. Now large numbers of non-noble but often wealthy and upwardly mobile people could also afford rich things like fine clothes, jewelry and weapons. More
Hogarth, France and British Art
400 pages, paperback, 297 x 290 mm, 80 colour, 250 b/w illustrations
ISBN: 978 0 955406 30 0
By Robin Simon
A radical reappraisal of the art and achievement of William Hogarth (1697–1764).
"[the book] has the air of brilliant performance about it, of the excitement of meticulous research and proved discovery [...] Simon has written with pace and passion the best book yet on Hogarth, encyclopaedic in its range of enquiry, utterly free of the jargon and nonsense of so much new art history." Brian Sewell, Evening Standard
"...startlingly original and well researched", Lucy Davies, The Daily Telegraph
"...a rich, invigorating and highy individual addition to Hogarth scholarship", Jenny Uglow, Daily Mail
"Robin Simon's brilliant tour de force of scholarship, encompassing an extraordinary range of material, not only provides anvivid pictture of all aspects of English cultural life in the 18th century, but succeeds in relating it to stimulating effect, and at every turn, connecting it to its French counterpart", William Palin, Country Life
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).
Seldom has there been a gift of equal magnificence. In 1947 the 7th Duke of Wellington presented to the nation his London residence – Apsley House – together with a large part of its contents, the collection of the 1st Duke. Among the paintings are some of the finest canvases from the Spanish Royal Collection, captured by the 1st Duke of Wellington from Joseph Bonaparte in 1813. There are also important seventeenth-century Dutch paintings bought by the 1st Duke himself, as well as a series of French and British portraits of his illustrious contemporaries and depictions of battle scenes, which provide a visual record of the Napoleonic period. More
This book is about a family tree: the line of descent that can be traced from Perugino in Italy in the fifteenth century to Edouard Manet in France in the nineteenth. It is not the usual kind of genealogy, of those connected by blood, more an ‘apostolic succession’, following the way in which art in Europe was taught, from one generation to the next, from 1480 to 1880. More
Celebrating the 250th anniversary of the opening of the Hunterian Museum in Glasgow in 2007, this book provides a full study both of William Hunter - the many-faceted surgeon/connoisseur - and of his collection of art, which not only contains a number of outstanding masterpieces, such as a Rembrandt, but also provides a revealing snapshot of the taste of the period. While illuminating this crucial transitional period in British art, the book is at the same time a catalogue of the Hunterian collection. More
OUT OF PRINT: Accompanying an exhibition that promises to be the most comprehensive survey of Indian painting that the West has ever seen, this beautiful two volume catalogue spans 800 years of Indian painting, and some 240 masterpieces by more than 40 artists. These great Indian masters are unquestionably the equals of Dürer, Michelangelo or Vermeer. More
The Harold Samuel Collection is a unique collection of 17th-century paintings from Holland’s Golden Age. Bequeathed to the City of London in 1987 by Lord Samuel of Wych Cross (1912-1987), a wealthy property developer and philanthropist, this remarkable collection of 84 works – the finest collection of Dutch and Flemish art assembled privately in the UK in the last hundred years – enriches the splendour of the interior of the Mansion House, residence of the Lord Mayor of London. More
Celebrating the Beckett Centenary. Awarded third prize by The Art Newspaper/Axa Art Prize for best catalogue of the year published in the UK - "admired for the quantity of new material it presented about Beckett himself and the worlds of literature and visual arts". More
The Unesco World Heritage site of Lalibela in Ethiopia is one of the most extraordinary places in the world. It contains eleven churches, all of them hewn from the native rock in imitation of buildings. However, Lalibela and the Ethiopian kingdom remained unknown in the West until the account of the first Portugese embassy to Ethiopia was published in the 16th century. More
The Madonna and Child, also known as the 'Dudley Madonna', was painted in c. 1508 by Giovanni Bellini (Venice, c. 1430–1516), one of the most celebrated of Italian artists. Recognised as an important composition by Bellini in the early 20th century, for a hundred years until its sale at auction in 2012 this picture had hardly ever been seen. This book places the painting within Bellini's career and development even though he was over 75 years old when he painted it. More