Relevant bibliographies by topics / Contemporary British painting

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Contemporary British painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Contemporary British painting"

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Woodley, Frances. "The (Playfully) Melancholic Still Life of Contemporary Painting." Jednak Książki. Gdańskie Czasopismo Humanistyczne, no. 9 (April 24, 2018): 173–88. http://dx.doi.org/10.26881/jk.2018.9.15.

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This paper considers the ways in which contemporary painting of still life accepts the address of its tradition. Tradition is considered here as cultural memory reiterated and transformed over time. The means by which contemporary artists work with, and against, tradition are explored through ideas of reverie, play and material process. Melancholy is a characteristic of the genre of still life, one that crosses time, and is thus given particular attention in relation to traditional and contemporary still life. Whilst Part I is an exploration of the themes and issues described above, Part II (c
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Høvik, Ingeborg. "Heroism and Imperialism in the Arctic: Edwin Landseer’s Man Proposes – God Disposes." Nordlit 12, no. 1 (2008): 183. http://dx.doi.org/10.7557/13.1232.

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Edwin Landseer contributed the painting Man Proposes - God Disposes (Royal Holloway College, Egham), showing two polar bears amongst the remnants of a failed Arctic expedition, to the Royal Academy's annual exhibition of 1864. As contemporary nineteenth-century reviews of this exhibition show, the British public commonly associated Landseer's painting with the lost Arctic expedition of sir John Franklin, who had set out to find the Northwest Passage in 1845. Despite Landseer's gloomy representation of a present-day human disaster and, in effect, of British exploration in the Arctic, the painti
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Nurse, Bernard. "The Sherwin Brothers’ Copy of the Lost Mary Rose Wall Painting at Cowdray House." Antiquaries Journal 92 (July 18, 2012): 371–84. http://dx.doi.org/10.1017/s0003581512000108.

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The publication by the Society between 1778 and 1788 of reduced black-and-white engravings of the celebrated wall paintings at Cowdray House, Sussex, was highly controversial at the time; now the engravings, one of which shows the sinking of the Mary Rose, serve as an important record of the sixteenth-century originals, lost to a fire of 1793. No contemporary colour copies of this particular wall painting were thought to have survived until the discovery in 2010 of a watercolour (since acquired by the British Library) depicting some of the central figures, including a remarkable image of Henry
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Hockenhull, Stella. "Sublime landscapes in contemporary British horror: The Last Great Wilderness and Eden Lake." Horror Studies 1, no. 2 (2010): 207–24. http://dx.doi.org/10.1386/host.1.2.207_1.

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Landscape, as distinct from setting, presents its own visual authority, particularly in the horror genre. A number of contemporary British films contain pictorial images of the landscape that are not necessarily pivotal to the narrative. By implementing an analysis of these representations in contemporary British rural horror, and drawing on the theories of romanticism and the Sublime of the eighteenth and nineteenth centuries with their emphasis on the spiritual aspects of nature, allows for setting as more than narrative space. It produces an affect that elicits a certain type of emotion fro
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Fox, Christopher. "British Music at Darmstadt 1982–92." Tempo, no. 186 (September 1993): 21–25. http://dx.doi.org/10.1017/s0040298200003065.

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The new music summer school in Darmstadt is perhaps the most important gathering of and performers of contemporary music in Europe. Launched in 1946 in the then American Zone of occupied Germany, as part of the postwar process of internationalization (and, therefore, de-Nazification) of German culture, the Darmstadt Ferienkurse quickly gained a reputation as a forum for the promulgation of a radically abstract musical aesthetic, based on reductive analyses of the serial works of Webern in particular. While some composers saw this new aesthetic as a ‘mechanistic heresy’, the music of what came
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Janes, Dominic. "The Scene of The Crime: Police Photographs, Visual Culture and Sexuality." Legal Information Management 15, no. 1 (2015): 15–18. http://dx.doi.org/10.1017/s1472669615000092.

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AbstractVisual materials are often neglected by legal researchers. However, as Dominic Janes explains, attitudes to appearances played an important role in the way in which many criminal investigations were undertaken, notably in the years prior to the Sexual Offences Act (1967). Analysis of aspects of visual culture played a role in the detection of many forms of illegal behaviour and the resulting materials provide a valuable resource for the contemporary researcher. These issues are explored through a case study that involves reading between a painting by the British expressionist Francis B
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Bernier, Celeste-Marie. "“The Slave Ship Imprint”: Representing the Body, Memory, and History in Contemporary African American and Black British Painting, Photography, and Installation Art." Callaloo 37, no. 4 (2014): 990–1022. http://dx.doi.org/10.1353/cal.2014.0181.

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Winearls, Joan. "Allan Brooks, Naturalist and Artist (1869-1946)." Scientia Canadensis 31, no. 1-2 (2009): 131–54. http://dx.doi.org/10.7202/019758ar.

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Abstract British by birth Allan Cyril Brooks (1869-1946) emigrated to Canada in the 1880s, and became one of the most important North American bird illustrators during the first half of the twentieth century. Brooks was one of the leading ornithologists and wildlife collectors of the time; he corresponded extensively with other ornithologists and supplied specimens to many major North American museums. From the 1890s on he hoped to support himself by painting birds and mammals, but this was not possible in Canada at that time and he was forced to turn to American sources for illustration commi
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Orlova, E. V. "Из истории Людвиг Музеум – от коллекции к музею". Iskusstvo Evrazii [The Art of Eurasia], № 1(20) (31 березня 2021): 164–75. http://dx.doi.org/10.46748/arteuras.2021.01.012.

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The article is devoted to the founding of the Museum Ludwig in Cologne and presents an analysis of the process of building this museum of contemporary art in dynamics — from the beginning of the collection within the walls of the Wallraf-Richartz Museum to gaining the status of an independent exhibition giant. The study provides an overview of the collection and its sources, identifies individual significant works of art, accompanied by art history descriptions, and sets out the reasons and the chronicle of the separation of the Museum Ludwig from the Wallraf-Richartz Museum. The museum, estab
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Bronkhurst, Judith. "The contemporary British paintings at the Manchester Art-Treasures Exhibition." Bulletin of the John Rylands Library 87, no. 2 (2005): 103–22. http://dx.doi.org/10.7227/bjrl.87.2.8.

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Dissertations / Theses on the topic "Contemporary British painting"

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Gorrill, Helen. "Gendered economic and symbolic values in contemporary British painting." Thesis, Lancaster University, 2016. http://eprints.lancs.ac.uk/86852/.

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Wyatt, Nicholas. "The Christian image and contemporary British painting : the communication of meaning and experience in religious paintings." Thesis, Loughborough University, 2015. https://dspace.lboro.ac.uk/2134/17679.

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My research uses my painting practice as an experimental and investigative tool to test the capacity of practical aesthetics to generate similar or analogous experiences to the non-dualist reception aesthetics of certain key examples of post-Tridentine (1563) Catholic Counter-Reformation devotional imagery, particularly, The Ecstasy of St. Theresa (1647-1652) by Gian Lorenzo Bernini and the Incarnation (1596-1600) by El Greco. I apply an interpretative method to the development of Christian imagery within painting in the post-Reformation period and its relationship to the economic system of mo
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Books on the topic "Contemporary British painting"

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Victorian figurative painting: Domestic life and the contemporary social scene. Andreas Papadakis, 2000.

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2

Patrick, Keith. La tradicion romantica en la pintura británica contemporánea =: Romantic tradition in contemporary British painting : John Bellany, Alan Davie,Christopher Le Brun, Hughie O'Donoghue, Therese Oulton, Michael Porter, Lance Smith, John Walker, Anthony Wishaw, Carol Wyatt. [Novograf?], 1988.

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(Firm), Bonhams. Modern British impressionist & contemporary paintings and prints: Auction: Thursday, 11 November, 1999 .... Bonhams, 1999.

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4

Manson and Woods Ltd Christie. Post-war and contemporary British paintings and watercolours (including thirties avant-garde) and twentieth century British sculpture. Christie, Manson and Woods Ltd., 1990.

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(Firm), Bonhams. Modern and contemporary, British and continental paintings and sculpture: Auction: Wednesday 22nd March .... Bonhams, 2000.

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6

Fox, Nick. Nick Fox: New paintings, Royal Academy Schools Gallery, Hornsey , and, Unveiled, Museum of Contemporary Art, London. Museum of Contemporary Art, 2006.

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(Firm), Bonhams. Modern and contemporary, British and continental paintings and sculpture: Auction: Wednesday 22nd November 2000 .... Bonham's, 2000.

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(Firm), Bonhams. Modern and contemporary, British and Continental paintings and sculpture: Auction: Wednesday 28th June 2000 .... Bonhams, 2000.

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Christie, Manson and Woods Ltd. Post-war and contemporary British paintings and watercolours and twentieth century British sculpture ...: [day of sale] Friday, 8 March, 1991 ... . Christie, Manson & Woods, 1991.

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Manson and Woods Ltd Christie. Post-war and contemporary British paintings and watercolours and twentieth century British sculpture ...: [day of sale] Friday, 8 November, 1991 .... Christie, Manson & Woods, 1991.

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Book chapters on the topic "Contemporary British painting"

1

Bustin, Mary. "Towards Interpretation of Making, Meaning, and Change in British Twentieth Century Oil Paintings: The Relevance of an Artist’s Paint Archive." In Issues in Contemporary Oil Paint. Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-10100-2_3.

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"Post-Conceptual British Painting." In Contemporary British Art. Routledge, 2012. http://dx.doi.org/10.4324/9780203715468-8.

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Reid, Donald Malcolm. "Representing Ancient Egypt at Imperial High Noon (1882–1922)." In From Plunder to Preservation. British Academy, 2013. http://dx.doi.org/10.5871/bacad/9780197265413.003.0009.

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During the height of Western imperialism in Egypt from 1882 to 1922, the British ran the country and the French directed the Antiquities Service. Two contemporary artistic allegories expressed Western appropriation of the pharaonic heritage: the façade of Cairo's Egyptian Museum (1902) and Edwin Blashfield's painting Evolution of civilization in the dome of the Library of Congress (1896). The façade presents modern Egyptology as an exclusively European achievement, and Evolution presents ‘Western civilization’ as beginning in ancient Egypt and climaxing in contemporary America. The illustrated cover of an Arabic school magazine (1899) counters with an Egyptian nationalist claim to the pharaonic heritage. A woman shows children the sphinx and pyramids to inspire modern revival, and Khedive Abbas II and Egyptian educators, not European scholars, frame the scene. The careers of three Egyptologists — Gaston Maspero, E. A. W. Budge, and Ahmad Kamal Pasha — are explored to provide context for the allegories.
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Tobin, Claudia. "‘Past the gap where we cannot see’: Still Life and the ‘Numinous’ in British Painting of the 1920s–1930s." In Modernism and Still Life. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474455138.003.0004.

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The relationship between still life, spiritual contemplation and the ‘numinous’ comes to the foreground in the work of British painters, Winifred Nicholson, Ben Nicholson, David Jones and Ivon Hitchens, in the context of the artists’ different commitments to the ‘spiritual’, from Christian Science to Catholic theology. This chapter proposes that still life - and in particular the ‘still life at a window motif’ - functions in their work as a mode through which to explore the relationship between the material and the immaterial, as well as to tease out fundamental aesthetic questions. It offers close readings of their still life and flower paintings of the 1920s and early 30s and of writings by contemporary collectors and by the artists, to make the case for the emergence of an ‘enchanted’ domesticity in their circle, which was intimately related to still life and its transformation of the everyday object world. It concludes with an excursion into Kettle’s Yard, Cambridge, the former home of Jim Ede, the collector and friend of the Nicholsons, to propose a reading of his domestic space as an extended still life.
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