Art In England

By the end of the eighteenth century, the arts had been surveyed by an unprecedented series of major works on literature, music, and painting of which the author or this book provides a rich and comprehensive analysis. Originally published in 1970. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Providing a fresh appraisal of the art of Anglo-Saxon England, this text looks at its influence upon the creation of an identity as a nation.

Art in England fills a void in the scholarship of both English and medieval art by offering the first single volume overview of artistic movements in Medieval and Early Renaissance England. Grounded in history and using the chronology of the reign of monarchs as a structure, it is contextual and comprehensive, revealing unobserved threads of continuity, patterns of intention and unique qualities that run through English art of the medieval millennium. By placing the English movement in a European context, this book brings to light many ingenious innovations that focused studies tend not to recognize and offers a fresh look at the movement as a whole. The media studied include architecture and related sculpture, both ecclesiastical and secular; tomb monuments; murals, panel paintings, altarpieces, and portraits; manuscript illuminations; textiles; and art by English artists and by foreign artists commissioned by English patrons.

Much admired as a realist painter, English artist Victor Pasmore surprised the art world in 1948 by suddenly directing his efforts toward the making of constructed abstract art. Pasmore was followed by Kenneth and Mary Martin, Adrian Heath, and the sculptor Robert Adams, and the group was later joined by John Ernest and Gillian Wise. This book follows the development of this major avant garde group and explores why they have received so little attention until now. Alastair Grieve draws on personal discussions with these artists over many years and on extensive archival materials, including ephemeral catalogues which are difficult to find today. He offers much new information about the group and their theories, the Continental roots of their constructed abstract art, and their links with such contemporaries as American relief artist Charles Biederman and English constructivist Stephen Gilbert. The book features over 300 illustrations, many in color, and a full chronology and bibliography.

New scrutinies of the most important political and religious debates of the post-Reformation period. The consequences of the Reformation and the church/state polity it created have always been an area of important scholarly debate. The essays in this volume, by many of the leading scholars of the period, revisit many of the important issues during the period from the Henrician Reformation to the Glorious Revolution: theology, political structures, the relationship of theology and secular ideologies, and the Civil War. Topics include Puritan networks and nomenclature in England and in the New World; examinations of the changing theology of the Church in the century after the Reformation; the evolving relationship of art and protestantism; the providentialist thinking of Charles I;the operation of the penal laws against Catholics; and protestantism in the localities of Yorkshire and Norwich. KENNETH FINCHAM is Reader in History at the University of Kent; Professor PETER LAKE teaches in the Department of History at Princeton University. Contributors: THOMAS COGSWELL, RICHARD CUST, PATRICK COLLINSON, THOMAS FREEMAN, PETER LAKE, SUSAN HARDMAN MOORE, DIARMAID MACCULLOCH, ANTHONY MILTON, PAUL SEAVER, WILLIAM SHEILS

David Gentleman has lived in London for almost seventy years, most of it on the same street. This book is a record of a lifetime spent observing, drawing and getting to know the city, bringing together work from across his whole career, from his earliest sketches to watercolours painted just a few months ago. Here is London as it was, and as it is today: the Thames, Hampstead Heath; the streets, canals, markets and people of his home of Camden Town; and at the heart of it all, his studio and the tools of his work. Accompanied by reflections on the process of drawing and personal thoughts on the ever-changing city, this is a celebration of London, and the joy of noticing, looking and capturing the world. 'David has spent a lifetime depicting with wit and affection a London he has made his own' Alan Bennett 'He delivers a poetry of exultant concentration ... The surface fusion of the sensuous and the sharply modern is echoed by Gentleman's imagery' Guardian 'The artist and illustrator has been responsible for some of the most-seen public artworks in this country' The Times 'Perhaps the last of the great polymath designer-painters' Camden New Journal

This intriguing book draws for the first time a complete picture of the artistic and political connections between Rubens and the Stuart court. Fiona Donovan examines the works the great Flemish artist created for English patrons, his relationships with English courtiers beginning in 1616, and his nine-month diplomatic mission to London in 1629–30. She focuses particular attention on the series of nine canvases that Rubens painted for the Banqueting House ceiling of Whitehall Palace—a project that is considered by many to be the most significant work of art ever commissioned by the English Crown. Rubens’s iconographic scheme for the Whitehall ceiling presented English courtiers with a complex pictorial language not seen before in Great Britain. Donovan explores the artist’s allegorical imagery and provides fresh insights into the role the work of Rubens and continental culture played in politics and society at the court of Charles I.