By Dana Arnold, David Peters Corbett
This better half is a suite of newly-commissioned essays written by means of top students within the box, delivering a accomplished advent to British paintings history.
• A generously-illustrated choice of newly-commissioned essays which gives a finished advent to the background of British art
• Combines unique study with a survey of current scholarship and the kingdom of the field
• Touches as a rule of the heritage of British paintings, from 800-2000, with expanding realization paid to the sessions after 1500
• offers the 1st accomplished advent to British paintings of the eighteenth, 19th, and 20th centuries, probably the most energetic and leading edge parts of art-historical study
• provides intensive the main preoccupations that experience emerged from contemporary scholarship, together with aesthetics, gender, British art’s dating to Modernity, nationhood and nationality, and the associations of the British artwork world
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Extra resources for A Companion to British Art: 1600 to the Present
This was how it happened in a small kraal or village not far from Tsumkwe in northwest Namibia. They began to set up a rhythm of chanting and clapping. The star of the showthen arrived: a diminutive, sinewy old man, wearing only a loincloth and a set of rattles about his ankles. He now led the stamping around the circle; and for the next two hours or so he hardly paused as lord of the dance. Sometimes he reached for the heads of those sitting down, as if to transmit some of his energy to them. Occasionally, he staggered away into the shadows, doubled up and gasping for breath; at one point, while weaving across the circle, he fell into the fire and had to be pulled out: sand was heaped over him to cool him down.
Because everyone is an artist,’ declared the artist. He refused to alter that faith: in the classroom he would chalk up the message, EVERYONE IS AN ARTIST. Eventually the directors of the art school had him dismissed. We see a hand: it seems to wave or reach to us across centuries and across continents (Fig. 2). It is represented without great dexterity or skilful manipulation, yet it is, at the same time, a significant imprint of the potential for just that – great dexterity, skilful manipulation.
Some of the human figures, on closer examination, appear to have hoofs for feet, and animal heads. A certain large sort of antelope, the eland, did indeed appear often and prominently in the paintings. Why so much emphasis upon the eland? As for these hybridhuman-animal figures – therianthropic is the official descriptive term for them – why were some of them appearing to snatch at an eland’s tail? 11 A scene from the main frieze of the Game Pass Shelter, Kamberg, South Africa. Date uncertain. 12 (right) A drawing of a detail from the main frieze of the Game Pass Shelter, showing a dying eland and a figure with hooves and an animal head.
A Companion to British Art: 1600 to the Present by Dana Arnold, David Peters Corbett