Andrew Wilton

Joseph Mallord William Turner

Turner as Draughtsman looks at the artist's practice of drawing in various media (pen, pencil and chalk as well as watercolour and oil paint), an aspect of Turner's work which has hitherto received very little attention. Andrew Wilton shows that, while Turner's art has always been celebrated for its atmospheric breadth and freedom of handling, he based his working procedures throughout his career on the discipline of drawing in outline, which was an essential element in the grand strategy by which he achieved his formidable results. An important section of the book is devoted to the vexed question of Turner's drawing of the human figure, and the crucial role played by the figure both in his conception of landscape and in his ambitious attempts to master all the genres of fashionable contemporary art.

Turner as Draughtsman

Tate Gallery

Grand Manner Portraiture in Britain from Van Dyck to Augustus John, 1630-1930

The Swagger Portrait

France, Italy, Germany, Switzerland

J.M.W. Turner

T. J. Barringer

Published to accompany a major transatlantic exhibition, a tribute to U.S. landscape painting features more than one hundred works by the Hudson River School artists, complemented by three gatefolds, artist biographies, and essays on American landscape painting in the context of international traditions and national identity. (Fine Arts)

Landscape Painting in the United States, 1820-1880

American Sublime

Turner in Wales

More than two hundred illustrations, an illustrated chronology, and critical artistic analysis trace the life of the nineteenth-century British landscape painter, describes the influences on his remarkable work, and attempts to portray his complex and mysterious personality.

In His Time

Turner

Tim Barringer

Timothy J. Barringer

The painters who came to be known as the Hudson River School--Thomas Cole, Asher B. Durand, Frederic Edwin Church, Jasper Cropsey, Sanford Robinson Gifford, and others--found inspiration in our young country's natural wonders and were the first to paint many of its still-wild vistas. As America was settled and the wilderness receded, their successors--most notably Albert Bierstadt and Thomas Moran--carried their quest for the sublime to the Far West, communicating its breathtaking grandeur in brilliant views of Rocky Mountain peaks, roaring waterfalls, and vast canyons. Within a single generation these artists established the dramatic approach to American landscape painting that is celebrated in this stirringly beautiful book. The freshness of their vision, the intensity of their invention, and the energy of their execution were all born of the urgency these artists sensed in the life of America itself. Published to accompany a major transatlantic exhibition, American Sublime rejoices in America the Beautiful as seen in some of the country's most glorious landscape paintings. It contains a fully illustrated catalogue of all the paintings in the exhibition, with more than one hundred color plates, including three gatefolds. Biographies of the artists are included, and thoughtful and elegantly written essays cast new light on their ambitions and achievements. The lucid text places American landscape painting in the context of the international art world and of the European landscape tradition. And it explores ideas of national identity and empire in America, looking in particular at how these landscapes, whether real or imagined, reflect Americans' hopes and fears for their country. As a tribute to some of our most important American artists and the land that inspired them, this stunningly illustrated book will have a deep and wide appeal.

Andrew Wilton

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