Yale Center for British Art

Bill Brandt

A Retrospective

David Cox

Peter Bower

Scott Wilcox

Born in Birmingham, England, in 1783, David Cox was destined to become a major figure in the linked worlds of landscape painting and watercolor painting in the first half of the nineteenth century. Remarkably, no significant study of the artist has been undertaken in more than a century. This beautifully illustrated volume focuses much-needed attention on Cox, filling in the details of his biography and illuminating his contributions to British landscape painting. Cox's widely-known Sun, Wind, and Rain, painted in 1845, is emblematic of his concern with the representation of light and atmosphere and weather. He was unparalleled in his ability to capture the effects of wind and weather. Scott Wilcox’s chapter in this book investigates Cox’s artistic identity and his legacy. Other chapters address such topics as Birmingham’s cultural milieu; myths about Cox’s life; the papers he chose; his painting in oils; and the fakes, forgeries, and misattributions that have challenged attempts to identify his oeuvre with certainty.

The Art of David Cox

Sun, Wind, and Rain

Tate Britain (Gallery)

Pera Müzesi

"With its unprecedented focus on the history of Orientalism in British art, this fascinating book examines the work of British artists who engaged with Middle Eastern themes over three centuries, from the 1620s to the eclipse of the Ottoman Empire in 1922." "Paintings by British artists who travelled to the Islamic world during this period portray a wide range of subject matter, from landscapes and interiors to portraits, documentary, and genre scenes. The Lure of the East includes essays that discuss the beauty of these images, as well as investigate the ways in which ideas about this beauty formed part of the larger history of Western political and colonial involvement with the region." "Placing the British within the genre of Orientalism, this catalogue features both well-known and rarely seen paintings, as well as sketches and photographs by leading British artists from the eighteenth to the early twentieth centuries, including works by Roger Fenton, William Holman Hunt, John Frederick Lewis, Joshua Reynolds, John Singer Sargent, and Stanley Spencer. The Lure of the East considers the shared legacy of British and Islamic artistic traditions, as well as Western myths about the Islamic world in relation to artists' direct experiences."--BOOK JACKET.

British Orientalist Painting

The Lure of the East

Lucy Gent

Paul Mellon Centre for Studies in British Art

Visual arts in Britain between 1550 and 1650 have long been considered part of the classical Italian Renaissance canon. Now a distinguished group of scholars demonstrates that attitudes to classical art were in fact somewhat ambivalent during this period in Britain (or, as it is called poetically, Albion). For town halls and funeral monuments, for paintings and theatrical works, British artists, patrons, and builders made informed choices from the classical vocabulary while continuing to work within systems and circumstances quite distinct from those of classicism. The authors focus on the ways that local influences, habits, and visual sensibilities interacted with classicism and the work and methods of such masters as Inigo Jones in the evolution of British art, architecture, and literature in this era. Introduced and edited by Lucy Gent, this handsome book was written by contributors who come from the fields of history, art and architectural history, literary criticism, and emblematics. The book consists of essays by Lisa Jardine, Maurice Howard, Deborah Howard, Michael Bath, Paula Henderson, Nigel Llewellyn, Susan Foister, Margaret Aston, Keith Thomas, Christy Anderson, Ellen Chirelstein, Thomas Greene, Sasha Roberts, Alice Friedman, Gloria Kury, and Catherine Belsey. -- Publisher's website.

The Visual Arts in Britain, 1550-1660

Albion's Classicism

John Baskett

Royal Academy of Arts (Great Britain)

Brian Allen

Duncan Robinson

William J. Reese

Jules David Prown

William S. Reese

Paul Mellon (1907--1999) was an unparalleled collector of British art. His collection, now at Yale in the museum and study center he founded to house it, rivals those in Britain’s national museums and is unquestionably the most comprehensive representation of British art held outside of the United Kingdom. This book and the exhibition that it accompanies celebrate the centenary of his birth. Five introductory essays examine Mellon’s extraordinary collecting activity, as well as his role in creating both the Yale Center for British Art and the Paul Mellon Centre for Studies in British Art in London as gifts to his alma mater (Yale 1929). A lavishly illustrated catalogue section showcases 148 of the most exquisite and important paintings, watercolors, drawings, prints, sculpture, rare books, and manuscript material in the Yale Center’s collection, including major works by Thomas Gainsborough, Joshua Reynolds, George Stubbs, John Constable, and J. M. W. Turner.

A Passion for British Art : Masterpieces from the Yale Center for British Art

Paul Mellon's Legacy

Horace Walpole (1717-1797), as the youngest son of the powerful Whig minister Robert Walpole, grew up at the center of Georgian society and politics and circulated amongst the elite literary, aesthetic, and intellectual circles of his day. His brilliant letters and writings have made him the best-known commentator on the rich cultural life of 18th-century England. In his own day, he was most famous for his extraordinary collections of rare books and manuscripts, antiquities, paintings, prints and drawings, furniture, ceramics, arms and armor, and curiosities, all displayed at his pioneering Gothic Revival house at Strawberry Hill, on the banks of the Thames at Twickenham. This timely and groundbreaking study of the history and reception of Walpole’s collection as it was formed and arranged at Strawberry Hill coincides with a planned restoration of this endangered house. Horace Walpole’s Strawberry Hill assembles an international team of distinguished scholars to explore the ways in which Strawberry Hill and its collections engaged with the creation of various and interconnected political, national, dynastic, cultural, and imagined histories.

Horace Walpole's Strawberry Hill

Yale Center for British Art

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