In 2003, Charles Saatchi opened the new Saatchi Gallery, forhis vision of radical, ground-breaking British art in a venue that is accessible to the widest public. "100" is the book that will mark the occasion with one hundred works that Saatchi believes made a difference to the perception of British art. The work of 27 artists has been chosen from Saatchi's collection and of course the selection includes the shark and the sheep in formaldehyde, the head made of blood, and Tracey's bed."
Hogarth himself brought modern life into painting and treated it with high moral seriousness disguised as satire. Ramsay, Reynolds, Gainsborough, and Lawrence revolutionized portraiture, introducing a new authority and sensibility. The unconventional genius of Blake gave form to a unique mystic vision, while Constable explored nature in a new manner, encouraging developments that were to lead to Impressionism. Finally, Turner took painting into a realm of sublime grandeur, expressing the age of Romanticism as vividly as Byron, Shelley, and Keats were doing in poetry. William Vaughan analyzes the class structure and political background that made British art so distinctive. Using up-to-date research and critical theory, he shows us the colorful world of the eighteenth and nineteenth centuries, when British art was richer and more influential than at any time before or since.
Belsey, the curator of Gainsborough House and a specialist on the painter, has assembled a handsome catalog of drawings and paintings by Gainsborough, and some by his followers and contemporaries, with lengthy entries for each. An introduction describes the history of the Gainsborough House as a his
The title, Let Us Face the Future, comes from the Labour Party's slogan for their 1945 electoral campaign, which culminated in the unexpected defeat of the Conservatives led by Winston Churchill. The incoming Labour government established the welfare state in the UK, bringing about changes in British society which eventually led to the explosion of creativity and freedom of 1960s London; David Hockney's daring exploration of his sexuality, the sculptural revolution led by Anthony Caro, and the optical paintings of Bridget Riley. Other influential artists included in the exhibition are Eduardo Paolozzi, a Scot of Italian origin who with Bunk, a series of collages started in 1952, anticipated what would come to be Pop Art, and Richard Hamilton, creator of the 1956 collage Just what is it that makes today's homes so different, so appealing, which is considered to be the first work of the British Pop movement.
This study of colonialism and art examines the intersection of visual culture and political power in late-eighteenth-century British painting. Focusing on paintings from British America, the West Indies, and India, Beth Fowkes Tobin investigates the role of art in creating and maintaining imperial ideologies and practices-as well as in resisting and complicating them.
Informed by the varied perspectives of postcolonial theory, Tobin explores through close readings of colonial artwork the dynamic middle ground in which cultures meet. Linking specific colonial sites with larger patterns of imperial practice and policy, she examines paintings by William Hogarth, Benjamin West, Gilbert Stuart, Arthur William Devis, and Agostino Brunias, among others. These works include portraits of colonial officials, conversation pieces of British families and their servants, portraits of Native Americans and Anglo-Indians, and botanical illustrations produced by Calcutta artists for officials of the British Botanic Gardens. In addition to examining the strategies that colonizers employed to dominate and define their subjects, Tobin uncovers the tactics of negotiation, accommodation, and resistance that make up the colonized's response to imperial authority. By focusing on the paintings' cultural and political engagement with imperialism, she accounts for their ideological power and visual effect while arguing for their significance as agents in the colonial project.
Pointing to the complexity, variety, and contradiction within colonial art, Picturing Imperial Power contributes to an understanding of colonialism as a collection of social, economic, political, and epistemological practices that were not monolithic and inevitable, but contradictory and contingent on various historical forces. It will interest students and scholars of colonialism, imperial history, postcolonial history, art history and theory, and cultural studies.