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The Artist and the Garden

Strong Roy

ISBN 10: 0300085206 / ISBN 13: 9780300085204
Verlag: New Haven & London: Yale University, 2000, New Haven & London, 2000
Gebraucht Zustand: Very Good Hardcover
Verkäufer Peter Goodden Books Ltd, (Bath, Vereinigtes Königreich)

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Beschreibung

Pubs Cloth. Very Good/Very Good. 1. Qt0. Gift inscription on the front pastedown; one corner slightly bumped, and the dust wrapper is lightly creased along the edges, and lightly damp marked along the upper edge. Bestandsnummer des Verkäufers 16245

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Bibliografische Details

Titel: The Artist and the Garden

Verlag: New Haven & London: Yale University, 2000, New Haven & London

Erscheinungsdatum: 2000

Einband: Pubs Cloth

Zustand: Very Good

Zustand des Schutzumschlags: Very Good

Auflage: 1st Edition

Über diesen Titel

Inhaltsangabe:

288p large format hardback fresh dustjacket, excellent copy, as new, colour illustrations throughout

Reseña del editor:

This extraordinarily beautiful book gathers together and examines for the first time a delightful collection of English gardens rendered by artists from 1540 to the early nineteenth century, many of which are unknown. Sir Roy Strong, widely recognized for his expertise in both art history and garden history, surveys garden pictures ranging from Elizabethan miniatures to eighteenth-century alfresco conversation pieces, from suites of paintings of a single garden to amateur watercolors. He inquires into the origin of the English garden picture genre, its development prior to the invention of photography, its greatest exponents, its reliability as historical evidence of actual gardens, and its place within the larger European tradition of picturing the garden. The English, Strong observes, were slow in picturing the reality of their gardens. Until well into the Stuart age, the garden in art served as a symbol, and only gradually did this give way to the impulse to record the facts of contemporary garden-making. In the backgrounds of portraits of Jacobean and Caroline garden owners, the garden is no longer an emblem; it becomes instead a document demonstrating the owners' pride in their gardens made in the new Renaissance manner. By the Georgian age the garden has moved from the back to the foreground of pictures, and whole families place themselves amid the glory of their self-fashioned landscapes. Both house and garden at this point assume a separate identity, each calling for an individual record. And by the nineteenth century, the author shows, the garden detaches itself from owner and house to be recorded for its own sake, as a single image at first, and later in a series. With some 350 fully annotated illustrations, this lovely book offers a unique record of three hundred years of English gardens and what they meant to those who owned and portrayed them.

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