The British passion for landscape—already present in the literary works of Milton, Shakespeare, and even Chaucer—began to dominate the visual arts at the time of the Industrial Revolution. In his poem “Jerusalem” (1804), William Blake wrote of both “England’s green and pleasant land” and the “dark satanic mills” of its new industrial cities. Drawn from the remarkable collections of the National Museum Wales, Pastures Green & Dark Satanic Mills: The British Passion for Landscape will offer audiences a rare opportunity to follow the rise of landscape painting in Britain, unfolding a story that runs from the Industrial Revolution through the eras of Romanticism, Impressionism, and Modernism, to the postmodern and post-industrial imagery of today.
Showcasing masterpieces by artists from Constable to Turner, to Monet working in Britain, the exhibition offers new insights into the cultural history of Britain as it became the world’s first industrial nation late in the eighteenth century. Cities—where the nation’s new wealth was generated and its population concentrated—mills, and factories started to challenge country estates and rolling hills as the defining images of the nation, and artists tracked, recorded, and resisted these changes, inaugurating a new era of British landscape painting which both celebrated the land’s natural beauty and a certain idea of Britain while also observing the feverish energies of the modern world.
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The catalogue is published by Giles:
Tim Barringer and Oliver Fairclough, Pastures Green & Dark Satanic Mills: The British Passion for Landscape (London: Giles, 2014), 232 pages, ISBN: 978-1907804342, £40 / $60.
Pastures Green & Dark Satanic Mills recounts the story of British landscape painting from the Industrial Revolution in the late 18th century to the present day. Examining 88 paintings from the National Museum of Wales, this volume traces the history of landscape art through romanticism, impressionism and modernism right up to the postindustrial imagery of the 21st century.
The book presents two major essays: one by Tim Barringer on the tradition of British landscape painting and its position within an increasingly industrialized society, the other by Oliver Fairclough on the significance of the Welsh landscape within the British tradition. Loosely chronological and divided into six thematic sections, this new volume demonstrates the strong continuity between the British art of today and that of over 250 years ago: contemporary works, such as conceptual artist Richard Long’s photo pieces based on hiking in the Welsh mountains echo the poetics of place as deeply as Richard Wilson’s landscapes of the 1740s.
Tim Barringer is Paul Mellon Professor of the History of Art, Yale University. His recent publications include Edwardian Opulence: British Art at the Dawn of the Twentieth Century (2013), Pre-Raphaelites: Victorian Art and Design (2013) and Landscape, Innovation, and Nostalgia: The Manton Collection of British Art (2012). Oliver Fairclough is Keeper of Art, National Museum of Wales, and the author of A Companion Guide to the Welsh National Museum of Art (2011) and Turner to Cezanne: Masterpieces from the Davies Collection (2009).
Rediscovering a Baroque Villa in Rome: Cardinal Patrizi and the Villa Patrizi, 1715–1909 draws on a large body of archival material to reconstruct in detail the creation of the Villa Patrizi outside Porta Pia from 1715 to 1727 and its afterlife. This material includes building documentation, inventories, and above all the letters written by Cardinal Giovanni Batista Patrizi, papal legate in Ferrara, to his brothers in Rome, both dilettante artist-architects. These letters provide a unique insight into the decision-making processes involved in such a large-scale enterprise, in particular the hiring of artists and the decoration of individual rooms. These rooms included a Gallery inspired by the Galleria Colonna, a romitorio, or fictive hermitage, a Mirror Room anticipating those created later in the century, and one of the first Chinoiserie interiors in Rome.
Antonio Bonazza è esponente di spicco di una delle più operose famigliedi scultori del Settecento veneto: insieme al padre Giovanni eai fratelli Francesco e Tommaso ha lavorato in moltissime chiese diPadova e del territorio, oltre che nei giardini delle ville di campagna dinobili famiglie veneziane.Le sue opere si collocano spesso ben al di sopra del livello di quelle deisuoi contemporanei, e raggiungono esiti di eleganza e leggerezza tra ipiù alti della scultura veneta del Settecento.La giornata di studi, organizzata dal Museo Diocesano di Padova inoccasione dei 250 anni dalla morte dell’artista (12 gennaio 1763), è stata occasione per aggiornare il catalogo delle opere, precisare la cronologia, mettere a fuoco la personalità umana e artistica di Antonio e i suoi rapporti con quella del padre Giovanni e dei fratelli Francesco e Tommaso, indagare modelli e fonti visive ed esplorare le relazioni tra la sua arte e quella dei suoi contemporanei.
Having worked at Ashgate Publishing since 2011, Margaret Michniewicz recently joined Bloomsbury’s New York office as Visual Arts Acquisition Editor. In addition to welcoming proposals for book projects, she is currently focused on launching new series and invites inquiries and ideas from prospective series editors. Open to a wide array of subject matter, including interdisciplinary approaches and work addressing issues of gender and race, Michniewicz will be commissioning projects in art history and visual culture from the eighteenth century onward.
Although he belonged to an important line of 18th-century artists, Jean-Baptiste Huet (1745–1811) has never before been the subject of a monographic exhibition. The Cognacq-Jay Museum will pay tribute to his alluring talent through a selection of paintings and graphic works. Jean-Baptiste Huet, who spent the majority of his career in Paris, was first trained in his family environment. He then received instruction from the animal painter Charles Dagomer and encouragement from Jean-Baptiste Le Prince, a talented student of Boucher. Benefitting from these influences, Huet developed a naturalistic and graceful style. He excelled in works of pastoral scenery depicting tales of the tender romances of shepherds, painted rustic landscapes with poetic notes and depicted the animal world with frankness and sympathy. He was admitted to the Académie in 1769, had regular exhibitions at the Paris Salon and was entrusted with decorative cycles. Huet’s art met with great success in various mediums. In 1783, Oberkampf, founder of the royal manufacture of Jouy-en-Josas, requested his services in creating printed patterns. His early creations were light, still in the Rococo style, then later gave way to straighter and more orderly shapes in the wake of Neoclassicism. Even up to his very last expressions, Huet’s work constitutes a tremendous tribute to the beauty of nature, with aspects of both reverie and fascination.
Thomas, Lord Stanley, was created Earl of Derby in 1485 after the Battle of Bosworth Field. Since that time the Stanleys—a great Lancastrian family, whose seat, Knowsley Hall, is near Liverpool—have been significant in the life of the nation as patrons and collectors, sportsmen and politicians. These absorbing essays by a distinguished cast of contributors led by historian David Starkey, writing about the political significance of Lady Margaret Beaufort, the first Countess of Derby, and broadcaster Sir David Attenborough, on Edward Lear’s zoological watercolours (many of which were done at Knowsley), cover key facets of the family’s diverse achievements
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