HBA 2020 Book Prizes Announced

Posted in books by Editor on January 22, 2020

From the most recent issue of the HBA Newsletter, edited by Caitlin Silberman. Congratulations to this year’s winners! CH

The Historians of British Art Book Prize Committee for 2020 is pleased to announce the Book Award winners for publications from 2018. The winners were chosen from a nominating list of seventy books from thirty different presses. Awards are granted in four different categories. This year’s committee of readers consisted of Matthew Reeve, Stacey Sloboda, Eric Stryker, and Alison Syme.

Before 1600
• John Blair, Building Anglo-Saxon England (Princeton: Princeton University Press, 2018).

Before 1600 (highly commended)
• Sonja Drimmer, The Art of Allusion: Illuminators and the Making of English Literature, 1403–1476 (Philadelphia: University of Pennsylvania Press, 2018).

Between 1600 and 1800
• Cheryl Finley, Committed to Memory: The Art of the Slave Ship Icon (Princeton: Princeton University Press, 2018).

After 1800
• Deborah Sugg Ryan, Ideal Homes, 1918–39: Domestic Design and Suburban Modernism (Manchester: Manchester University Press, 2018).

Multi-Authored Book
• Steven Brindle, et al., Windsor Castle: A Thousand Years of a Royal Palace (London: Royal Collection Trust, 2018).

Short List for the Period between 1600 and 1800
• Jocelyn Anderson, Touring and Publicizing England’s Country Houses in the Long Eighteenth Century (London: Bloomsbury, 2018).
• Jill Francis, Gardens and Gardening in Early Modern England and Wales (New Haven and London: Paul Mellon Centre for Studies in British Art for Yale University Press, 2018).
• Conor Lucey, Building Reputations: Architecture and the Artisan, 1750–1830 (Manchester: Manchester University Press, 2018).
• Clare Taylor, The Design, Production, and Reception of Eighteenth-Century Wallpaper in Britain (London: Routledge, 2018).


Exhibition | Life Cut Short

Posted in books, exhibitions by Editor on January 21, 2020

Mourning ring containing lock of Alexander Hamilton’s hair presented to Nathaniel Pendleton by Elizabeth Hamilton, 1805, gold and hair
(New-York Historical Society, Gift of Mr. B. Pendleton Rogers, 1961.5a)

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From the press release for the exhibition now on view at the New-York Historical Society:

Life Cut Short: Hamilton’s Hair and the Art of Mourning Jewelry
New-York Historical Society, 20 December 2019 — 10 May 2020

Curated by Debra Schmidt Bach

This special installation looks at the history of hair and other mourning jewelry through a display of approximately 30 bracelets, earrings, brooches, and other accessories drawn from New-York Historical’s collection by Curator of Decorative Arts Dr. Debra Schmidt Bach. Because hair decomposes slowly, miniatures and other jewelry decorated with hair became symbolic of mourning. These personal mementos provided solace while also being fashionable and socially appropriate. The objects on display illustrate the fascinating history of hair jewelry, with a particular focus on its manufacture and use in New York.

John Ramage, Back of a miniature case containing a portrait of Elizabeth Pintard (1765–1838), 1787, watercolor on ivory, gold, hair (New-York Historical Society, Gift of George Hancock Servoss, 1906.3).

Highlights of the installation are a gold mourning ring containing a lock of founding father Alexander Hamilton’s hair, clipped by his wife, Elizabeth, as a keepsake while he was on his deathbed; and a Tiffany & Co. mourning bracelet featuring hair, gold, silver, and diamonds (ca. 1854), one of many mourning items sold by the famed New York City jeweler. Also on display is artist and naturalist John James Audubon’s facial hair, given to New-York Historical by his widow, Lucy Bakewell Audubon.

Miniaturist John Ramage’s hair-working tools and ivory sample cards with selections of hair designs point to the rising popularity of mourning jewelry in late 18th-century America. Active in New York from 1777 to 1794, Ramage created many miniatures that incorporated ‘hair painting’ or curled or woven locks of hair secured under glass within elaborate gold cases. Also featured in the display are period advertisements, instruction and etiquette books, and illustrations of hair-braiding patterns.

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In connection with the exhibition, the museum also notes this book, though it’s something else altogether:

Robert McCracken Peck, with photographs by Rosamond Purcell, Specimens of Hair: The Curious Collection of Peter A. Browne (New York: Blast Boosk, 2018), 176 pages, ISBN: 978-0922233496, $40.

To a nineteenth-century amateur naturalist named Peter A. Browne, hair was of paramount importance: he believed it was the single physical attribute that could unravel the mystery of human evolution. Thirty years before Charles Darwin revolutionized understanding of the descent of man, Browne vigorously collected for study what he called the ‘pile’ (from the Latin word for hair, pilus) of as wide a variety of humans (and animals) as possible in his quest to account for the differences and similarities between groups of humans. The result of his diligent, obsessive work is a fastidious, artfully assembled twelve-volume archive of mammalian diversity. Browne’s growing quest for knowledge became an all-consuming specimen-collecting passion. By the time of his death in 1860, Browne had assembled samples from innumerable wild and domestic animals, as well as the largest known study collection of human hair. He obtained hair from people from all parts of the globe and all walks of life: artists, scientists, abolitionist ministers, doctors, writers, politicians, financiers, military leaders, and even prisoners, sideshow performers, and lunatics. His crowning achievement was a gathering of hair from thirteen of the first fourteen presidents of the United States. The pages of his albums, some spare, some ornately decorated, many printed ducit amor patriae―’led by love of country’―are distinctly idiosyncratic, captivating, and powerfully evocative of a vanished world. Browne’s albums have been sequestered in the archives of the Academy of Natural Sciences in Philadelphia to which Brown bequeathed them, narrowly escaping destruction in the 1970s. They are a unique manifestation of the avid collecting instinct in nineteenth-century scientific endeavors to explain the mysteries of the natural world.

Robert McCracken Peck is a naturalist, writer, and historian with a special interest in the intersection of science, history, and art. As Senior Fellow of the Academy of Natural Sciences of Philadelphia (now part of Drexel University), he has chronicled historical and contemporary scientific research expeditions. Among Peck’s most recent books are The Natural History of Edward Lear and A ­Glorious Enterprise: The Academy of Natural Sciences of ­Philadelphia, co-authored with Patricia Stroud.


New Book | My Dearest Heart: The Artist Mary Beale

Posted in books by Editor on January 18, 2020

Distributed in the USA and Canada by The University of Chicago Press:

Penelope Hunting, My Dearest Heart: The Artist Mary Beale (1633–1699) (London: Unicorn Publishing, 2020), 208 pages, ISBN: 9781912690084, £25 / $35.

Mary Beale (1633–1699) was one of the earliest professional women artists in Britain. Her successful career as a Baroque-era portrait artist was documented by her husband, Charles, whose almanacs provide a unique record of Beale’s patrons, painting technique, and family affairs. Her portraits of politicians, clergy, aristocracy, and intellectuals reflect the vibrant literary, scientific, and political scene of the seventeenth century.

Beale is recognized as a feminist icon for her success in the male-driven world of portrait painting, and in addition to being a professional artist, she was also as a poet and author. Her book Discourse on Friendship, published in 1667, argued for the equality of husband and wife in marriage—a radical concept at that time. My Dearest Heart, the first biography of Mary Beale, features more than 120 color illustrations of her ground-breaking artistry.

Penelope Hunting is a fellow of the Society of Antiquaries, chairman of the London Topographical Society, and a trustee of the Heatherley School of Fine Art in Chelsea. She is the author of many books, including History of the Royal Society of Medicine and, most recently, Riot and Revolution: Sir Robert Geffery 1613–1704.

New Book | Looking at Jewelry

Posted in books by Editor on January 17, 2020

From The Getty:

Susanne Gänsicke and Yvonne J. Markowitz, Looking at Jewelry: A Guide to Terms, Styles, and Techniques (Los Angeles: J. Paul Getty Museum, 2019), 132 pages, ISBN: 978-1606065990, $20.

The fascination with personal adornment is universal. It is a preoccupation that is primal, instinctive, and uniquely human. Jewelry encompasses a seemingly endless number of ornaments produced across time and in all cultures. The range of materials and techniques used in its construction is extraordinary, even revolutionary, with new substances and methods of fabrication added with every generation. In any given society, master artisans have devoted their time, energy, and talent to the fine art of jewelry making, creating some of the most spectacular objects known to humankind.

This volume, geared toward jewelry makers, scholars, scientists, students, and fashionistas alike, begins with a lively introduction that offers a cultural history of jewelry and its production. The main text provides information on the most common, iconic, and culturally significant forms of jewelry and also covers materials, techniques, and manufacturing processes. Containing more than eighty color illustrations, this guide will be invaluable to all those wishing to increase their understanding and enjoyment of the art of jewelry.

Susanne Gänsicke is senior conservator and head of antiquities conservation at the J. Paul Getty Museum. Yvonne J . Markowitz is the Rita J. Kaplan and Susan B. Kaplan Curator Emerita of Jewelry at the Museum of Fine Arts, Boston.

New Book | Artifacts: How We Think and Write about Found Objects

Posted in books by Editor on January 16, 2020

From Johns Hopkins UP:

Crystal B. Lake, Artifacts: How We Think and Write about Found Objects (Baltimore: Johns Hopkins University Press, 2020), 272 pages, ISBN: 978-1421436500, $35.

A literary history of the old, broken, rusty, dusty, and moldy stuff that people dug up in England during the long eighteenth century.

In the eighteenth century, antiquaries—wary of the biases of philosophers, scientists, politicians, and historians—used old objects to establish what they claimed was a true account of history. But just what could these small, fragmentary, frequently unidentifiable things, whose origins were unknown and whose worth or meaning was not self-evident, tell people about the past?

In Artifacts, Crystal B. Lake unearths the four kinds of old objects that were most frequently found and cataloged in Enlightenment-era England: coins, manuscripts, weapons, and grave goods. Following these prized objects as they made their way into popular culture, Lake develops new interpretations of works by Joseph Addison, John Dryden, Horace Walpole, Jonathan Swift, Tobias Smollett, Lord Byron, and Percy Bysshe Shelley, among others. Rereading these authors with the artifact in mind uncovers previously unrecognized allusions that unravel works we thought we knew well.

In this new history of antiquarianism and, by extension, historiography, Lake reveals that artifacts rarely acted as agents of fact, as those who studied them would have claimed. Instead, she explains, artifacts are objects unlike any other. Fragmented and from another time or place, artifacts invite us to fill in their shapes and complete their histories with our imaginations. Composed of body as well as spirit and located in the present as well as the past, artifacts inspire speculative reconstructions that frequently contradict one another. Lake’s history and theory of the artifact will be of particular importance to scholars of material culture and forms. This fascinating book provides curious readers with new ways of evaluating the relationships that exist between texts and objects.

Crystal B. Lake is a professor of English language and literatures at Wright State University. She is the cofounder and coeditor of The Rambling.


List of Illustrations

Prologue: Things Speaking for Themselves

Part I  Terms and Contexts
1  Leaving Room to Guess
2  Ten Thousand Gimcracks

Part II  Case Studies
3  Coins: The Most Vocal Monuments
4  Manuscripts: Burnt to a Crust
5  Weapons: A Wilderness of Arms
6  Grave Goods: The Kings’ Four Bodies

Afterword: The Artifactual Form

Works Cited

Exhibition | Piranesi Drawings: Visions of Antiquity

Posted in books, catalogues, exhibitions by Editor on January 16, 2020

Opening next month at The British Museum, with a catalogue from Thames & Hudson:

Piranesi Drawings: Visions of Antiquity
The British Museum, London, 20 February — 9 August 2020

Curated by Sarah Vowles

Celebrating the 300th anniversary of the birth of Giovanni Battista Piranesi (1720–1778), Piranesi Drawings: Visions of Antiquity explores the artist’s celebrated skill as a draftsman. The Venetian-born artist is best known for his dramatic etchings of the architecture and antiquities of his adopted home city of Rome and for his extraordinary flights of spatial fancy, such as Le Carceri (‘Prisons’). This exhibition, however, presents the Museum’s complete collection of Piranesi’s drawings, exploring the formidable quality of his pen and chalk studies and tracking his artistic evolution.

Sarah Vowles is the Hamish Swanston Curator of Italian and French Prints and Drawings at the British Museum. Hugo Chapman is the Simon Sainsbury Keeper of Prints and Drawings at the British Museum.

Sarah Vowles, with an introduction by Hugo Chapman, Piranesi Drawings: Visions of Antiquity
(London: Thames & Hudson, 2020), 144 pages, ISBN: 978-0500480618, £20 / $30.

New Book | The Ruins Lesson

Posted in books by Editor on January 15, 2020

From The University of Chicago Press:

Susan Stewart, The Ruins Lesson: Meaning and Material in Western Culture (Chicago: The University of Chicago Press, 2020), 368 pages, ISBN: 978-0226632612, $35.

How have ruins become so valued in Western culture and so central to our art and literature? Covering a vast chronological and geographical range, from ancient Egyptian inscriptions to twentieth-century memorials, Susan Stewart seeks to answer this question as she traces the appeal of ruins and ruins images, and the lessons that writers and artists have drawn from their haunting forms.

Stewart takes us on a sweeping journey through founding legends of broken covenants and original sin, the Christian appropriation of the classical past, myths and rituals of fertility, images of decay in early modern allegory and melancholy, the ruins craze of the eighteenth century, and the creation of “new ruins” for gardens and other structures. Stewart focuses particularly on Renaissance humanism and Romanticism, periods of intense interest in ruins that also offer new frames for their perception. The Ruins Lesson looks in depth at the works of Goethe, Piranesi, Blake, and Wordsworth, each of whom found in ruins a means of reinventing art.

Ruins, Stewart concludes, arise at the boundaries of cultures and civilizations. Their very appearance depends upon an act of translation between the past and the present, between those who have vanished and those who emerge. Lively and engaging, The Ruins Lesson ultimately asks what can resist ruination—and finds in the self-transforming, ever-fleeting practices of language and thought a clue to what might truly endure.

Susan Stewart is the Avalon Foundation University Professor in the Humanities and director of the Society of Fellows in the Liberal Arts at Princeton University. A former MacArthur fellow, she is the author of five earlier critical studies, including Poetry and the Fate of the Senses (2002), winner of the Christian Gauss award of the Phi Beta Kappa Society and the Truman Capote Award. She is also the author of five books of poems, most recently Red Rover (2008) and Columbarium (2003), winner of the National Book Critics Circle Award. These titles, along with The Open Studio (2005) and The Forest (1995), are all published by the University of Chicago Press.


List of Illustrations

Introduction: Valuing Ruin
1  Matter: This Ruined Earth
2  Marks: Inscriptions and Spolia
3  Mater: Nymphs, Virgins, and Whores—On the Ruin of Women
4  Matrix: Humanism and the Rise of the Ruins Print
5  Model: The Architectural Imaginary
6  Mirrors: The Voyages and Fantasies of the Ruins Craze
7  The Unfinished: On the Nonfinality of Certain Works of Art
8  Resisting Ruin: The Decay of Monuments and the Promises of Language

Works Cited
Photography Credits
Name Index
Subject Index

New Books | Historical Fiction

Posted in books by Editor on January 14, 2020

Recent historical fiction set in the eighteenth century . . . with a strand of Nordic noir woven in:

Niklas Natt och Dag, The Wolf and the Watchman (New York: Atria, 2019), 384 pages, ISBN: 978-1501196775, $28. [Originally published in Swedish as 1793.]

One morning in the autumn of 1793, watchman Mikel Cardell is awakened from his drunken slumber with reports of a body seen floating in the Larder, once a pristine lake on Stockholm’s Southern Isle, now a rancid bog. Efforts to identify the bizarrely mutilated corpse are entrusted to incorruptible lawyer Cecil Winge, who enlists Cardell’s help to solve the case. But time is short: Winge’s health is failing, the monarchy is in shambles, and whispered conspiracies and paranoia abound. Winge and Cardell become immersed in a brutal world of guttersnipes and thieves, mercenaries and madams. From a farmer’s son who is led down a treacherous path when he seeks his fortune in the capital to an orphan girl consigned to the workhouse by a pitiless parish priest, their gruesome investigation peels back layer upon layer of the city’s labyrinthine society. The rich and the poor, the pious and the fallen, the living and the dead—all collide and interconnect with the body pulled from the lake. Breathtakingly bold and intricately constructed, The Wolf and the Watchman brings to life the crowded streets, gilded palaces, and dark corners of late-eighteenth-century Stockholm, offering a startling vision of the crimes we commit in the name of justice, and the sacrifices we make in order to survive.

Niklas Natt och Dag (‘Night and Day’) is a member of the oldest surviving noble family in Sweden. He enjoys playing the guitar, mandolin, violin, and the Japanese bamboo flute. The Wolf and the Watchman, his first novel, was named the Best Debut of 2017 by the Swedish Academy of Crime Writers and is being published in thirty countries. He lives in Stockholm with his wife and their two sons.

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Dexter Palmer, Mary Toft; or, The Rabbit Queen: A Novel (New York: Pantheon, 2019), 336 pages, ISBN: 978-1101871935, $28.

In 1726, in the town of Godalming, England, a woman confounded the nation’s medical community by giving birth to seventeen rabbits. This astonishing true story is the basis for Dexter Palmer’s stunning, powerfully evocative new novel.

Surgeon’s apprentice Zachary Walsh knows that his master, John Howard, prides himself on his rationality. But John cannot explain how or why Mary Toft, the wife of a local journeyman, has managed to give birth to a dead rabbit. When this singular event be­comes a regular occurrence, John and Zach­ary realize that nothing in their experience as rural physicians has prepared them to deal with a situation like this—strange, troubling, and possibly miraculous. John contacts sev­eral of London’s finest surgeons, three of whom soon arrive in Godalming to observe, argue, and perhaps use the case to cultivate their own fame.

When King George I learns of Mary’s plight, she and her doctors are summoned to London, where Zachary experiences a world far removed from his small-town ex­istence and is exposed to some of the dark­est corners of the human soul. All the while Mary lies in bed, as doubts begin to blossom among her caretakers and a growing group of onlookers waits with impatience for an­other birth, another miracle.

Dexter Palmer is the author of two previous novels: Version Control, which was selected as one of the best novels of 2016 by GQ, the San Francisco Chronicle, and other publications, and The Dream of Per­petual Motion, which was selected as one of the best fiction debuts of 2010 by Kirkus Re­views. He lives in Princeton.

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Laura Shepherd-Robinson, Blood & Sugar (Mantle Books, 2019), 448 pages, ISBN: 978-1509880775, £15.

Blood & Sugar is the thrilling debut historical crime novel from Laura Shepherd-Robinson. June, 1781. An unidentified body hangs upon a hook at Deptford Dock—horribly tortured and branded with a slaver’s mark. Some days later, Captain Harry Corsham—a war hero embarking upon a promising parliamentary career—is visited by the sister of an old friend. Her brother, passionate abolitionist Tad Archer, had been about to expose a secret that he believed could cause irreparable damage to the British slaving industry. He’d said people were trying to kill him, and now he is missing . . .

To discover what happened to Tad, Harry is forced to pick up the threads of his friend’s investigation, delving into the heart of the conspiracy Tad had unearthed. His investigation will threaten his political prospects, his family’s happiness, and force a reckoning with his past, risking the revelation of secrets that have the power to destroy him. And that is only if he can survive the mortal dangers awaiting him in Deptford . . .

“A page-turner of a crime thriller . . . This is a world conveyed with convincing, terrible clarity.”
–C. J. Sansom

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Laura Shepherd-Robinson, Daughters of Night (Mantle Books, 2020), 448 pages, ISBN: 9781509880829, £15.

From the brothels and gin-shops of Covent Garden to the elegant townhouses of Mayfair, Laura Shepherd-Robinson’s Daughters of Night follows Caroline Corsham, as she seeks justice for a murdered woman whom London society would rather forget . . .

Lucia’s fingers found her own. She gazed at Caro as if from a distance. Her lips parted, her words a whisper: ‘He knows.’

London, 1782. Desperate for her politician husband to return home from France, Caroline ‘Caro’ Corsham is already in a state of anxiety when she finds a well-dressed woman mortally wounded in the bowers of the Vauxhall Pleasure Gardens. The Bow Street constables are swift to act, until they discover that the deceased woman was a highly-paid prostitute, at which point they cease to care entirely. But Caro has motives of her own for wanting to see justice done, and so sets out to solve the crime herself. Enlisting the help of thieftaker, Peregrine Child, their inquiry delves into the hidden corners of Georgian society, a world of artifice, deception and secret lives. But with many gentlemen refusing to speak about their dealings with the dead woman, and Caro’s own reputation under threat, finding the killer will be harder, and more treacherous than she can know . . .

New Book | The Art of the Bird

Posted in books by Editor on January 13, 2020

From The University of Chicago Press:

Roger Lederer, The Art of the Bird: The History of Ornithological Art through Forty Artists (Chicago: The University of Chicago Press, 2019), 224 pages, ISBN: 978-0226675053, $35.

The human history of depicting birds dates to as many as 40,000 years ago, when Paleolithic artists took to cave walls to capture winged and other beasts. But the art form has reached its peak in the last four hundred years. In The Art of the Bird, devout birder and ornithologist Roger J. Lederer celebrates this heyday of avian illustration in forty artists’ profiles, beginning with the work of Flemish painter Frans Snyders in the early 1600s and continuing through to contemporary artists like Elizabeth Butterworth, famed for her portraits of macaws. Stretching its wings across time, taxa, geography, and artistic style—from the celebrated realism of American conservation icon John James Audubon, to Elizabeth Gould’s nineteenth-century renderings of museum specimens from the Himalayas, to Swedish artist and ornithologist Lars Jonsson’s ethereal watercolors—this book is feathered with art and artists as diverse and beautiful as their subjects. A soaring exploration of our fascination with the avian form, The Art of the Bird is a testament to the ways in which the intense observation inherent in both art and science reveals the mysteries of the natural world.

Roger J. Lederer is professor emeritus of biological sciences at California State University, Chico, where he taught courses on ornithology and ecology. He is the author of Beaks, Bones, and Bird Songs: How the Struggle for Survival Has Shaped Birds and Their Behavior; coauthor of Latin for Bird Lovers; and creator of Ornithology.com.



1  Flemish Baroque Artists, 1580–1700
From the early seventeenth to early eighteenth centuries, Flemish painters favoured exotic birds as subjects, especially parrots and peacocks.
Frans Snyders (1579–1657)
Carel Pietersz Fabritius (1622–1654)
Melchior d’Hondecoeter (1636–95)

2  Early English Artists, 1626–1716
Animal representations were superseded by religious paintings and portraiture, but painters of these genres often worked with animaliers to add creatures to scenes.
Francis Barlow (1626–1704)
Jakob Bogdani (1658–1724)
Marmaduke Cradock (1660–1716)

3  Natural History, 1680–1806
Explorers brought back specimens from exotic destinations, popularizing natural history. As new birds were discovered, collected, and named, the science of ornithology came into being with the help of artists who illustrated these new discoveries.
Mark Catesby (1682/3–1749)
George Edwards (1694–1773)
Aert Schouman (1710–1792)

4  Before Ecology
Natural history focused on the identification of organisms. Naming became more standardized, thoughtful, and detailed, as did the art that accompanied it.
Thomas Bewick (1753–1828)
Lady Elizabeth Symonds Gwillim (1763–1807)
Alexander Wilson (1766–1813)

5  Early Scientific Illustration
Art began to accurately reflect the habitat and behaviour of birds, as observation revealed the subtle details of their physical appearance and their behavioural patterns.
John James Audubon (1785–1851)
Prideaux John Selby (1788–1867)
Elizabeth Gould (1804–1841)

6  In the Age of Darwin
The age of Darwin was also the golden age of ornithology. Ideas about how birds’ shape, colours and behaviour came to be and what relationships they had were debated.
Edward Lear (1812–1888)
Joseph Wolf (1820–1899)
William Matthew Hart (1830–1908)

7  Art and Science Overlap
As exploration of the natural world expanded, artists became important observers. Comparing species and varieties required artists to put more than one species on a page, and scientific monographs on specific bird groups became more common.
John Gerrard Keulemans (1842–1912)
Robert Ridgway (1850–1929)
Archibald Thorburn (1860–1935)
Bruno Liljefors (1860–1939)
Allan Cyril Brooks (1869–1946)
Louis Agassiz Fuertes (1874–1927)

8  Broader Appeal
The skills of artists, the variety of their styles, their publications, and their reach to communities outside of the art world stoked the public’s interest both in birds and art.
Claude Gibney Finch-Davies (1875–1920)
Lilian Marguerite Medland (1880–1955)
Neville William Cayley (1886–1950)
Jessie Arms Botke (1883–1971)
Eric Ennion (1900–1981)
Roger Tory Peterson (1908–1996)

9  Bird Art Support Birds
When the environmental movement began in earnest in the latter half of the twentieth century, people noticed that bird habitats were disappearing and bird numbers declining. Artists helped to increase public awareness of these environmental issues.
Janet Turner (1914–1988)
Arthur B. Singer (1917–1990)
Keith Shackleton (1923–2015)
William Thomas Cooper (1934–2015)
James Fenwick Lansdowne (1937–2008)

10  Ornithological Art Expands
Bird field guides and illustrated books maintain their popularity but artists are also producing novel, creative and bizarre bird art that continues to enthral and inspire.
Raymond Harris-Ching (b. 1939)
Hilary Burn (b. 1946)
Elizabeth Butterworth (b. 1949)
Lars Jonsson (b. 1952)
David Allen Sibley (b. 1961)


New Book | The Warrior, the Voyager, and the Artist

Posted in books by Editor on January 12, 2020

From Yale UP:

Kate Fullagar, The Warrior, the Voyager, and the Artist: Three Lives in an Age of Empire (New Haven: Yale University Press, 2020), 320 pages, ISBN: 978-0300243062, $40.

A portrait of empire through the biographies of a Native American, a Pacific Islander, and the British artist who painted them both.

Three interconnected eighteenth-century lives offer a fresh account of the British Empire and its intrusion into Indigenous societies. This engaging history brings together the stories of Joshua Reynolds and two Indigenous men, the Cherokee Ostenaco and the Raiatean Mai. Fullagar uncovers the life of Ostenaco, tracing his emergence as a warrior, his engagement with colonists through war and peace, and his eventual rejection of imperial politics during the American Revolution. She delves into the story of Mai, his confrontation with conquest and displacement, his voyage to London on Cook’s imperial expedition, and his return home with a burning ambition to right past wrongs. Woven throughout is a new history of Reynolds, growing up in Devon near a key port in England, becoming a portraitist of empire, rising to the top of Britain’s art world and yet remaining ambivalent about his nation’s expansionist trajectory.

Kate Fullagar is an associate professor of Modern History at Macquarie University in Sydney, Australia. She is the author of The Savage Visit, the editor of The Atlantic World in the Antipodes, and co-editor of Facing Empire.