Towards a Modern Art World
Studies in British Art I
Edited by Brian T. Allen
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Price: $40.00
May 24, 1995
236 pages, 7 x 10
49 b/w illus.
ISBN: 9780300063806
Cloth
Published for the Paul Mellon Center for Studies in British Art
When the story of modern art is told, British artists are mentioned infrequently or not at all. In this book, distinguished art historians attempt to explain the marginal position of British modern art by examining the development of the London art world—its institutions and individual artists—over the past two centuries.
Chapters discuss artists as diverse as William Hogarth, Sir Joshua Reynolds, W.P. Frith, Walter Sickert, and Henry Moore and also describe academies, public exhibitions, and commercial galleries throughout the era. Introduced by David Solkin, the volume consists of contributions from Caroline Arscott, Ann Bermingham, John Brewer, Marilyn Butler, Julie Codell, Peter Funnell, John Gage, Charles Harrison, Andrew Hemingway, Ludmilla Jordanova, Ronald Paulson, Martin Postle, and Stella Tillyard.
This volume is the first of a new serial publication, Studies in British Art, published for the Yale Center for British Art and the Paul Mellon Centre for Studies in British Art.
Chapters discuss artists as diverse as William Hogarth, Sir Joshua Reynolds, W.P. Frith, Walter Sickert, and Henry Moore and also describe academies, public exhibitions, and commercial galleries throughout the era. Introduced by David Solkin, the volume consists of contributions from Caroline Arscott, Ann Bermingham, John Brewer, Marilyn Butler, Julie Codell, Peter Funnell, John Gage, Charles Harrison, Andrew Hemingway, Ludmilla Jordanova, Ronald Paulson, Martin Postle, and Stella Tillyard.
This volume is the first of a new serial publication, Studies in British Art, published for the Yale Center for British Art and the Paul Mellon Centre for Studies in British Art.
Brian Allen is director of studies at the Paul Mellon Centre for Studies in British Art, London.
"Thirteen distinguished European and American professors, historians, and curators have provided provocative essays on the true position of the modern London art world. The series will become a substantial contribution to international culture if its future books are as successful as this first one."—Virginia Quarterly Review
"These incisive essays often give new insights into the private motives and meanings behind the public posturing of artists and their supporters."—Anthony Lacy Gully, Albion
