In 1779 the family of Sir Robert Walpole, Britain's first prime minister, sold his remarkable art collection to Catherine the Great, Empress of Russia. More than two centuries later, these masterpieces, rarely seen outside Russia since that time, are returning to Houghton Hall, the great house built by Walpole. This book illustrates these superlative work hanging once again in William Kent's magnificent interiors. Exhibition: Houghton Hall, King's Lynn, Norfolk, UK (15.5.-15.9.2013).
A German princess who married a decadent and lazy Russian prince, Catherine mobilized support amongst the Russian nobles, playing off of her husband's increasing corruption and abuse of power. She then staged a coup that ended with him being strangled with his own scarf in the halls of the palace, and herself crowned the Empress of Russia. Intelligent and determined, Catherine modeled herself off of her grandfather in-law, Peter the Great, and sought to further modernize and westernize Russia. She believed that the best way to do this was through a ravenous acquisition of art, which Catherine often used as a form of diplomacy with other powers throughout Europe. She was a self-proclaimed "glutton for art" and she would be responsible for the creation of the Hermitage, one of the largest museums in the world, second only to the Louvre. Catherine also spearheaded the further expansion of St. Petersburg, and the magnificent architectural wonder the city became is largely her doing. There are few women in history more fascinating than Catherine the Great, and for the first time, Susan Jaques brings her to life through the prism of art.
The Architecture of Ruins: Designs on the Past, Present and Future identifies an alternative and significant history of architecture from the sixteenth century to the twenty-first century, in which a building is designed, occupied and imagined as a ruin. This design practice conceives a monument and a ruin as creative, interdependent and simultaneous themes within a single building dialectic, addressing temporal and environmental questions in poetic, psychological and practical terms, and stimulating questions of personal and national identity, nature and culture, weather and climate, permanence and impermanence and life and death. Conceiving a building as a dialogue between a monument and a ruin intensifies the already blurred relations between the unfinished and the ruined and envisages the past, the present and the future in a single architecture. Structured around a collection of biographies, this book conceives a monument and a ruin as metaphors for a life and means to negotiate between a self and a society. Emphasising the interconnections between designers and the particular ways in which later architects learned from earlier ones, the chapters investigate an evolving, interdisciplinary design practice to show the relevance of historical understanding to design. Like a history, a design is a reinterpretation of the past that is meaningful to the present. Equally, a design is equivalent to a fiction, convincing users to suspend disbelief. We expect a history or a novel to be written in words, but they can also be delineated in drawing, cast in concrete or seeded in soil. The architect is a ‘physical novelist’ as well as a ‘physical historian’. Like building sites, ruins are full of potential. In revealing not only what is lost, but also what is incomplete, a ruin suggests the future as well as the past. As a stimulus to the imagination, a ruin’s incomplete and broken forms expand architecture’s allegorical and metaphorical capacity, indicating that a building can remain unfinished, literally and in the imagination, focusing attention on the creativity of users as well as architects. Emphasising the symbiotic relations between nature and culture, a building designed, occupied and imagined as a ruin acknowledges the coproduction of multiple authors, whether human, non-human or atmospheric, and is an appropriate model for architecture in an era of increasing climate change.
The fascinating story of the evolution of the country house in Britain, from its Roman precursors to the present The Story of the Country House is an authoritative and vivid account of the British country house, exploring how they have evolved with the changing political and economic landscape. Clive Aslet reveals the captivating stories behind individual houses, their architects, and occupants, and paints a vivid picture of the wider context in which the country house in Britain flourished and subsequently fell into decline before enjoying a renaissance in the twenty-first century. The genesis, style, and purpose of architectural masterpieces such as Hardwick Hall, Hatfield House, and Chatsworth are explored, alongside the numerous country houses lost to war and economic decline. We also meet a cavalcade of characters, owners with all their dynastic obsessions and diverse sources of wealth, and architects such as Inigo Jones, Sir John Vanbrugh, Robert Adam, Sir John Soane and A.W.N. Pugin, who dazzled or in some cases outraged their contemporaries. The Story of the Country House takes a fresh look at this enduringly popular building type, exploring why it continues to hold such fascination for us today.
A mysterious French nobleman arrives at Ekaterina Tuomonova's gallery in Chelsea, London. He is in search of an expert in early 20th century Post Impressionist art. Olivier de la Salle proposes John and Ekaterina visit his château in Provence, in the South of France, where he needs help in identifying a collection of paintings long forgotten in the recesses of his château. The story explores the world of art and art dealers with their immensely rich clients, collectors and oligarchs, crooks and forgers, auction houses and museums, the vast sums of money that art attracts today, artists and their friends, their wealth and their misery, their mistresses and their patrons. It is the Belle Epoque, then comes World War I, the Russian Revolution, followed by World War II and the looting by the Nazis of Museums and Jewish families in 1940, and finally the arrival of Russian oligarchs who spend hundreds of millions of dollars to own the works of Picasso, Modigliani and their fellow artists who lived when Paris was the cultural centre of the world at the beginning of the twentieth century.
2024 marks the 250th anniversary of John Wilkes becoming Lord Mayor of London. A man simultaneously full of contradiction and principles, Wilkes was a giant of eighteenth-century England and helped shape modern Britain.
