A lavish, illustrated volume published to accompany an exhibition of Copley's work that will be traveling to several cities during 1996. The focus is on the paintings, miniatures, and pastels that Copley, the supreme portraitist of the colonial era, produced before he moved to London in 1774. Four principal essays place the work in historical and social context and bring new critical methods to bear upon the study of portraits and portraiture; four shorter essays treat various aspects of Copley's art and techniques. Catalog entries detail the sitters' lives and the ways in which Copley enhanced his subjects' status and presence. 10x12.25" Annotation copyright by Book News, Inc., Portland, OR
"A stunning biography…[A] truly singular account of the American Revolution." —Amanda Foreman, author of A World on Fire Through an intimate narrative of the life of painter John Singleton Copley, award-winning historian Jane Kamensky reveals the world of the American Revolution, rife with divided loyalties and tangled sympathies. Famed today for his portraits of patriot leaders like Samuel Adams and Paul Revere, Copley is celebrated as one of America’s founding artists. But, married to the daughter of a tea merchant and seeking artistic approval from abroad, he could not sever his own ties with Great Britain. Rather, ambition took him to London just as the war began. His view from abroad as rich and fascinating as his harrowing experiences of patriotism in Boston, Copley’s refusal to choose sides cost him dearly. Yet to this day, his towering artistic legacy remains shared by America and Britain alike.
The energy and optimism of the new nation are abundantly apparent in this catalogue. It features some of the icons of American art, such as John Singleton Copley's The Copley Family and Gilbert Stuart's portraits of the first five presidents. Numerous paintings, including Benjamin West's Colonel Guy Johnson and Karonghyontye (Captain David Hill), are discussed from a new perspective, the result of information culled from letters, wills, and other previously unpublished documents. The author offers new interpretations of some works, among them Charles Willson Peale's portrait of the Baltimore couple Benjamin and Eleanor Ridgely Laming. The volume is richly illustrated, with carefully selected comparative illustrations.
A rip-roaring account of the dramatic four-year siege of Britain’s Mediterranean garrison by Spain and France—an overlooked key to the British loss in the American Revolution For more than three and a half years, from 1779 to 1783, the tiny territory of Gibraltar was besieged and blockaded, on land and at sea, by the overwhelming forces of Spain and France. It became the longest siege in British history, and the obsession with saving Gibraltar was blamed for the loss of the American colonies in the War of Independence. Located between the Mediterranean and Atlantic, on the very edge of Europe, Gibraltar was a place of varied nationalities, languages, religions, and social classes. During the siege, thousands of soldiers, civilians, and their families withstood terrifying bombardments, starvation, and disease. Very ordinary people lived through extraordinary events, from shipwrecks and naval battles to an attempted invasion of England and a daring sortie out of Gibraltar into Spain. Deadly innovations included red-hot shot, shrapnel shells, and a barrage from immense floating batteries. This is military and social history at its best, a story of soldiers, sailors, and civilians, with royalty and rank and file, workmen and engineers, priests, prisoners of war, spies, and surgeons, all caught up in a struggle for a fortress located on little more than two square miles of awe-inspiring rock. Gibraltar: The Greatest Siege in British History is an epic page-turner, rich in dramatic human detail—a tale of courage, endurance, intrigue, desperation, greed, and humanity. The everyday experiences of all those involved are brought vividly to life with eyewitness accounts and expert research.
"Lovell delights, astonishes, and challenges us with her insightful new readings of early American paintings and material culture objects."--"Journal of the Early Republic"
