In this superb biography, Uglow tells the story of the farmers son who influenced book illustration for a century to come. It is a story of violent change, radical politics, lost ways of life, and the beauty of the wild--a journey to the beginning of a lasting obsession with the natural world.
A rich intellectual encounter, revolving around the hands of the experimenter and those of the artist, highlighting the relation between the sciences and the arts. This book is the first to explore in detail the encounter between Albert Flocon and Gaston Bachelard in postwar Paris. Bachelard was a philosopher and historian of science who was also involved in literary studies and poetics. Flocon was a student of the Bauhaus in Dessau, Germany, who specialized in copper engraving. Both deeply ingrained in the surrealist avant-garde movements, each acted at the frontiers of their respective métiers in exploring uncharted territory. Bachelard experienced the sciences of his time as constantly undergoing radical changes, and he wanted to create a historical epistemology that would live up to this experience. He saw the elementary gesture of the copper engraverthe hand of the engraveras meeting the challenge of resistant and resilient matter in an exemplary fashion. Flocon was fascinated by Bachelards unconventional approach to the sciences and his poetics. Together, their relationship interrogated and celebrated the interplay of hand and matter as it occurs in poetic writing, in the art of engraving, and in scientific experimentation. In the form of a double biography, Hans-Jörg Rheinberger succeeds in writing a lucid intellectual history and at the same time presents a fascinating illustrated reading of Flocons copper engravings. Rheinberger is one of the premier scholars of the world in his fields, and an acknowledged expert on Bachelard. Though the book is exceptionally short, there is a wealth of learning and scholarship packed into it. The author is intimately familiar with all of the literature on the subjects he discusses, and master of the relevant primary sources and documents relating to Bachelard and Flocon. I was utterly charmed and captivated by this book, continually spurred on to read and think more. James J. Bono, author of The Word of God and the Languages of Man: Interpreting Nature in Early Modern Science and Medicine: Ficino to Descartes
With Bewick on my knee, I was then happy...' Jane Eyre Charlotte Bronte's heroine was not alone in her enjoyment of Thomas Bewick's British Birds - since its first publication in 1797 it has become one of the best-loved classics of natural history. Bewick's masterful woodcuts are more than scientific records; each beady eye and jaunty pose betrays the artist's love of birds. This edition includes over 180 bird species, from garden favourites such as robins, blackbirds and finches, to predators such as the osprey and the majestic golden eagle. Each entry is illustrated with an engraving, and throughout the book are narrative vignettes typical of Bewick's playful, engaging style.
"This original collection gathers the finest woodcuts of one of the most creative and prolific English artists of the early 20th century. Ranging from the religious to the erotic, featured designs include images inspired by The Song of Songs, The Canterbury Tales, and The Four Gospels. A feast for the eyes and an important and accessible reference. "--
All of Dürer's works in three mediums are reproduced in this edition. Among them are his most famous works, Knight, Death and Devil; Melencolia I; and St. Jerome in His Study. Also included are portraits of his contemporaries, including Erasmus of Rotterdam and Frederick the Wise, as well as six engravings formerly attributed to Dürer.
Princess Elizabeth of Graycliff and Prince Edward of Whitehill have been bound to marry each other by the terms of a magical stone engraving. If they do not marry by their sixteenth birthday, only six days away, they will turn to stone. Moments before the wedding, they meet and discover they detest each other. With the clock ticking, they set out to find a stonecutter to release them from the dreadful enchantment. Along their journey, they encounter many treacherous traps and learn a lot about life and themselves.
This title provides an illustrated investigation of much-loved English wood-engraver and watercolourist Thomas Bewick. The book sets Bewick's art in the context of his tumultuous life, and draws connections between the artist's political and religious views and the character of his images.
The Emancipation Proclamation is the most important document of arguably the greatest president in U.S. history. Now, Edna Greene Medford, Frank J. Williams, and Harold Holzer -- eminent experts in their fields -- remember, analyze, and interpret the Emancipation Proclamation in three distinct respects: the influence of and impact upon African Americans; the legal, political, and military exigencies; and the role pictorial images played in establishing the document in public memory. The result is a carefully balanced yet provocative study that views the proclamation and its author from the perspective of fellow Republicans, antiwar Democrats, the press, the military, the enslaved, free blacks, and the antislavery white establishment, as well as the artists, publishers, sculptors, and their patrons who sought to enshrine Abraham Lincoln and his decree of freedom in iconography.Medford places African Americans, the people most affected by Lincoln's edict, at the center of the drama rather than at the periphery, as previous studies have done. She argues that blacks interpreted the proclamation much more broadly than Lincoln intended it, and during the postwar years and into the twentieth century they became disillusioned by the broken promise of equality and the realities of discrimination, violence, and economic dependence. Williams points out the obstacles Lincoln overcame in finding a way to confiscate property -- enslaved humans -- without violating the Constitution. He suggests that the president solidified his reputation as a legal and political genius by issuing the proclamation as Commander-in-Chief, thus taking the property under the pretext of military necessity. Holzer explores how it was only after Lincoln's assassination that the Emancipation Proclamation became an acceptable subject for pictorial celebration. Even then, it was the image of the martyr-president as the great emancipator that resonated in public memory, while any reference to those African Americans most affected by the proclamation was stripped away.This multilayered treatment reveals that the proclamation remains a singularly brave and bold act -- brilliantly calculated to maintain the viability of the Union during wartime, deeply dependent on the enlightened voices of Lincoln's contemporaries, and owing a major debt in history to the image-makers who quickly and indelibly preserved it.