Depicting the famous meeting of Wellington and Blucher directly after their joint victory over Napoleon at the Battle of Waterloo on 18 June 1815, Maclise's monumental 'cartoon' caused a sensation when it was first shown at the House of Lords in 1859. Everything was evocative to the highest degree: from the vast scale to the magnificent craftsmanship, to the picture's theme, which refuses to glamorise war and affords Waterloo's victims as much attention as its heroes. And although it has rarely been exhibited, this 'cartoon' remains a powerful work of art to this day. In this concise but comprehensive volume Annette Wickham looks in detail at the story of the cartoon's creation and the reasons it has been hidden for so long, while the military expert Mark Murray-Flutter offers an engaging analysis of the arms, equipment and characters portrayed in each scene. This book may be small, but to the military enthusiast or art devotee, it will be invaluable. AUTHOR: Annette Wickham is Curator of Works on Paper at the Royal Academy of Arts. Mark Murray-Flitter is Senior Curator of Sporting Firearms and Weapons at the Royal Armouries, Leeds. SELLING POINTS: * Features a full-colour fold-out of Maclise's cartoon * Will fascinate art and military history enthusiasts alike 25 colour
"Maclise (1806-70) was born and brought up in a Scots Presbyterian family in Cork. He went to London in 1827 and the following year entered the Royal Academy Schools of Art. In 1840 he was elected R.A. This new book, by Nancy Weston, surveys Maclise's career and his friendships (notably with Charles Dickens) and his entire oeuvre from early illustrative work to his huge canvases and frescos for the House of Lords, the Royal Gallery etc. His most famous work in an Irish collection is The Marriage of Strongbow and Aoife, 1854 (National Gallery of Ireland)."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Award-winning historian Antonia Fraser brilliantly portrays a courageous and compassionate woman who refused to be curbed by the personal and political constraints of her time. Caroline Norton dazzled nineteenth-century society with her vivacity, her intelligence, her poetry, and in her role as an artist's muse. After her marriage in 1828 to the MP George Norton, she continued to attract friends and admirers to her salon in Westminster, which included the young Disraeli. Most prominent among her admirers was the widowed Prime Minister, Lord Melbourne. Racked with jealousy, George Norton took the Prime Minister to court, suing him for damages on account of his 'Criminal Conversation' (adultery) with Caroline. A dramatic trial followed. Despite the unexpected and sensational result—acquittal—Norton was still able to legally deny Caroline access to her three children, all under seven. He also claimed her income as an author for himself, since the copyrights of a married woman belonged to her husband. Yet Caroline refused to despair. Beset by the personal cruelties perpetrated by her husband and a society whose rules were set against her, she chose to fight, not surrender. She channeled her energies in an area of much-needed reform: the rights of a married woman and specifically those of a mother. Over the next few years she campaigned tirelessly, achieving her first landmark victory with the Infant Custody Act of 1839. Provisions which are now taken for granted, such as the right of a mother to have access to her own children, owe much to Caroline, who was determined to secure justice for women at all levels of society from the privileged to the dispossessed.
Inspired by Shakespeare's King Lear, this breathtaking debut novel tells the story of the most famous woman ever written out of literary history. "I am the queen of two crowns, banished fifteen years, the famed and gilded woman, bad-luck baleful girl, mother of three small animals, now gone. I am fifty-five years old. I am Lear's wife. I am here." Word has come. Care-bent King Lear is dead, driven mad and betrayed. His three daughters too, broken in battle. But someone has survived: Lear's queen. Exiled to a nunnery years ago, written out of history, her name forgotten. Now she can tell her story. Though her grief and rage may threaten to crack the earth open, she knows she must seek answers. Why was she sent away in shame and disgrace? What has happened to Kent, her oldest friend and ally? And what will become of her now, in this place of women? To find peace she must reckon with her past and make a terrible choice - one upon which her destiny, and that of the entire abbey, rests. Giving unforgettable voice to a woman whose absence has been a tantalising mystery, Learwife is a breathtaking novel of loss, renewal and how history bleeds into the present.
‘The Voice of the People’ presents a series of essays on literary aspects of the European folk revival of the eighteenth and nineteenth centuries, and focuses on two key practices of antiquarianism: the role that collecting and editing played in the formation of ethnological study in the European academy; and the business of publishing and editing, which produced many ‘folkloric’ texts of dubious authenticity. The volume also presents new readings of various genres, including the epic, song, tale and novel, and contributes to the study of several crucial European literary figures. Above all, it investigates the great anonymous authors of the European folk tradition – in narrative and lyric art – and their relation to the cultural movements and imagined identities of the peoples of the emerging nineteenth-century European nation.