Accompanying a major exhibition at Compton Verney, this book examines the innate human desire to transcend the limitations of physiology and gravity – and to fly. Through an intriguing combination of paintings, sculpture, photographs, drawings, prints and video, including works by Leonardo da Vinci, Francisco José de Goya y Lucientes, Paul Nash, Peter Lanyon and Hiraki Sawa, the reader will be provided with a unique overview of artists' creative responses to flight, from the earliest imaginings to an era in which space travel has allowed us to glimpse other worlds. More
FORTHCOMING MARCH 2017 (APRIL USA)
Compton Verney, 18 March – 18 June 2017
Creating the Countryside: The Rural Idyll Past and Present
Paperback, 260 x 216 mm, 120 pages, 60 colour illus.
ISBN: 978 1 911300 10 6
Edited by Rosemary Shirley and Verity Elson
Contributions by Jeremy Buchardt, Alice Carey, Verity Elson, Nick Groom, Steven Parissien, Rosemary Shirley, Nicola Bishop
"Intriguing … a rich subject for an exhibition." —Telegraph
"A stand-alone book rather than an exhibition catalogue … wide-ranging and provocative, and, despite a focus on the distinctly un-idyllic aspects of rural life, often very funny." —Times Literary Supplement
Kirsty Patricia Lang tours Creating the Countryside with Rosemary Shirley and Verity Elson for BBC Radio 4
The rural idyll occupies a deeply rooted place in the collective imagination. This highly original and vibrant study examines how key moments in art history have shaped our understanding of the British countryside and how contemporary artists continue to access and often challenge this concept.
From High Art to propaganda, garden centres to air fresheners, contemporary art to computer games – a constellation of powerful images and ideas contribute to our understandings of the rural. This publication offers new ways of thinking about how ideas of the countryside have been formed and how they are reflected in contemporary culture, through the innovative integration of historic works by artists including Constable, Gainsborough and Stubbs, works of modern British art, together with contemporary responses to rural life and landscape by artists such as Mat Collishaw, Grayson Perry, Anna Fox and Alison Goldfrapp. Crucially, this volume enters this rich array of artworks into a productive dialogue with a range of visual cultures that populate everyday life, exploring how the imagery of the rural idyll is re-enacted, adapted and used today.
Creating the Countryside features new writing from a variety of disciplines, encompassing the spheres of art history, rural history, literature and contemporary art. Interspersed throughout the publication are series of interviews with artists who are working with the rural in innovative ways, offering a stimulating range of new perspectives on the role and importance of the countryside in contemporary culture.
The publication features artists whose work spanns nearly four centuries, including Helen Allingham, William Blake, Edward Burra, Rebecca Chesney, George Clausen, William Collins, Mat Collishaw, John Constable, Evelyn Dunbar, Anna Fox, Thomas Gainsborough, James Guthrie, Ian Hamilton Finlay, Josef Herman, Paul Hill, Sigrid Holmwood, Horockses, Hilary Jack, Peter Kennard, Delaine Le Bas, Clare Leighton, Claude Lorrain, Edward McKnight Kauffer, Jean-François Millet, MyVillages, Frank Newbould, Samuel Palmer, Grayson Perry, John Pettie, John Piper, Ingrid Pollard, Paul Reas, John Robertson Reid, Andy Sewell, Jo Spence, Stanley Spencer, George Stubbs, Graham Sutherland, Homer Sykes, Edward Arthur Walton and John Wyndham.
Stanley Spencer (1891–1959) is perhaps best known for his mystical biblical scenes and candid self-portraits, but it was his magnificent paintings of gardens, houses and landscapes, set in the small alleys and overgrown backyards of his home village of Cookham, which proved more popular during his lifetime. Published to accompany an exhibition at Compton Verney, Warwickshire, this book is the first to focus specifically on Spencer’s landscape paintings, and to consider them as a group, rather than as punctuation marks between the figure paintings. More
Canaletto’s time in mid-Georgian Britain has received much scholarly attention in the past. But this book places his work in a broader political and social context, linking his fascinating paintings and drawings with the growing sense of assurance and mission which the British nation was then beginning to display. More