British Impressionism

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* In (he late nineleenth cenCury contaet wiíh French linpressionist ideas meant that British artists' diseontent with academic Vietorian art becaine transmuted into a new concept of the role of art and the artist. In a new awareness of painting disparate artists merged and refined their ideas on colour, light and form into an Iinpressionist style that is distinctly British, evoking what has since beeome known as the 'long Edwardian summer'. Artists sueh as George Clausen and Dame Laura Knight depieted an enormous variety of úrban and rural seenes, from fashionable tennis parties, musie-hall entertainers and laundry shops, to goose girls, boat-builders, turnip harvesters and picnickers. Now issued in paperback, this comprehensive book examines the significance and contribution to the Impressionist movement of the British artists, who for a long time were overshadowed by their French counterparts. The author surveys the developments, debates and personaiities of the artists and... Tovább

Fülszöveg

m

* In (he late nineleenth cenCury contaet wiíh French linpressionist ideas meant that British artists' diseontent with academic Vietorian art becaine transmuted into a new concept of the role of art and the artist. In a new awareness of painting disparate artists merged and refined their ideas on colour, light and form into an Iinpressionist style that is distinctly British, evoking what has since beeome known as the 'long Edwardian summer'. Artists sueh as George Clausen and Dame Laura Knight depieted an enormous variety of úrban and rural seenes, from fashionable tennis parties, musie-hall entertainers and laundry shops, to goose girls, boat-builders, turnip harvesters and picnickers. Now issued in paperback, this comprehensive book examines the significance and contribution to the Impressionist movement of the British artists, who for a long time were overshadowed by their French counterparts. The author surveys the developments, debates and personaiities of the artists and the ferment and challenge of their ideas and aehievements, including those who were among the foremost British artists of the early twentieth century, sueh as John Singer Sargent, Philip Wilson Steer, Walter Richárd Sickert, Sir John Lavery and Sir William Rothenstein. Kenneth McConkey is Dean of the Faculty of Arts and Design at the University of Northumbria at Newcastle. He has written extensively about late Vietorian and Edwardian painting. He organized the Impressionism in Britain exhibition at the Barbican Art Gallery, London, in 1995 and is the author of the exhibition catalogue, British JnipresHioninm. 'This is a handsome, readable and very useful account of somé complex episodes in Francophile British art, beautifully and always pertinently illustrated.' Marina Vaizey, The Sunday Times



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