Table of Contents

List of Illustrations viii Acknowledgements xiii Notes on Contributors xiv Part 1 Editors' Introduction 1 Part 2 General 11 1 The "Englishness" of English Art Theory 13 Mark A. Cheetham 2 Modernity and the British 38 Andrew Ballantyne 3 English Art and Principled Aesthetics 60 Janet Wolff Part 3 Institutions 77 4 "Those Wilder Sorts of Painting": the Painted Interior in the Age of Antonio Verrio 79 Richard Johns 5 Nineteenth-Century Art Institutions and Academies 105 Colin Trodd 6 Crossing the Boundary: British Art across Victorianism and Modernism 131 David Peters Corbett 7 British Pop Art and the High/Low Divide 156 Simon Faulkner 8 When Attitudes Became Formless: Art and Antagonism in the 1960s 180 Jo Applin Part 4 Nationhood 199 9 Art and Nation in Eighteenth-Century Britain 201 Cynthia Roman 10 International Exhibitions: Linking Culture, Commerce, and Nation 220 Julie F. Codell 11 Itinerant Surrealism: British Surrealism either side of the Second World War 241 Ben Highmore 12 55- North 3- West: a Panorama from Scotland 265 Tom Normand 13 Retrieving, Remapping, and Rewriting Histories of British Art: Lubaina Humid's "Revenge" 289 Dorothy Rowe Part 5 Landscape 315 14 Defining, Shaping, and Picturing Landscape in the Nineteenth Century 317 Anne Helmreich 15 Theories of the Picturesque 351 Michael Charlesworth 16 Landscape into Art: Painting and Place-Making in England, c.1760-1830 373 Tom Williamson 17 Landscape Painting, c.1770-1840 397 Sam Smiles 18 Landscape and National Identity: the Phoenix Park Dublin 422 Dana Arnold Part 6 Men and Women 449 19 The Elizabethan Miniature 451 Dympna Callaghan 20 "The Crown and Glory of a Woman": Female Chastity in Eighteenth-Century British Art 473 Kate Retford 21 Serial Portraiture and the Death of Man in Late-Eighteenth-Century Britain 502 Whitney Davis 22 Virtue, Vice, Gossip, and Sex: Narratives of Gender in Victorian and Edwardian Painting 532 Pamela M. Fletcher Index 552

Promotional Information

"A Companion to British Art: 1600 to the Present is a sparkling collection of consistently high-quality, freshly-minted essays that is a pleasure to read. The book manages the admirable feat of alerting us to the major themes and preoccupations of recent scholarship on British art whilst also breaking entirely new ground. Whether discussing the Elizabethan miniature, seventeenth-century decorative history painting, Reynolds's portraits, Victorian narrative paintings, or the art of the 1960s, the assembled pieces fizz with originality, ambition and intellectual energy. This book will provide scholars and students of British art with an extremely stimulating point of reference and focus of debate for many years to come." Mark Hallett, University of York "British art has been the focus of innovatory critical investigations and re-readings over recent decades and this book includes many of the foremost scholars currently engaged in the field. It provides a fascinating, intellectually rigorous yet accessible series of studies around the dominant themes of modernity, identities and nationhood and will be an essential resource for students and academics alike." Ysanne Holt, University of Northumbria "A fascinating collection of essays which examines the most pressing theoretical and historical concerns in the field of British art and sets out a compelling agenda for future scholarship." Michael Hatt, University of Warwick

About the Author

Dana Arnold is Professor of Architectural History and Theory at Middlesex University, UK. She has published several books on British architecture and visual culture and is author of the best selling Art History: A Very Short Introduction (2004). She is series editor of New Interventions in Art History, Wiley-Blackwell Companions to Art History, and Blackwell Anthologies in Art History. David Peters Corbett is Professor of History of Art at the University of East Anglia. He has published a number of books, and has received prizes from the Historians of British Art, College Art Association USA, and a Guardian book of the year award. He is the editor of the journal Art History.

Reviews

"While aimed at 'tutors and students,' these often dense essays will appeal most to scholars wishing to explore provocative new approaches to the study of British art. Summing Up: Recommended. Upper-division undergraduates and above." (Choice, 1 November 2013)