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A skillful reevaluation of the marginalized genre of marine painting, this study considers the production, reception, and institutions of marine imagery through the critical lens of the social history of eighteenth-century British art. The sea piece, long regarded as of little scholarly importance, is read in the light of politics, patronage, display culture, and the practices of maritime commerce and warfare. Sarah Monks examines the history of British marine art from the arrival in England of Willem van de Velde to the death of J.M.W. Turner - the period in which British art...

Living with the Royal Academy: Artistic Ideals and Experiences in England, 1768-1848 offers a range of case studies which consider individual artists' personal, professional and artistic relationships with the Royal Academy during the late eighteenth and early nineteenth centuries, bringing together the research of leading historians of British artistic culture during this period. Over its introduction and nine essays, this collection considers the Academy as a lived organism whose most effective role, following its establishment in 1768, was as a reference point towards, around and...

Living with the Royal Academy: Artistic Ideals and Experiences in England, 1768-1848 offers a range of case studies which consider individual artists' personal, professional and artistic relationships with the Royal Academy during the late eighteenth and early nineteenth centuries, bringing together the research of leading historians of British artistic culture during this period. Over its introduction and nine essays, this collection considers the Academy as a lived organism whose most effective role, following its establishment in 1768, was as a reference point towards, around and...

Keren Rosa Hammerschlag's Frederic Leighton: Death, Mortality, Resurrection offers a timely reexamination of the art of the late Victorian period's most institutionally powerful artist, Frederic Lord Leighton (1830-1896). As President of the Royal Academy from 1878 to 1896, Leighton was committed to the pursuit of beauty in art through the depiction of classical subjects, executed according to an academic working-method. But as this book reveals, Leighton's art and discourse were beset by the realisation that academic art would likely die with him. Rather than achieving classical perfection,...