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Burning Bright: Essays in Honour of David Bindman

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Diana Dethloff, Tessa Murdoch and Kim Sloan with Caroline Elam | September 2015

Format: 210mm x 285mm

Open Access PDF
ISBN: 978-1-910634-34-9
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Paperback
ISBN: 978-1-91063-418-9

£40.00

Pages: 280

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A limited number of copies are available to order directly from UCL Press. To order, please email uclpresspublishing@ucl.ac.uk.


About the book

This book celebrates the work and career of the internationally renowned art historian, David Bindman, on the occasion of his 75th birthday, and is above all a tribute to him from his former students and colleagues.

With essays on sculpture, drawings, watercolours and prints, the volume reflects the extraordinary range of Bindman’s knowledge of works of art and his impact through his teaching and research on the understanding of British and European artistic developments from the eighteenth to the twentieth century. The essays cast light on questions of technique and stylistic change, patronage, collecting and iconography, and engage with issues such as the representation of race, gender, sexuality, political violence and propaganda, exile, and notions of the canon. The artists discussed here include Hogarth, Blake, Roubiliac, Thorvaldsen and Canova, all subjects of books by David Bindman, as well as Morland, Rowlandson, Gillray, Millais, Munch, Nevinson, and Heartfield.

About the author

Diana Dethloff is Academic Administrator in the History of Art Department, UCL. Caroline Elam is a Senior Research Fellow at the Warburg Institute, University of London. Tessa Murdoch is Deputy Keeper, Sculpture, Metalwork, Ceramics and Glass, Victoria and Albert Museum.  Kim Sloan is the Francis Finlay Curator of the Enlightenment Gallery and Curator of British Drawings and Watercolours before 1880, Department of Prints and Drawings, British Museum.


Table of contents

Foreword: Celebrating David Bindman

PART I: SCULPTURE

Introduction: Carving a Niche in Sculptural History | Netherlandish Allegories of Madness in English Perspective | Michael Rysbrack’s Sculpture Series for Queen Caroline’s Library at St James’s Palace | Roubiliac’s Hogarth and the Playful Portrait Bust | Spinning the Thread of Life: The Three Fates, Time and Eternity | Collecting a Canon: The Earl of Northumberland at Northumberland House and Syon House | Eccentric Pioneers? Patrons of Modern Sculpture for Britain c.1790 | Canova and Thorvaldsen at Chatsworth | William Wyon as a Pupil and Follower of Flaxman

PART II: DRAWINGS, WATERCOLOURS & PAINTINGS

Introduction: ‘A close inspection’ of British Paintings and Drawings, ‘within the context of their own time’ | ‘The gipsey-race my pity rarely move’? Representing the Gypsy in George Morland’s Morning, or the Benevolent Sportsman | The Face of Saartjie Baartman: Rowlandson, Race and the ‘Hottentot Venus’ | Blake, Linnell and Varley and A Treatise on Zodiacal Physiognomy | William Blake’s Sodomites | Edward Harding and Queen Charlotte | John Everett Millais, James Wyatt of Oxford and a Volume of Retzsch’s Outlines to Shakespeare: a Missing Link | An Aesthetic Sitter on an Empire Sofa: William Blake Richmond’s Portrait of Mrs Luke Ionides | ‘A dose of Paradise’: Some Effects of Renaissance Drawings on Victorian Artists

PART III: PRINTS

Introduction: A Fine Line: Collecting, Communication and the Printed Image | ‘I will not alter an Iota for any Mans Opinion upon Earth’: James Gillray’s Portraits of William Pitt the Younger | Amorous Antiquaries: Sculpture and Seduction in Rowlandson’s Erotica | Infernal Machines in Nineteenth-Century France | Wood-engravings from the Collection of Francis Douce at the Ashmolean Museum | ‘The Human Element’: The Contribution of C.R.W. Nevinson and Eric Kennington to the Britain’s Efforts and Ideals Lithographic Project of 1917 | Idea and Reality: Edvard Munch and the Woodcut Technique | John Heartfield: A Political Artist’s Exile in London | David Bindman’s Publications | Tabula Gratulatoria | Image Credits