Alison Smith (2)
Autor von Prüderie und Leidenschaft - Der Akt in viktorianischer Zeit
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Alison Smith is a curator at Tate Britain. She lives in London, England.
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After the Pre-Raphaelites: Art and Aestheticism in Victorian England (1999) — Mitwirkender — 30 Exemplare
Pre-Raphaelites : Victorian Avant-Garde : Tate Britain : 12 September 2012 - 13 January 2013 (2012) — Curator — 2 Exemplare
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- Nottingham University (B.A.|1984)
Courtauld Institute of Art (M.A.|Ph.D) - Berufe
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Chief curator, National Portrait Gallery, London - Organisationen
- Tate Gallery
National Portrait Gallery, London
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Each section is introduced by a well developed and researched critique ranging from techniques to botanical and natural history, War-time records and modern use of water colour. Each section is clear and well documented. I learned a lot.
One of the things I learned was that a lot of the watercolours use other media such as pen and ink and gouache..or tempera. One of the stars of the Tate collection, of course is Turner with his misty enigmatic watercolours...but. as they point out, Turner was a lot more than just a watercolorist. He was a showman, an marketer extraordinaire, an innovator (as demonstrated with his experimental "colour beginnings" and he painted in oils to a great extent.
I thought that they might have had some of the works of Arthur Rackham but, I guess, his work is more pen and ink with watercolour washes rather than watercolour per se.
It was also interesting to note that for any purposes, watercolour was regarded as rather pedestrian...a tool for surveyors or military artists to record battlefields, or a way of recording injuries and plotting bodily reconstruction. Botanical artists and natural history artists have produced some astonishingly good likenesses of the originals but these have tended to be regarded as museum work and not true art.
The book, underlines the fact that there has been a constant struggle over what really constituted "art". With watercolorists being excluded from the grand art societies at various stages and some forms of the genre being in or out at various times.
If you were never able to get to the original exhibition (and I certainly was unable to see it). then this book is a great introduction to watercolour. (Though there is a very strong British bias, as one might expect: ...a couple of Chinese paintings produced by journeymen under instructions from English merchants...no Japanese art ..nothing from India and so on).… (mehr)