Bibliography Of Eighteenth Century Art And Illustrated Books

This comprehensive bibliography offers a detailed and authoritative guide to the art and illustrated books of the eighteenth century. Featuring extensive listings of works in both English and French, as well as thirty-five plates showcasing the work of key artists of the period, this book is an essential resource for collectors and scholars alike. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Excerpt from Bibliography of Eighteenth Century Art and Illustrated Books: Being a Guide to Collectors of Illustrated Works in English and French of the Period To supply this long-outstanding want. Has been my primary motive in collecting the material now offered in book form, which will, I hope, furnish a key to the treasures so eagerly looked for by the connoisseur, though hitherto, for want of adequate guidance, not always looked for with prudence or with knowledge. My secondary reason - and one, I submit, hardly less worthy of consideration - has been to bring into harmony the productions of English and French literature of a parallel period, and to demonstrate that they are not only not imitative, but that each in its own sphere is creative. The love of pictures has from time immemorial been a passion more or less easily awakened in the human breast, but just as the early rude delineations of art have undergone a radical transformation, so the standard of appreciation has varied with each succeeding age. In the manuscripts of mediaeval times the dulness and monotony of the caligraphy were relieved by the interspersed decorations; and ornamental capitals, arabesque borders, and illuminated miniatures formed a redeeming feature of the text. The xylographic art, pre cursor of the invention of printing, was a maiden attempt to promulgate and popularize the miniature, which gradually developed into its present state of perfection. In woodcut illustrations Italy (the cradle of this art) and Germany took the lead; and the creations of Botticelli, Beham, Albert Durer, and their respective schools were the means of Spreading widely the culture of taste during the early stages of what may be called our art civilization. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Hitherto relegated to the closets of art history and literary studies, book illustration has entered mainstream scholarship. The chapters of this collection offer only a glimpse of where a complete reconfiguration of the visual periphery of eighteenth-century texts might ultimately take us. The use of the gerund of the verb “to reconfigure” in the subtitle of this collection, instead of the corresponding noun, underlines the work-in-progress character of this interdisciplinary endeavour, which aims above all to discern new vistas while charting or revisiting landmarks in the rich field of eighteenth-century book illustration. The specific interpretive lenses through which contributors to this collection re-evaluate the visual periphery of the text cover an array of disciplines and areas of interest; among these, the most prominent are book history and print culture, art history and image theory, material and visual culture, word and image interaction, feminist theory and gender studies, history of medicine and technology. This spectrum could have been even less restrictive and more colourful if it were not for pragmatic and editorial considerations. Nonetheless, its plurality of vision provides a framework for an inclusive and multifaceted approach to eighteenth-century book illustration. Perhaps these essays are most valuable in the practical models they provide on how to tackle the interdisciplinary challenge that is the study of the eighteenth-century illustrated book. The collection as such is the first formal step in an effort to rethink or reconfigure the visual periphery of eighteenth-century texts. It has become clear that the study of the illustrated book of the Age of Enlightenment has the potential of yielding multiple findings, perspectives and discourses about a society immersed in visual culture, skilled in visual communication and reflected in the visual legacy it left behind.

A biographical dictionary of 263 artists who practised between 1700 and 1800 with lists and details of the books that they illustrated.

More than fifty specialists have contributed to this new edition of volume 2 of The Cambridge Bibliography of English Literature. The design of the original work has established itself so firmly as a workable solution to the immense problems of analysis, articulation and coordination that it has been retained in all its essentials for the new edition. The task of the new contributors has been to revise and integrate the lists of 1940 and 1957, to add materials of the following decade, to correct and refine the bibliographical details already available, and to re-shape the whole according to a new series of conventions devised to give greater clarity and consistency to the entries.

Carefully surveys the various schools of engraving throughout the last five hundred years, describing processes and methods as well as the accomplishments of individual artists