311 research outputs found
Looking at topographical images
No full textSuggestions from Felicity Myrone about how to approach and define topographical images
British topography: ‘Our real national art form’?
No full textFelicity Myrone explores how topographical art has been defined and categorised since the 18th century – by artists, critics, art historians and collectors
Prints and drawings at the British Museum and British Library
No full textFelicity Myrone explores how prints and drawings are generally encountered in museum and library collections, and how this affects their meaning and status
Putting topography in its place
No full textFelicity Myrone explores how the ‘placing’ of topography and the collections’ perceived status and current accessibility at the British Library is the result of complex and often unintentional sequences of events
What is K.Top?
No full textGeorge III's extensive collection of maps and views is known as the King's Topographical Collection or 'K.Top' for short. Felicity Myrone explores the history and extent of this rich collection, encompassing up to 40,000 items
Rival Queens : Actresses, Performance, and the Eighteenth-Century British Theater /
No full textHistorians of British theater have often noted that the eighteenth century was an age not of the author but of the actor. In Rival Queens, Felicity Nussbaum argues that the period might more accurately be seen as the age of women in the theater, and more particularly as the age of the actress.Historians of British theater have often noted that the eighteenth century was an age not of the author but of the actor. In Rival Queens, Felicity Nussbaum argues that the period might more accurately be seen as the age of women in the theater, and more particularly as the age of the actress.Electronic reproduction.Mode of access: Internet via World Wide Web.Felicity Nussbaum is Distinguished Professor of English at the University of California, Los Angeles. She is the author of numerous books, including The Limits of the Human: Fictions of Anomaly, Race, and Gender in the Long Eighteenth Century.Description based on online resource; title from PDF title page (publisher’s Web site, viewed October 27 2015
‘No Mercenary Views’? Constable’s English Landscape
No full textConstable’s English Landscape 1830–2, a set of twenty-two mezzotints by David Lucas after paintings by the artist, has generally been viewed from art historical and biographical perspectives that connect its irregular production, aesthetic character and commercial failure to the artist’s creative and personal life or the development of Romanticism. This article reveals English Landscape as a less exceptional but more historically revealing artefact by placing it in the wider context of topographical print publishing in the early nineteenth century
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