Books in the British Art: Histories and Interpretations since 1700 series

This book is a wide-ranging exploration of the production of Victorian art autograph replicas, a painting's subsequent versions created by the same artist who painted the first version.

Rooted in the study of objects, this book addresses the role of art and visual culture in discourses surrounding nuclear science and technology, atomic power, and nuclear warfare in Cold War Britain. Far from insular in its concerns.

Painting Labour in Scotland and Europe, 1850-1900 sets out systematically to discuss the Scottish rural painting in relation to its particular Scottish historical context, both sociological and aesthetic and its English and European counterparts. Alongside canonical Scottish images by major figures such as James Guthrie.

This first in-depth study of 1860s publication The Graphic and Social Realism uses the approach of media archaeology to unearth the modernity of paintings labeled as Social Realist. Korda shows that the paintings engaged with the changing notions of objectivity and immediacy that nineteenth-century new media cultivated. In doing so.

India in Art in Ireland is the first book to address how the relationship between these two ends of the British Empire played out in the visual arts. It demonstrates that Irish ambivalence about British imperialism in India complicates the assumption that colonialism precluded identifying with an exotic other. Examining a wide range of media, including manuscript illuminations, paintings, prints, architecture, stained glass, and photography, its authors demonstrate the complex nature of empire in India, compare these empires to British imperialism in Ireland, and explore the contemporary relationship between what are now two independent countries through a consideration of works of art in Irish collections, supplemented by a consideration of Irish architecture and of contemporary Irish visual culture. The collection features essays on Rajput and Mughal miniatures, on a portrait of an Indian woman by the Irish painter Thomas Hickey, on the gate lodge to the Dromana estate in County Waterford, and a consideration of the intellectual context of Harry Clarke''s Eve of St. Agnes window. This book should appeal not only to those seeking to learn more about some of Ireland''s most cherished works of art, but to all those curious about the complex interplay between empire, anti-colonialism, and the visual arts.