{"id":13184,"date":"2021-09-17T01:31:48","date_gmt":"2021-09-16T22:31:48","guid":{"rendered":"https:\/\/www.arthipo.com\/artblog\/?p=13184"},"modified":"2021-09-17T01:31:48","modified_gmt":"2021-09-16T22:31:48","slug":"british-art-history","status":"publish","type":"post","link":"https:\/\/www.arthipo.com\/artblog\/en\/history-of-art\/british-art-history.html","title":{"rendered":"British Art History"},"content":{"rendered":"

British Art History, Its Development, Important Periods, Art of the United Kingdom<\/h2>\n

British art history is a rich culture that continues on several different continents and carries the influences of many subcultures. Today, it is still one of the countries with the highest demand for works of art. We will examine the development of British art history by dividing it into several different periods. Art of the United Kingdom:<\/p>\n

Early British Art Development Art of the United Kingdom<\/h3>\n

Some of the earliest examples of English art come from the magnificent metalwork of the Anglo-Saxon period and the stone churches, monasteries and castles of the early Middle Ages. Very rare, early decorative artifacts have also been found in churches in Saxon England, including the Lindisfarne Bibles (690-750 AD), famous for their intricately patterned lace. Buildings such as Exeter Cathedral (St Peter’s Cathedral Church) still stand today as an example of early Gothic architecture, although there are few remnants of their original interiors. The cathedral’s Norman Towers were completed in 1133, while the west facade image display is considered one of the greatest architectural features of Medieval England.<\/p>\n

According to art historian EH Gombrich, artists (or rather artisans as they were then thought) began to create “copied from old books and rearranged” images of the apostles and the Virgin Mary. Yet most of the decorative and religious arts produced in the middle ages (410-1485 AD) were destroyed during the century of iconoclasm that began when King Henry VIII dissolved monasteries under the English Reformation. In founding the Protestant Church (and thus breaking with the rule of Roman Catholicism), the monarch sanctioned the destruction of the art housed in churches and cathedrals, and thousands of statues, paintings, carvings and stained glass windows were smashed and burned.<\/p>\n

British Art History Renaissance Period<\/h3>\n

The period of the English Renaissance (circa 1520 – 1620) differed from the early Italian Renaissance in that playwrights and poets were given higher social status than visual artists. However, religious painting, widely demonized in the visual arts as a remnant of the Catholic church, was overtaken by portraiture (1485-1603), which played a dominant role in promoting the Tudor dynasty. But a German painter who actually worked in England became one of the greatest artists of the English Renaissance. Hans Holbein, Henry VIII’s court painter, was the artist who did the most to bring to life the Tudor era, which he did by idealizing the king.<\/p>\n

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Hans Holbein, British Art History Renaissance Period.jpg<\/p><\/div>\n

The transition to the Elizabethan era (daughter of Henry VIII and Anne Boleyn, crowned Elizabeth I in 1558) brought with it a period of great social upheaval, though not reflected in her portrait. Indeed, as portrait painting grew in popularity, artists who found themselves previously employed in the church brought with them the serene hieratic quality of religious painting. There are numerous portraits of English ruling classes from this period, but relatively little is known about the men (or women) who painted them. Few portraits have been attributed to George Gower, the first Englishman appointed as the Queen’s Serjeant Painter in 1581. Gower’s work, though infused with all the gentle and subtle qualities of the best portraits; Elizabethan architecture tended to reflect a period in post-Reformation Britain seeking glory and inheritance.<\/p>\n

The Effects of the Seventeenth Century and the Enlightenment on British Art History<\/h3>\n

The second half of the seventeenth century saw advances in science and (largely led by Christopher Wren) artists and thinkers began to look to the natural world as the source of all knowledge. C. Wren produced drawings of magnified creatures such as a flea and a louse, while Peter Lely shocked the public with his sensual nudes.<\/p>\n

London of the 1690s The London of the 1690s, which had become the largest metropolis in the Western world, coincided with the birth of the age of “scientific reason” and travelers from all over the country began to live in the changing city. Fortune was documented by the portraitist and satirist William Hogarth. Hogarth is credited as the first to create a British Art School. His “modern moral issues” were groundbreaking, not only in their frank subject matter but also in the role of the artist. Indeed, Hogarth was the first artist to support himself financially (regardless of wealthy patronage), and his role set a precedent for many of the artists who followed him. Enlightenment philosophy can also be seen in George Stubbs’s anatomically precise horse paintings. Meanwhile, far from the capital, Enlightenment themes were openly explored by Joseph Wright of Derby, who aligns his art, if more theatrical, with the scientists, industrialists, and inventors of the Industrial Revolution. D. J. Wright was originally known for using industrial scenes and lighting for dramatic effect. (It has been said that D. J. Wright aspires to be a portrait artist but was discouraged from seeing Thomas Gainsborough’s work.)<\/p>\n

Royal Academy, Art of the United Kingdom<\/h3>\n

The idea of \u200b\u200bthe Academy dates back to the 4th century BC, when Plato founded a school to teach philosophy. Raphael did the same with the School of Athens in 1509. Shortly after its founding, their popularity and important links between the central academies and the state spread throughout Europe in the 18th century. Academies were vital to the development of national schools of painting and sculpture, and for most artists the aspiration remained the culmination. Although the academies also produced talented portraitists and still life painters, artists learned academic subjects such as history in addition to practical skills, as history painting was seen as the most in-demand genre, borrowing subjects from literature, mythology, and the Bible. Another and most important function of the Academy was to provide a regular exhibition space for artists.<\/p>\n

In 1768, a group of 36 artists and architects, including four Italians, a French, a Swiss, and two women, joined King III to “establish a society to promote the Art of Design”. He signed a petition that was given to George. The Royal Academy of Arts, known as the RA \u2013 emerged as an independent institution run by artists, with an elected President, after gaining his approval. 18th century and Royal Scholars have included Angelica Kauffman, Mary Moser, Thomas Gainsborough<\/a>, and John Everett Millais<\/a>.<\/p>\n

British Art History Romanticism<\/h3>\n

With the rise of Romanticism, many artists began to question the central authority of the Academy. Indeed, at the end of the 18th century, many artists were rejecting authority completely. The modernists formed an opposition to “academic” art, which they rejected as old-fashioned and moribund.<\/p>\n

Welshman Richard Wilson is considered a pioneer among Romantic landscapers. A close acquaintance of the French painter Joseph Vernet, Wilson was influenced by the landscapes of Claude Lorrain and Gaspard Dughet and interpreted English and Italian landscapes in a style that earned him the nickname “English Claude”.<\/p>\n

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Galli Richard Wilson British Art History Romanticism<\/p><\/div>\n

Romanticism flourished as a reaction to the unbiased objectivity of science and the restrictive rules of RA. At the end of the 18th century, artists began to turn inward, invoking the senses and emotions for inspiration. William Blake was one of the leading Romantic “rebels”, and his extremely exciting explorations in art and poetry paved the way for a new generation of artists, among them John Constable and JMW Turner, arguably the two greatest painters in British history.<\/p>\n

The rise in British Romanticism would coincide with the new Regency Period in the history of British rule. While there is some disagreement as to when it began and ended, the entry to the Regency galleries at the National Portrait Gallery “describes a distinctive period in British social and cultural life spanning forty years from the start of the French Revolution of 1789.<\/p>\n

Pre-Raphaelite Brotherhood and Arts and Crafts Movement<\/h3>\n

Founded in 1848 by John Everett Millais, Dante Gabriel Rossetti, and William Holman Hunt, the Pre-Raphaelite Brotherhood presented a stronger challenge to “official” art in British history than the Ancients. Opposed to the domination of the British Royal Academy and its narrow preference for Victorian subjects and styles, which owed it to the early Italian Renaissance and Classical Art, the Pre-Raphaelites looked to an earlier (pre-Raphaelite) era. The group believed that pre-Renaissance painters provided a better template for realistically portraying nature and the human body, and that medieval artists offered an alternative vision to the harsh and idealistic academic approaches of the mid-19th century.<\/p>\n

Female Artists<\/h3>\n

Emily Mary Osborn was the foremost artist associated with the arts and women’s rights campaign in arts education during the Victorian era. She trained as an artist at Dickinson academy on Maddox Street and became a well-known figurative genre painter of “obscene characters” in the 1850s. She became associated with Barbara Bodichon’s Langham Place area and the Association of Women Artists, both of which fiercely fought for women’s rights. In 1859, Osborn was one of the signatories of the petition to have the Royal Academy of Arts open its doors to female students and the 1889 Declaration on the Suffrage for Women. Known for her pioneering photographic portraits, the images of Julia Margaret Cameron were considered innovative. His portraits were often deliberately out of focus.<\/p>\n

British Museum<\/h3>\n

The British Museum<\/a> was the world’s first public museum, housed in a seventeenth mansion called Montagu House in Bloomsbury, offering free admission to all “hardworking and curious people”. Opened in 1759, the museum owes its origins to the doctor and naturalist Sir Hans Sloane. After collecting around 70,000 artifacts during his lifetime, he put his collection to King II. He bequeathed to George and the state on the condition that \u00a320,000 be paid to his surviving family. Parliament accepted his proposal and the British Museum was duly established. The original collection consisted of books, manuscripts, specimens from the natural world, and various coins, medals, prints, and drawings.<\/p>\n

British National Art Galleries<\/h3>\n

The British Museum witnessed the founding of three of Britain’s most important national arts institutions. The National Gallery, the National Portrait Gallery and the National Gallery of British Art were all located in London. In April 1824 the House of Commons agreed to purchase John Julius Angerstein’s collection of paintings at a cost of \u00a357,000. Consisting of just 38 paintings, this acquisition would form the core of a new national collection to be displayed publicly for the “entertainment and education of all”.<\/p>\n

British Art History Impressionism Period<\/h3>\n

Americans John Singer Sargent and James Whistler may have inspired the British Impressionist movement. Arriving in London in 1863, Whistler taught Walter Richard Sickert and Wilson Steer, and between them they founded the New English Art Club (NEAC) in 1886. Three years later, Sickert (who would become a founding member of the post-Impressionist) Camden Town Group, along with Wilson and other members of NEAC, organized an exhibition of London Impressionists. Meanwhile, in 1885 Singer Sargent arrived from Paris, where he met the great Claude Monet. Over the next few years, Singer Sargent contributed greatly to Impressionism in England with arguably his most famous painting, Carnation, Lily, Lily, Rose (1885-6).<\/p>\n

Fin de Siecle, New Art and Deco Art<\/h3>\n

Fin de Si\u00e8cle, a French term used to describe symbolism, the Decadent movement and related styles, particularly Art Nouveau, reached the peak of its popularity in the 1890s. As the century drew to a close, the term denoted a sense of apocalyptic fear.<\/p>\n

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Bloomsbury Group<\/p><\/div>\n

The Bloomsbury Group was a group of British writers, philosophers and artists in the Bloomsbury area of \u200b\u200bLondon, close to the site of the British Museum. Writers and artists would meet for a drink and a chat at the home of artist Vanessa Bell and her writer sister Virginia Stephen. Formed in 1905, the core group consisted of artists Duncan Grant, John Nash, Henry Lamb, Edward Wadsworth, and art critic Roger Fry.<\/p>\n

Camden Town Group<\/h3>\n

Formed from the anti-establishment Allied Artists Association, The Camden Town Group takes its name from the cosmopolitan and vibrant area of \u200b\u200bnorth London where its members reside. Despite the fact that they produced some notable Post-Impressionist landscapes, the Group, made up of artists such as Gore, Harold Gilman, and Walter Sickert, aimed to reflect the realities of modern urban life.<\/p>\n

Whirlpool<\/h3>\n

Named after the English painter, satirist, critic and philosopher Wyndham Lewis and the American poet Ezra Pound, the Whirlpools were Britain’s first radical avant-garde group.<\/p>\n

British Surrealism<\/h3>\n

The emergence of fascism in Europe in the 1930s turned the contemporary art world upside down. As Chris Stephens notes, “discussions have arisen, not only between the avant-garde and academia, but also among modern artists over the appropriate response to the rise of fascism. Abstract artists, Surrealists, and Social Realists have all interpreted this political imperative. And British Surrealism is this ambiguity. British poet David Gascoyne withdrew to Paris in the early 1930s, mostly confined to two groups, one in London and the other in Birmingham.In the early 1930s, he made an accidental encounter with the British artist and historian Roland Penrose and the poet Paul Eluard, inspired by the French Surrealists. After meeting, he set out to forge concrete links between the British and French Surrealists.In fact, Gascoyne wrote the “First British Surrealist Manifesto” in 1935.<\/p>\n

Euston Road School<\/h3>\n

Born from a left-wing political position in the mid-20th century by William Coldstream, Victor Pasmore and Claude Rogers, he treated traditional issues in a realistic fashion.<\/p>\n

St Ives School<\/h3>\n

The St Ives school became the center of modern and abstract developments in English art. Inspiring the work of school artists, West Cornwall in the South West of England has also been a place of pilgrimage for many painters.<\/p>\n

Art of War<\/h3>\n

The British War Advisory Plan, chaired by Kenneth Clark, Director of the National Gallery, under the direction of the Government Department of Information, was established in 1939. He chose his artists on the condition that they make more than just posters and brochures, with the main purpose of creating images for propaganda purposes. By the end of the war, the official war collection consisted of more than 5000 artifacts.<\/p>\n

British Art History is examined in the article. Art of the United Kingdom.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

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