Andrew Wilton

Porträttserien från Engelsberg Ideas höjer upp och ger plats åt de sidofigurer som har satt historiens hjul i rullning. Här finns bland andra Churchills halvt bortglämda högra hand, en av La Belle Epoques parisiska ledstjärnor som försvunnit i historiens dunkel och en tidig rymdpionjär som är nästan helt okänd utanför sitt hemland Ryssland. Historien tillhör inte bara de allmänt kända, utan också de andra: de män och kvinnor som plötsligt fann sig framdrivande i en flod av händelser eller som gjorde unika inlägg i sin tids stora debatter. Genom den här serien visar oss ledande skribenter hur individer har format den värld vi känner till, och undersöker deras framgångar lika mycket som deras misslyckanden. Den engelsk­tyska romanförfattaren W. G. Sebald skrev vid det senaste sekelskiftet "allting faller ständigt i glömska med varje utsläckt liv". I Porträtt ur historien hittar vi de dunkla spåren av spännande liv som levts och rekonstruerar dem omsorgsfullt för att de återigen ska få glänsa, starkt och levande, här och nu.

Turner as Draughtsman looks at the artist's practice of drawing in various media (pen, pencil and chalk as well as watercolour and oil paint), an aspect of Turner's work which has hitherto received very little attention. Andrew Wilton shows that, while Turner's art has always been celebrated for its atmospheric breadth and freedom of handling, he based his working procedures throughout his career on the discipline of drawing in outline, which was an essential element in the grand strategy by which he achieved his formidable results. An important section of the book is devoted to the vexed question of Turner's drawing of the human figure, and the crucial role played by the figure both in his conception of landscape and in his ambitious attempts to master all the genres of fashionable contemporary art.

More than two hundred illustrations, an illustrated chronology, and critical artistic analysis trace the life of the nineteenth-century British landscape painter, describes the influences on his remarkable work, and attempts to portray his complex and mysterious personality.

Turner as Draughtsman looks at the artist's practice of drawing in various media (pen, pencil and chalk as well as watercolour and oil paint), an aspect of Turner's work which has hitherto received very little attention. Andrew Wilton shows that, while Turner's art has always been celebrated for its atmospheric breadth and freedom of handling, he based his working procedures throughout his career on the discipline of drawing in outline, which was an essential element in the grand strategy by which he achieved his formidable results. An important section of the book is devoted to the vexed question of Turner's drawing of the human figure, and the crucial role played by the figure both in his conception of landscape and in his ambitious attempts to master all the genres of fashionable contemporary art.

Britain has played a key part in the history of the last five centuries, and its art reflects this in absorbing and complex ways. The distinguished art historian Andrew Wilton traces the story of British painting from its hesitant beginnings under the influence of Holbein through its maturity in the time of Hogarth and Reynolds, when it reflected a prosperous society with growing imperial influence. The pioneering role of Constable and Turner in the revolutions of the Romantic period is fully explored, and the enigmatic position of artists in Victorian England, when a stiff moral code came into conflict with the uncertainties of the age of Darwin. Consistent undercurrents revealed include Britain’s preference for the real world (landscape, portraiture) as against ‘high’ art and abstraction. Andrew Wilton offers new insights into the great personalities of British painting, and assesses afresh the latest flowering, in which many threads of modern art come together in sometimes startling guises.