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Albert Moore
Albert Moore (1841-93) was one of the most remarkable artists of the nineteenth century. In a single-minded quest for ideal beauty, he created many of the celebrated icons of the Victorian era, yet the progressive ideas that underpinned his life and art have remained cloaked in shadow. Robyn Asleson's monograph - the first to be published on the artist for over 100 years - seeks to restore the artist to his rightful place in art history, while also fleshing out his hitherto mysterious personality and lifestyle. Surveying the whole of Moore's career and drawing on unpublished materials, Robyn Asleson throws a flood of new light on the artist and his work. She presents new evidence to debunk the myth of his hermit-like existence, re-examines his notorious exclusion from Royal Academy membership, and documents his close relationship with Whistler, demonstrating that Moore's influence on his older and more famous friend was far greater than has hitherto been assumed. Moore emerges as the most radical exponent of English Aestheticism, a passionate and audacious crusader for abstract beauty who anticipated the aesthetic concerns of twentieth-century Modernism.
Albert Moore
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Albert Moore
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Albert Moore
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After the Pre-Raphaelites
What happened in Victorian painting and sculpture after the pre-Raphaelites? Aestheticism has been called the next avant-garde movement but attention has centred on literary figures such as Algernon Charles Swinburn, Walter Peter and Oscar Wilde. This volume overviews parallel trends in the visual arts, including the work of Dante Gabriel Rossetti, James McNeil Whistler, Edward Burne-Jones, Simeon Solomon and Albert Moore among others.
The Cult of Beauty
Surveys the aesthetic movement in Victorian England, showcasing artwork from the time period and describing its followers, the different art media used, phases, and eventual exploitation for commercial gain.
The Day the King Died
There was a quaint British convention under which executions were stopped and sentence commuted if scheduled to take place on the day the sovereign died. Alfred Moore was doubly unfortunate: still protesting his innocence he was on the scaffold an hour before the death of King George VI was announced. Here, Jim Morris re-assesses the evidence in this case of the double murder of two police officers and shows why the trial at Leeds Assizes was a travesty of justice - packed with mistakes, inaccuracies, dubious recollections and supposition. Set against the social backdrop of 1950s West Yorkshire, the book stresses the need for caution where witness accounts may be driven by preconceptions or 'fit' too tidily and adds to the voices of those calling for justice in a case in which prosecutors almost certainly got the wrong man. 'I read the book with a growing sense of disquiet and unease and was left with a feeling that a terrible miscarriage of justice might well have occurred': Campbell Malone."
Lord's Dominion
Semple covers virtually every aspect of Canadian Methodism. He examines early nineteenth-century efforts to evangelize pioneer British North America and the revivalistic activities so important to the mid-nineteenth-century years. He documents Methodists' missionary work both overseas and in Canada among aboriginal peoples and immigrants. He analyses the Methodist contribution to Canadian education and the leadership the church provided for the expansion of the role of women in society. He also assesses the spiritual and social dimensions of evangelical religion in the personal lives of Methodists, addressing such social issues as prohibition, prostitution, the importance of the family, and ...
Confessions of a Greenpeace Dropout
Dr. Moore shares an engaging firsthand account of his many years spent as the ultimate Greenpeace insider, a co-founder, and leader in the organization's top committee. Moore explains why, 15 years after co-founding it, he left Greenpeace to establish a more sensible, science-based approach to environmentalism.
The World in Paint
Familiar narratives about the nature of English modernism, &"tradition,&" and &"periodization,&" together with the &"literary&" character of English art from the mid-nineteenth to the early twentieth centuries, are abandoned in this innovative and important book. In their stead, David Peters Corbett proposes a new way of looking at this painting from the Pre-Raphaelites to the Vorticists. Arguing that art history has been too reluctant to confront the fundamental question of how and what the consistency and application of paint signifies, Corbett investigates the work of English artists&—among them Rossetti, Burne-Jones, Leighton, Watts, Whistler, Sickert, and the modernists of 1914 &—through a historical examination of the meanings of the visual in English culture. By revealing that for many artists and thinkers the visual promised to deliver a more profound understanding of the world than language, the book offers a new reading of the art of the period between 1848 and the First World War.
