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Comment: Publisher: Oxford University Press
Date of Publication: 1999
Binding: hard cover
Edition: First Edition
Condition: Very Good/Very Good
Description: 8vo - over 7¾" - 9¾" tall 0192100467 In the Oxford History of Art series, 1st edition, large 8vo, 248pp, photo reproductions, VG+ Copy in VG+ DJ
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Landscape and Western Art (Oxford History of Art) Hardcover – 1 Feb 2000

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Product details

  • Hardcover: 256 pages
  • Publisher: Oxford University Press; First Edition edition (1 Feb. 2000)
  • Language: English
  • ISBN-10: 0192100467
  • ISBN-13: 978-0192100467
  • Product Dimensions: 17.3 x 1.3 x 23.9 cm
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 706,793 in Books (See Top 100 in Books)
  • See Complete Table of Contents

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Product Description


"A splendid text ... with images both celebrated and startling, he shows landscape as a contruction, a theatre in which humans act and enjoy seeing themselves act."--Professor Richard Thomson, Edinburgh University"A very accomplished surveyof a notoriously complex and elusive subject ... nothing--not even words like 'environment' and 'art' is left unquestioned."--Andrew Wilton, Keeper and Senior Research Fellow, Tate Gallery"Highly intelligent ... it insists that hte making of landscape is inseperable from the history of the moment of its production, but also recognizes the intense personal experiences that motivate it."--Professor John House, Courtauld Institute of Art --This text refers to the Paperback edition.

About the Author

Malcolm Andrews is Professor of Victorian and Visual Studies at the University of Kent. He is the author of Dickens on England and the English, The Search for the Picturesque, and Dickens and the Grown-up Child. He has edited a three-volume anthology, The Picturesque: Sources and Documents and is currently editor of the journal The Dickensian.

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A 'landscape', cultivated or wild, is already artifice before it has become the subject of a work of art. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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4 of 5 people found the following review helpful By Lionel R. Playford on 24 July 2011
Format: Paperback
Thought provoking and readable discussion on the origins of the western tradition of landscape art and its evolution into a pure art and its refocus in the late 20th century into land art. As a landscape painter and fine art tutor it is always good to get well researched argument and new ideas as well as accurate historical information about what motivated and informed artists in the past.
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3 of 4 people found the following review helpful By Andrew Colvin on 18 Nov. 2011
Format: Paperback Verified Purchase
Having slogged my way through the out-dated patrician sentiments about Landscape Art of Lord Clark of Civilisation, this was a refreshing change - he doesnt shy away from the real content of the pictures, the upper classes' self-indulgences for instance, and writes in langugae which is only occassionally obscure - but Derrida is hard to explain at the best of times. I recommend this clear-sighted overview of the subject.
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2 of 3 people found the following review helpful By Geoffrey Bertram on 25 Mar. 2013
Format: Paperback Verified Purchase
This is an indepth analysis of the changing attitudes to landscape art, from the middle ages to modern times. Of particular interest is how our perception of both landscape and landscape bawd art today is conditioned by the past.
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Most Helpful Customer Reviews on (beta) 4 reviews
11 of 11 people found the following review helpful
Thought provoking 27 Dec. 2009
By James - Published on
Format: Paperback
This book is an thought provoking continuation of the 1962 discussion on "landscape art" that art historian Kenneth Clark introduced in his pioneering work "Landscape into Art".
This is NOT an easy read nor "the history of landscape" as the title suggests but rather a discussion of key themes in landscape art such as landscape as cultural construct, political catalyst, topography, and practices of "framing the view" appropriate for those educated in art history. The many wonderful but small reproductions serve to illustrate the concepts presented throughout the text.
21 of 25 people found the following review helpful
Excellent Smart Study 27 Aug. 2007
By Doug - Haydn Fan - Published on
Format: Paperback Verified Purchase
This book faces two usually insurmountable hurdles - first, designing an art book in a smallish size, with the corresponding destruction of anything like a scale appreciation for larger images true size; and second, covering an enormous amount of material in a very short text.
The first remains an indefensible decision, and there's no more to be said. As for the second hurdle, Andrews does a fine job of what baseball pitchers refer to when they wiggle out of endless bases loaded situations without giving up a run - walking between the raindrops. This scholarly act of prestidigatation calls for hearty applause - usually such surveys are either too careful or too general. Happily this book is neither, but rather thought-provoking and sagacious.

Andrews success seems to lie in an acquired acceptance that for all the modern kitchen sink tools applied to art history - from Levi-Straussian anthropology to historical statistical anaylysis to Foucault's deconstructionist revisionism, there remains an abiding need for aesthetic appreciation. As one reads through the book, a sort of moderated mediatation or commentary on what is landscape, how we see it, a large array of such new thinking pops up, many contemporary responses about the nature of landscape are offered. Yet in the end Andrews falls back, and rather slyly I might add, on a sort of updated aestheticism. The distinction, and the difference Andrews makes with this old tool is surprising. The material comes across with a clarity and directedness absent from the more typical contemporary approaches to art, approaches emphasizing far more than the works of art, usually at the expense of shrinking down their full import in a maze of dubious cross-referencing.

Andrews greatest gift is confidence - he conveys a supreme sureness whatever he is writing about. In an age of relative values Andrews' certainty reverberates with an insolent disdain for doubt. (I am reminded of one critic's snickering potshot at A.L. Rowse's offhand dismissal of alternate Shakepeare author theories as pure nonsense - "for Rowse, doubt is an undiscovered country.") But Andrews, for all of that, is very much the modern, quite up on the various formalized readings and professional jargon. He has taken the measure of each of these chimeras and gone back to draw his own conclusions around an aesthetic largely free of post-modern cant. For Andrews the modern critical methodologies are but tools, used when needed, and not self-indulgence repudiating the reader in deliberately obtuse and hermetic language. And a huge bonus - Andrews is fun to read, displaying an extraordinarily adept mind; his questions and examples rarely failing to not only make his point, but develop it.

Having showered the author with praise I must point out one caveat: unlike Kenneth Clarke, who invariably seemed to put his figure on the one painting defining an age or movement, Andrews sometimes misses the obvious. A discussion of Niagara which is posed to rightly culminate in Church's great masterpiece suddenly veers off into a discussion of the Panorama, interesting enough as idea, but invariably second rate art. In deliberately thumbing an intellectual nose at Church, Andrews reveals some blind spots - he fails to understand what connects Church's greatest work with the early Wright's prairie architecture - land-gripping yet enclosed and interlocking horizontals celebrating the continent's scale. I find it strange indeed that such a book could fail to register Wright's influence and importance on our view of landscape. Next to these responses to the New World Andrew's Panoramas appear quite naked, generalized and simplistic. Although they fit nicely into his argument, he misses the chance to look beyond and over the edge, as it were. This blatant Eurocentric reading of American art continues on in a discussion of imperialist viewpoints and uninteresting observations on the over-rated Bierstadt: for Andrews the historical connections of American painting outweigh the purely artistic. The result? Even a century and half later Europeans refuse to take seriously our greatest landscape artist Church because he doesn't fit their critical template.
Despite these peccadilloes this remains a first rate book, and a must for any Art History collection.
2 of 2 people found the following review helpful
Great Intro 5 Feb. 2013
By N. Serrano - Published on
Format: Paperback Verified Purchase
Great intro to the subject. Note that this book is not a basic inventory of important works so much as overview of important historical themes. More appropriate for art historian.
Five Stars 10 Dec. 2014
By sheena furlong - Published on
Format: Paperback Verified Purchase
Great book big help in writing essays
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