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Review
'Extraordinary and detailed book...A rich and readable history.' - Tony McIntyre, Building Design, June 25, 2010
'This an important book; it alters your idea of what Georgian art might be.'- Martin Gayford, World Of Interiors, September 2010
'A beautifully produced study...compendious, rich and enormously illuminating account...magnificent book.' John Brewer, Burlington Magazine, August 1, 2010
'Large, splendidly illustrated and as beautiful as an art gallery catalogue...' Patricia Fara, British Journal for the History of Science, August 31, 2010'
...a formidable contribution not only to the histories of art and industry, but also to the history of thought itself. Andrew Wilton, Apollo Magazine, October 2010'
...the quality of illustration is matched by the depth of primary source material that has been consulted...' Pat Hardy, British Art Journal, 2010
'This fascinating and original book... provides a spirited perspective that is entirely new...' Brian Sewell, Evening Standard, 23rd December 2010
"Copiously illustrated and lavishly produced...a notable contribution to the interdisciplinary studies of this area." --Jenny Uglow, The Guardian
`Fox has now assembled her research in a large and extremely impressive book...[which] covers a very broad territory.'
--Charles Saumarez Smith, Financial Times, 27th February 2010
'This an important book; it alters your idea of what Georgian art might be.'- Martin Gayford, World Of Interiors, September 2010
'A beautifully produced study...compendious, rich and enormously illuminating account...magnificent book.' John Brewer, Burlington Magazine, August 1, 2010
'Large, splendidly illustrated and as beautiful as an art gallery catalogue...' Patricia Fara, British Journal for the History of Science, August 31, 2010'
...a formidable contribution not only to the histories of art and industry, but also to the history of thought itself. Andrew Wilton, Apollo Magazine, October 2010'
...the quality of illustration is matched by the depth of primary source material that has been consulted...' Pat Hardy, British Art Journal, 2010
'This fascinating and original book... provides a spirited perspective that is entirely new...' Brian Sewell, Evening Standard, 23rd December 2010
"Copiously illustrated and lavishly produced...a notable contribution to the interdisciplinary studies of this area." --Jenny Uglow, The Guardian
`Fox has now assembled her research in a large and extremely impressive book...[which] covers a very broad territory.'
--Charles Saumarez Smith, Financial Times, 27th February 2010
Product Description
This book is about the people who did the work. The arts of industry encompassed both liberal and mechanical realms - not simply the representation of work in the liberal or fine art of painting, but the mechanical arts or skills involved in the processes of industry itself. Drawing on a wealth of primary sources, Celina Fox argues that mechanics and artisans used four principal means to describe and rationalize their work: drawing, model-making, societies and publications. These four channels - which form the four central themes of this engrossing book - provided the basis for experimentation and invention, for explanation and classification, for validation and authorization, promotion and celebration, thus bringing them into the public domain and achieving progress as a true part of the Enlightenment. The book also examines the status of the mechanical arts from the medieval period to the seventeenth century and explains the motives behind and means by which entrepreneurs, mechanics and artisans sought to present themselves to the world in portraits, and the manner in which industry was depicted in landscape and genre painting, informed by the mechanical skills of close observation and accurate draughtsmanship. The book concludes with a look at the early nineteenth century when, despite the drive by gentlemen of science and fine artists towards specialization and exclusivity, not to mention the rise of the profession of engineers, the broad sweep of the mechanical arts retained a distinct identity within a somewhat chaotic world of knowledge for far longer than has generally been recognized. The debates their presence provoked concerning the relationship of theory to practice and the problematic nature of art and technical education are still with us today.
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