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A carregar... Illustrating Camelot (Arthurian Studies)por Barbara Tepa Lupack
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Arthurian book illustration, which came into its own in the Arthurian Revival of the nineteenth century and began to flourish as an important art form, has done more than any other visual art to shape notions of King Arthur and his court and to introduce the legends to the widest possible audience. Yet to date there has been no comprehensive study of Arthurian illustration. Illustrating Camelot fills this critical gap, by examining the special collaboration between illustrators and authors and exploring the ways that the best Arthurian illustrators move beyond mere reproduction to become interpretive readers of the texts they embellish. In versions that range from illustrated editions of Tennyson's Idylls of the King to the numerous editions and popular children's retellings of Malory's Morte d'Arthur and in forms that range from Julia Margaret Cameron's landmark photographic portraits to Russell Flint's lush watercolours, from Gustave Doré's Gothic-styled engravings to Howard Pyle's American-inspired drawings, these illustrators - as this pioneering volume demonstrates - not only reinterpret the timeless tales but also reflect the values of their age. Richly illustrated with both colour and black and white plates, the book will appeal to anyone interested in the stories of King Arthur and the world of Camelot. BARBARA TEPA LUPACK is former Academic Dean at SUNY and Fulbright Professor of American Literature in Poland and France. erican-inspired drawings, these illustrators - as this pioneering volume demonstrates - not only reinterpret the timeless tales but also reflect the values of their age. Richly illustrated with both colour and black and white plates, the book will appeal to anyone interested in the stories of King Arthur and the world of Camelot. BARBARA TEPA LUPACK is former Academic Dean at SUNY and Fulbright Professor of American Literature in Poland and France. erican-inspired drawings, these illustrators - as this pioneering volume demonstrates - not only reinterpret the timeless tales but also reflect the values of their age. Richly illustrated with both colour and black and white plates, the book will appeal to anyone interested in the stories of King Arthur and the world of Camelot. BARBARA TEPA LUPACK is former Academic Dean at SUNY and Fulbright Professor of American Literature in Poland and France. erican-inspired drawings, these illustrators - as this pioneering volume demonstrates - not only reinterpret the timeless tales but also reflect the values of their age. Richly illustrated with both colour and black and white plates, the book will appeal to anyone interested in the stories of King Arthur and the world of Camelot. BARBARA TEPA LUPACK is former Academic Dean at SUNY and Fulbright Professor of American Literature in Poland and France. Não foram encontradas descrições de bibliotecas. |
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 Google Books — A carregar...GénerosSistema Decimal de Melvil (DDC)704.947The arts Modified subdivisions of the arts Special topics in fine and decorative arts Iconography Mythology and artClassificação da Biblioteca do Congresso dos EUA (LCC)AvaliaçãoMédia: (4)
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And what a text it is. Using thirteen named illustrators as her framework, Barbara Tepa Lupack takes us through two centuries and more of imaging the court of Arthur, commenting on the politics, mores and personalities of the times and their inter-relationship with the depiction of the Arthurian ideal.
The casual reader may well be familiar with a number of the main illustrators who provide the chapter headings – Gustav Doré, Aubrey Beadsley, Walter Crane, Arthur Rackham and Howard Pyle – but may raise a quizzical eyebrow at others such as Dan Beard, Sir William Russell Flint and Hudson Talbott. For the record, Dan Beard is well known to North American readers for his illustrations to Twain’s A Connecticut Yankee in King Arthur’s Court, Flint’s “theatrical” watercolours for Malory influenced many a lesser artist, and Talbott reveals an indebtedness to the visual arts of the late 20th century, especially comic books. The final chapter discusses Anna-Marie Ferguson, best-known as the first ever female illustrator of the Morte Darthur.
There is a lot of pleasure to be had in the reading of this, an obvious labour of love for the author, whose enthusiasm for her subject is as infectious as her wide research is impressive. Every page has something to stimulate the imagination: at random I find that the publication of illustrated Arthurian books between 1890 and 1910 was three times that of the previous five decades (166), that Beardsley “discomforted viewers ... by defamiliarizing familiar objects” (80), and that Howard Pyle’s illustrated Arthurian books were not only a model for behaving but for “Americanizing, or at least democratizing, the medieval legends”.
While disappointed that there is no mention of Lotte Reiniger, whose pseudo-woodcuts so graced the Penguin edition of Roger Lancelyn Green’s King Arthur and his Knights of the Round Table, this reader is grateful for the opportunity to delight in old favourites (like Rackham), be introduced to unfamiliar artists (like Lancelot Speed, who must be a prime example of what New Scientist calls “nominative determinism”) and to place all the artists in their cultural and historical context.
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