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My Autobiography and Reminiscences
The celebrated Victorian narrative painter William Powell Frith (1819–1909) was a born raconteur. His two-volume autobiography of 1887 ran to three editions in the same year. The third edition is reissued here, together with its supplementary volume of 1888. Frith was an ideal commentator on his age. He never lost his early interest in literary and historical subjects, and moved in the highest artistic and literary circles. Yet he also saw himself as a man of the people. His most famous works were his 'modern-life' panoramas, Ramsgate Sands (1854), Derby Day (1858) and The Railway Station (1862). Discussing such projects, he reflects on everything from costume to portraiture, art dealers to female artists, and even picture frames. In Volume, 2 Frith discusses his Hogarthian subjects, 'Dickens and his Beard' (the story behind the famous portrait), and his last great crowd scene, A Private View at the Royal Academy (1883).
R 1,845.49
My Autobiography and Reminiscences
The celebrated Victorian narrative painter William Powell Frith (1819–1909) was a born raconteur. His two-volume autobiography of 1887 ran to three editions in the same year. The third edition is reissued here, together with its supplementary volume of 1888. Frith was an ideal commentator on his age. He never lost his early interest in literary and historical subjects, and moved in the highest artistic and literary circles. Yet he also saw himself as a man of the people. His most famous works were his 'modern-life' panoramas, Ramsgate Sands (1854), Derby Day (1858) and The Railway Station (1862). Discussing such projects, he reflects on everything from costume to portraiture, art dealers to female artists, and even picture frames. Volume 1 covers his childhood, training, friendships with Dickens and others, and the phenomenal success of his first crowd scenes, up to and including The Marriage of the Prince of Wales (1865).
R 1,959.70
My Autobiography and Reminiscences
The celebrated Victorian narrative painter William Powell Frith (1819–1909) was a born raconteur. His two-volume autobiography of 1887 ran to three editions in the same year. The third edition is reissued here, together with its supplementary volume of 1888. Frith was an ideal commentator on his age. He never lost his early interest in literary and historical subjects, and moved in the highest artistic and literary circles. Yet he also saw himself as a man of the people. His most famous works were his 'modern-life' panoramas, Ramsgate Sands (1854), Derby Day (1858) and The Railway Station (1862). Discussing such projects, he reflects on everything from costume to portraiture, art dealers to female artists, and even picture frames. In particular, Volume 3 records the breakdown of the talented Richard Dadd, Frith's admiration for Daniel Maclise, John Tenniel and George du Maurier, and reflections on the vagaries of fashions in art.
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Viva Mayr Diet
A glass of wine at dinner and a flatter stomach in 14 days? Yes girls, it can be done! The Viva Mayr Diet is the savvy diet for people in the real world who want to get a bikini body and revamp their health with ease. It's based on the world-famous Viva Mayr spa clinic in Austria, the hottest health and weight loss destination in Europe. After 14 days your stomach will be flatter, your skin will be glowing, you'll have a spring in your step and you'll be well on your way to getting a fabulous beach babe body. You'll feel so good you'll want to make The Viva Mayr Diet a way of life - and let's face it girls, if you want to make a permanent dent into those love handles you've got to look a bit further into the future. The difference is that after the 14 days you'll be hooked and it should feel as natural following The Viva Mayr Diet as it is reaching for your lip gloss. Dr Harald Stossier, the medical genius behind it all, has teamed up with Helena Frith Powell, former serial dieter and author of Two Lipsticks and a Lover. Together they will take you through the simple principles of the diet, open your eyes to why following it makes perfect sense and walk you step-by-step through the 14-day practical plan. Dr Stossier and Helena also share their experiences of following the diet with rare insight and humour, telling you what to expect, how to avoid any pitfalls and how to reap the benefits of looking and feeling better than you have done in years. Sneak preview facts every girl should know:• Agonising over water or wine at dinner? Make it wine every time!• Stop eating on the move! Eating when you're all stressed out is your no.1 enemy.• Eat a cheese burger really slowly and it'll be better for you than wolfing down an all-organic fancy salad.• Never, ever skip breakfast! If you're really that busy, drop dinner from your day instead.
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Pictures-within-Pictures in Nineteenth-Century Britain
Repainting the work of another into one’s own canvas is a deliberate and often highly fraught act of reuse. This book examines the creation, display, and reception of such images. Artists working in nineteenth-century London were in a peculiar position: based in an imperial metropole, yet undervalued by their competitors in continental Europe. Many claimed that Britain had yet to produce a viable national school of art. Using pictures-within-pictures, British painters challenged these claims and asserted their role in an ongoing visual tradition. By transforming pre-existing works of art, they also asserted their own painterly abilities. Recognizing these statements provided viewers with pleasure, in the form of a witty visual puzzle solved, and with prestige, in the form of cultural knowledge demonstrated. At stake for both artist and audience in such exchanges was status: the status of the painter relative to other artists, and the status of the viewer relative to other audience members. By considering these issues, this book demonstrates a new approach to images of historic displays. Through examinations of works by J.M.W. Turner, John Everett Millais, John Scarlett Davis, Emma Brownlow King, and William Powell Frith, this book reveals how these small passages of paint conveyed both personal and national meanings.
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R 415.00
Cambridge Companion to Pop and Rock
This Companion maps the world of pop and rock, pinpointing the most significant moments in its history and presenting the key issues involved in understanding popular culture's most vital art form. Expert writers chart the changing patterns in the production and consumption of popular music, the emergence of a vast industry with a turnover of billions and the rise of global stars from Elvis to Public Enemy, Nirvana to the Spice Girls. They trace the way new technologies - from the amplifier to the internet - have changed the sounds and practices of pop and they analyse the way maverick entrepreneurs have given way to multimedia corporations. In particular they focus on the controversial issues concerning race and ethnicity, politics, gender and globalisation. Contains full profiles of a selection of figures from the pop and rock world.
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Performing Rites
Who's better? Billie Holiday or P. J. Harvey? Blur or Oasis? Dylan or Keats? And how many friendships have ridden on the answer? Such questions aren't merely the stuff of fanzines and idle talk; they inform our most passionate arguments, distil our most deeply held values, make meaning of our ever-changing culture. In Performing Rites, one of the most influential writers on popular music asks what we talk about when we talk about music. What's good, what's bad? What's high, what's low? Why do such distinctions matter? Instead of dismissing emotional response and personal taste as inaccessible to the academic critic, Simon Frith takes these forms of engagement as his subject - and discusses their place at the very centre of the aesthetics that structure and colour our lives. Taking up hundreds of songs and writers, Frith insists on acts of evaluation of popular music as music. Ranging through and beyond the twentieth century, Performing Rites puts the Pet Shop Boys and Puccini, rhythm and lyric, voice and technology, into a dialogue about the impact of popular aesthetics on our lives. How we nod our head or tap our feet, grin or grimace or flip the dial; how we determine what's sublime and what's `for real' - these are part of the way we construct our social identities, and an essential response to the performance of all music. Frith argues that listening itself is a performance, both social gesture and bodily response. From how they are made to how they are received, popular songs appear here not only meriting aesthetic judgements but also demanding them, and shaping our understanding of what all music means.
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R 214.00
Bodyline Autopsy
In 1932, England's cricket team, led by the haughty Douglas Jardine, had the fastest bowler in the world: Harold Larwood. Australia boasted the most prolific batsman the game had ever seen: the young Don Bradman. He had to be stopped. The leg-side bouncer onslaught inflicted by Larwood and Bill Voce, with a ring of fieldsmen waiting for catches, caused an outrage that reverberated to the back of the stands and into the highest levels of government. Bodyline, as this infamous technique came to be known, was repugnant to the majority of cricket-lovers. It was also potentially lethal - one bowl fracturing the skull of Australian wicketkeeper Bert Oldfield - and the technique was outlawed in 1934. After the death of Don Bradman in 2001, one of the most controversial events in cricketing history - the Bodyline technique - finally slid out of living memory. Over seventy years on, the 1932-33 Ashes series remains the most notorious in the history of Test cricket between Australia and England.David Frith's gripping narrative has been acclaimed as the definitive book on the whole saga: superbly researched and replete with anecdotes, Bodyline Autopsy is a masterly anatomy of one of the most remarkable sporting scandals.
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