Sir William Chambers: Architect to George III

Brought up in Sweden by Scottish parents, trained in France, a regular visitor to China and India, Sir William Chambers (1726-1796) was by far the most internationally minded British architect of his time. Settling in London in 1755, Chambers became a favorite of King George III and went on to hold the highest official architectural offices and to build public and private commissions throughout the British Isles. Because of his eclectic neo-Palladian style, seminal Treatise on Civil Architecture (1759), and longterm influence through his numerous pupils, Chambers was regarded as one of the two greatest architects of late eighteenth-century Britain, sharing the honor with the more prolific Robert Adam.In this wide-ranging book, leading scholars of the period present current research on Chambers' Scandinavian and French connections; his Italian studies and projects; his relationship with British royalty; his commissioned buildings, interiors, and gardens; his furniture and metalwork designs; and his Treatise. Chambers designed and commanded works at Buckingham House, Kew, Richmond, and Windsor Castle, and was commissioned in 1774 to design the public offices at Somerset House in London. Charged with creating "an object of national splendour as well as convenience," Chambers met the challenge with a building equal to the best of those created by the French architects with whom he had trained. Selecting the highest quality materials, ornamentation, and painted decoration for Somerset House, Chambers' building showcased the best in British craftsmanship.This book was the catalogue for a William Chambers exhibition mounted in fall 1996 by the Courtauld Institute Galleries at Somerset House, their new home.

Arts & Photography

Courtauld Institute of Art

Nationalmuseum (Sweden)

Collections, Catalogs & Exhibitions

Yale Univ Pr

<p>The renowned art collection originally built up by the industrial magnate Samuel Courtauld in the 1920s, and since greatly expanded thanks to generous gifts and bequests, is now permanently housed in the splendid architectural surroundings of London's Somerset House. The nineteenth-century core of the collection reflects Samuel Courtauld's policy of buying paintings by the leading Impressionist and Post-Impressionist artists. As a result of subsequent expansion, the collection bearing Courtauld's name now also embraces important paintings ranging in period from the fourteenth century to the twentieth, including works by Bruegel, Rubens, Gainsborough, Goya, and Modigliani. This invaluable survey includes a representative selection of 77 paintings from all periods, each reproduced in color and accompanied by an authoritative note. An illustrated account of the growth of the collection and of the history of Somerset House has been provided by the Director of the Courtauld Gallery, John Murdoch.</p>

The Courtauld Gallery at Somerset House

Murdoch, John

History & Criticism

Thames&Hudson

<p>The Courtauld Gallery at Somerset House [paperback] Courtauld Institute of Art [Jan 01, 1999]</p>

Thames and Hudson

This volume of essays explores some of the ways in which art was used to express, to celebrate, and to promote the political and religious aims and aspirations of those in power in the city states of central Italy in the 13th and 14th centuries. The contributions focus on Siena, Arezzo, Pisa and Orvieto, and range over a number of media: fresco, panel painting, sculpture, metalwork and translucent enamel. Employing a variety of methods and approaches, these essays offer insights into some of the key artistic projects of the period.

Art, Politics, and Civic Religion in Central Italy, 1261-1352: Essays by Postgraduate Students at the Courtauld Institute of Art (Courtauld Research Papers)

Religious

Ashgate Pub Ltd

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