John Sweetman
Lund Humphries
Hardback
240
2000
From the stone bridges of neo-classicism which soar out of wild woods to span pastoral valleys to the post-1750 engineer s bridge with its links to the more industrial landscape the bridge was a popular feature in painting throughout the period 1700 to 1920. Why did so many artists choose to portray bridges? In this lavishly illustrated and intriguing book John Sweetman seeks to answer this question. He traces the history of the bridge in painting and printmaking through a vast range of work some as familiar as William Etty s The Bridge of Sighs and Claude Monet s The Railway Bridge at Argenteuil and others less well known such as Wassily Kandinsky s Composition IV and C.R.W. Nevinson s Looking through Brooklyn Bridge. Distinctive themes emerge revealing the complex role of the bridge as both symbol and metaphor and as a place of vantage meeting and separation.
Lund Humphries
Hardback
240
2000
From the stone bridges of neo-classicism which soar out of wild woods to span pastoral valleys to the post-1750 engineer s bridge with its links to the more industrial landscape the bridge was a popular feature in painting throughout the period 1700 to 1920. Why did so many artists choose to portray bridges? In this lavishly illustrated and intriguing book John Sweetman seeks to answer this question. He traces the history of the bridge in painting and printmaking through a vast range of work some as familiar as William Etty s The Bridge of Sighs and Claude Monet s The Railway Bridge at Argenteuil and others less well known such as Wassily Kandinsky s Composition IV and C.R.W. Nevinson s Looking through Brooklyn Bridge. Distinctive themes emerge revealing the complex role of the bridge as both symbol and metaphor and as a place of vantage meeting and separation.