Explore our Collection

Language
Format
Type

showing 274 library results for '1750'

Reappraisals of British colonisation in Atlantic Canada, 1700-1930 / edited by S. Karly Kehoe and Michael E. Vance. "Investigates the contested legacies of British colonisation on Canada's Atlantic coast. Engages with the legacy of British colonisation in Atlantic Canada across three sections. Situates the Scottish experience within process of British colonisation, challenging the tendency to omit the Scots from critical explorations of the colonisation process in this region. Exposes the reader to a range of experiences from across the four Atlantic Provinces, which will encourage more exciting new research. Chapters are grouped in three main sections: Dispossession and Settlement; Religion and Identity; Reappraising Memory. This collection offers new perspectives on the legacy of British colonisation by concentrating on Atlantic Canada (Nova Scotia, New Brunswick, Newfoundland and Prince Edward Island), a region that was pivotal to safeguarding Britain's imperial ambitions, between 1750 and 1930. New and established researchers from Canada, Scotland and the United States engage with the core themes of migration, dispossession, religion, identity, and commemoration in a way that diverges markedly from existing scholarship. The research shines much-needed light on groups traditionally excluded from Britain's broader imperial narrative, highlighting the indigenous experience and the presence and agency of slaves, free people of colour and religious minorities"--Provided by the publisher. 2020. • BOOK • 1 copy available. 971.502
The invention of pastel painting / Thea Burns. "Chalks and pastels are particularly appropriate materials for portraits because they appear effortlessly to convey the warm tones and soft, matte velvety surface of skin. Portraits and head studies therefore figure prominently in histories of pastel. The Invention of Pastel Painting describes the relatively sudden emergence in the later seventeenth century of sets of friable pastel sticks and a new artistic practice of painting in pastel. The author reconsiders the use of natural and fabricated drawing sticks as tools, firmly locating their use in the context of historical function. 'Artistic techniques have a social history; they are signs endowed with cultural meaning by society.' The visual, documentary and etymological evidence does not support the concept of a narrative history of pastel gradually progressing from a 'simple' original state in the drawings of Leonardo da Vinci, Jean and Francois Clouet and the Dumonstiers to an increasingly richly coloured and technically complex visual record in the paintings of Robert Nanteuil, Joseph Vivien and Rosalba Carriera, and then continuing to evolve through the nineteenth century. In considering the history of chalk and pastel, the author argues that the change is aesthetic, not formal, and is grounded in social function and technical response. She has drawn not only on artists' letters and accounts, documents, critical and theoretical writings, and, broadly, the secondary literature, but also on close visual examination and scientific analysis of selected chalk drawings and paintings in pastel, particularly those created between 1500 and 1750."--Provided by the publisher. 2007. • BOOK • 1 copy available. 741.235