Sensations[Ebook] ➦ Sensations ➥ Jonathan Jones – What is the artistic impulse uniting Robert Hooke's drawings of insects George Stubbs's studies of horses and Damien Hirst's pickled shark In this new and spirited account of British art Jonathan Jone What is the artistic impulse uniting Robert Hooke's drawings of insects George Stubbs's studies of horses and Damien Hirst's pickled shark In this new and spirited account of British art Jonathan Jones argues for empiricism From the Enlightenment to the present British artists have shared a passion for looking hard at the world around them Jones shows how this zeal for precision and careful observation paved the way for Realism Impressionism and the birth of modern art.

JONATHAN JONES is art critic for The Guardian and writes for numerous art magazines He appears regularly on the BBC and gives talks at the Tate Modern.

Sensations Kindle Ä Hardcover
  • Hardcover
  • 336 pages
  • Sensations
  • Jonathan Jones
  • 19 July 2016
  • 9781786272973

10 thoughts on “Sensations

  1. Lou says:

    As a passionate art lover and British art in particular this looked to be an excellent information rich text featuring some of the most remarkable British authors from right across the spectrum However I would say that it's almost essential to have a knowledge of British and wider European history in order to properly understand the context of some of the pieces This is a book that is very thorough but ultimately its success is dependent on subjective views on who shouldshould not have been included so it may be worth checking out the artists featured before purchasing to make sure it suits your tastesIt explores their works in terms of the cultural political societal philosophical and scientific ideas around at the time of creation which gives a completely different insight into these pieces and the accompanying illustrations are simply stunning It is full of thorough history and analysis which goes beyond the norm and makes this is a fascinating read Recommended to art connoisseurs or those wanting to know about the inspiration and background of certain iconic British pieces

  2. Philip says:

    Sensations by Jonathan Jones is at first sight a monster project nothing less than a critiue of the entirety of British art But in the introduction the author makes clear that the project does not pretend to be encyclopaedic Instead an agenda is set whereby the author will highlight only significant artists and their work those with are both outstanding artistic achievements in themselves but which also offer signposts to significant societal attitudinal and scientific change This will be art history with a stress on the historyThe book begins by dismissing almost everything before the eighteenth century If there existed great British art before then it is lost It might be concluded however that we will not be looking at architecture Anyone who might have seen the pre Reformation altarpiece on show in the Capodimonte in Naples will be in no doubt that great British art from before the seventeenth century does exist but they would also agree that there remains so little of it that is hardly even receives an occasional glance let alone acknowledgement And most of the rest is by the procession of foreigners that dominated that seventeenth century Personally I feel that Hilliard might well have figured somewhere in the discussion of the sixteenth century however Perhaps his work was simply too adulatory or represented an understanding of the universe that was pre rational and thus did not fit with the book’s overall premiseThus Jonathan Jones starts with Hogarth And thus we appreciate that the approach will concentrate as much on the content of the work alongside its social and historical context as on the artistic style expression or aesthetic This approach does work and does deliver a narrative that is regularly astonishing in its insight and erudition It does however sometimes seem to suggest that the object may have been chosen for the opportunity it presents for an assembly of asides rather than on its merit as an artwork But this is a criticism that only really arises later in the book It does also raise the argument as to whether art is primarily derivative of external experience or whether it can be generated from internal insight It seems that from the start Jonathan Jones is siding with Hume whom he uotes early in the textHogarth figures large of course with his gin versus beer and his observation of social s hypocrisy and economic realities via Marriage a la Mode and The Rake’s Progress But Gainsborough also takes centre stage though not for his social comment but because he represented the development of art as commerce One wonders how he would have figured considered either commercially or ideologically if he had been born much laterThe names that follow are to be expected Reynolds Wright of Derby Constable and Turner The landmarks are also often rather predictable planetary motion gravity colour separation an industrial revolution steam Empire prosperity consumerism evolution But this is no mere list since every artist or achievement is linked in ways that create real insights into what we see Jonathan Jones makes much for instance of Turner’s identity and assumptions being rooted in a Georgian age devoted to pleasure rather than a Victorian one associated with pride self congratulation and probably hypocrisyIn fact the author singles out the Victorian age as where it again all went wrong for British art He clearly has some time for Morris especially his political ideals but not much for his attempts to attain them He rather dismisses the pre Raphaelites as sentimentalists exemplars of everything that we now see as wrong with their age None of Burne Jones the icon of the age Lord Leighton or Watts seem worthy even of consideration There is a brief flowering of conscience during and immediately after World War One but it is not until Bacon that the author finds a new voice worthy of attention And Bacon leads to Freud who is seen as a vast figure but oddly not as an import Moore is seen as derivative whereas Hepworth is worth a mention Bloomsbury is dismissedThere is a procession of younger artists towards the end of the book but the author’s jury seems to be out in most cases He seems revolted by the calculatedly commercial but yet strangely attracted to self promotion irrespective of evidence of talent An analysis of these ideas in relation to the contemporary art scene would surely have been revealing But then this was a big enough project already and its rewards are perhaps enhanced by Jonathan Jones’s tendency to understate rather than over elaborate

  3. Kristine says:

    Sensations by Jonathan Jones is a free Netgalley ebook that I read in late AprilIronic or deliberate modern art piecesexhibits starting in the 17th century with portraits that skew a little left of classic and show someone from a different angle light clarity of colors scientific perspective andor portraits that seem spontaneous than posed Jones' casual yet detailed narration makes history seem approachable and even interesting with such subjects as anatomyspecimen drawings and diagrams bondage slavery wartime realistic and fantastical landscapes book illustrations I personally found out about and really appreciate Richard Dadd the dawn of photography influence of other global cultures trading cards and magazinenewspaper illustration sculptures with machinery and surrealism though I already knew how awesome Francis Bacon is It seems to culminate with the influence of 1960s pop and drug culture before turning comparatively bleak and utilitarian during the 1980s 1990s before sure enough finishing off the tome with Banksy

  4. Agnes Preszler says:

    This is a very interesting book that treats some arguments and through the artworks of British artists tells us some interesting facts and stories in various time periods A good knowledge of British and European history is recommended in order to appreciate the very informative and rich text What I did not like is the choice of the artists included Beginning with the very discutable art of Hirst the sickening paintings of Bacon and the very overrated Hockney any serious art student can paint like that and better OK for Hogarth Lucian Freud William Blake Turner and others but why have you not included painters like Sir Lawrence Alma Tadema or Lord Frederic Leighton for example and some paintings from the pre Raphaelites From the cover I expected of the astonishing artworks of realist painters and especially portraits like those in the National Portrait Gallery It seems to me that the preference went to dramatic satyrical shocking or in some cases actually ugly artworks Is beauty boring

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