Panded your stock of interesting facts and amusing stories and ence your range in conversation The ardcover is a beautiful book with uality pictures of most of the portraits discussed There s something powerful and elemental about portraiture about meeting another person s gaze across time and space Similarly the process itself the complex dance between the subject the artist their actual appearance what they desire to appear and the chance that the image captures something of their essence is also fascinating and powerful And when portraiture becomes systematized as it does in the National Portrait Gallery that adds all the complications of public
notabilityThere s a great deal of potential in this work It s a s a great deal of potential in this work It s a topic and Schama as the art Websters Ii Dictionary, Third Edition, Office Edition historical background to pull it off But only a few sections really gel as a cohesive whole the first chapter on power the last chapter on ordinary Britons some of the asides on caricature and miniature paintings which were carried as a constant reminder of a beloved one Basically for an American what this book needed was structure and context on about 200 years of Britishistory from 1750 to 1950 I consider myself reasonably well read and an amateur Historian But I Only Know but I only know to sketch an outline of this period and Schama is so caught up in breathy gossip that I lost track of what e was gossiping about What could be insightful tends towards a ramble through the British GalleryThis book probably also suffered because of my tendency to marathon through whatever I m reading At a chapter a day the tone might grate less Still lots of beautiful plates and fun words even if the choice of images in a chapter can be somewhat frustrating Prolific author Simon Schama is at eart a storyteller In this Daddy Must Die his latest booke uses selected portraits from the National Portrait Gallery in London to tell stories both about the men and women portrayed some well known others not and the artists themselves again some famous and some entirely new to me Altogether it makes for entertaining reading and a different angle on British istory and society One of my favorites the rainbow portrait of ueen Elizabeth wearing a gown with embroidered eyes and ears symbolizing the all knowing nature of the monarch A bit bizarre to our modern sensibilities but in light of recent events maybe due for a comebac. N Schama uses a stunning and surprising array of images to tell the story of the British from the Tudors to the present day He will change the way we see Britain and each othe. .
Ly found myself frustrated at not being able to see portraits so lovingly described That feels ungrateful but it s true nonethelessI am a long time fan of Simon Schama s television osting as well as O Cérebro de Broca his writing and this book is far like the former than the latter iaven t seen the television series I Damia's Children: Rowan 3 (The Tower Hive Sequence) by Anne McCaffrey (1994-02-03) haven t seen the television series companions yet I believe andope it will be shown on PBS eventually but I wouldn t be the tiniest bit surprised if this was a fleshed out version of the show transcript because Schama s speaking voice comes through loud and clear on every page I could almost see and Breaking The Curse (Sexy Reversed Fairy Tales hearim as I read That is a strength of the book but it is also a bit of a weakness because it makes the book feel very episodic especially at first when I was expecting of a connected narrative than the book delivers
I recommend it to people interested in art A Banquet of Consequences (Inspector Lynley, history Simon Schama can do three things with a portrait firste can explain what its pictorial ualities are and position it in the tradition of portrait painting and art ROMANTIC TAKEOVER history in general What is new in the style or innovative in the techniue How is it an expression of the art schools of its time Secondlye can tell us about the istorical function of the portrait and the istorical context in which it was created Portraits Keeper of the Light had a different function in the Elizabethan age than in Victoria s time What role did this portrait play inistory or Shattered Spear (The Lost Stars, how does it represent the issues at stake in the time of its creation Thirdly there always is an anecdote about the painter the sitter or the portrait itself Churchill looks fierce not becausee is determined to beat Hitler but because an audacious photographer brutally took The Homing his cigar away Most of the timee does the three things together which results in a most enjoyable readIn about five thematic chapters power love fame self portrait common people Schama discusses a wide range of portraits The Women of Easter hopping from one era to another explainingow portraits and the represented theme Why Are You So Scared? have evolved philosophically and visually over time Be prepared to face an avalanche of names andistorical references that may at times The Power of One hinder the fluency of the reading unless your erudition euals that of Schama Have a google device nearbyBut see it through and you will be rewarded with or renewed insights into Britishistory and in art The Wolf Gift (The Wolf Gift Chronicles, history As a bonus you willave amply ex. Iconic photograph of 'bulldog' Churchill; from Victorian portraits of dead children to Hockney's of is elderly parents; from anonymous workers to the artists themselves Simo. .Still I Recommend It
Kind of an armchair travel book for istory and art buffs The Face of Britain augments the background of the portraits from London s National Portrait Gallery in the way that only Simon Schama can uirkily detailed and deeply interesting You can read this the way you might walk through a gallery browse until you find a portrait that captivates then stop to read the background Destined to be a book to sit by my armchair for uite awhile A
book which accompanies a television series and a gallery exhibition andwhich accompanies a television series and a gallery exhibition and uses paintings in the National Portrait Gallery and the stories behind them to tell the istory Delightfully eclectic romp through British portraiture bouncing back and forth through the centuries engaging artists photographers ETC AND THEIR SUBJECTS PART HISTORY and their subjects part istory art critiue part social commentary well illustrated as one would expect Read the bits about artists I like but incredible writing 45This achieves a good balance of istory and analysis of the visual aspect of art and despite the fact that each section of the book focuses on a different theme of portraiture with individual chapters then tackling specific artists ranging from medieval to contemporary times Schama manages to effectively morph these disparate artists into a cohesive portrait of Britain
Beautiful diverse stories on istory and art Some are real who do you think you are stories The last part Thediverse stories on t history and art Some are real who do you think you are stories The last part The of the people was my favourite but I enjoyed them all Not made for a uick read but for keeping atand and re reading favourite parts I love books about art and I love books about istory and I love books about art istory so I figured I could ardly go wrong with a book with this title And indeed it is charming although probably better taken in small chunks I ad to gallop through it since I was reading a library copy and it s a LOT to digest at one goI would say the subtitle is somewhat misleading It s not A istory it s a collection of short istories on various subjects illustrated by a selection of reproductions from the British National Portrait Gallery The illustrations are wonderful and there are many of them the book as a whole is expensively and lavishly produced on eavy coated paper which makes looking at the images a joy while also making the book very eavy to Londons Glory (Bryant May, hold but so many paintings are referenced in the text that I continual. A portrait opens a window into a person's life who they were and wanted to be who the artist saw andow everyone else looked onFrom the divine paintings of Elizabeth I to the.