The eighteenth-century saw a radical change in the depiction of country life in English painting: feeling less constrained by the conventions of classical or theatrical pastoral, landscape painters attempted to offer a portrayal of what life was really like, or was thought to be like, in England; and this inevitably involved a distinct approach to the depiction of the rural poor. John Barrell's influential 1980 study shows why the poor began to be of such interest to painters, and examines the ways in which they could be represented so as to be an acceptable part of the décor of the salons of the rich. His discussion focuses on the work of three painters: Thomas Gainsborough, George Morland and John Constable. Throughout the book, Barrell draws illuminating comparisons with the literature of rural life and with the work of other painters. His terse and vigourous account has provided a landmark for social historians and literary critics, as well as historians of art.

In this gripping sci-fi noir for fans of The Martian and Quentin Tarantino, when an anarchic android begins wreaking havoc on a moon-based penal colony and bodies start turning up, an exiled detective must decide who he can trust in a city of criminals. Never bang your head against a wall. Bang someone else’s. Purgatory is the lawless moon colony of eccentric billionaire, Fletcher Brass and mecca for war criminals, murderers, and curious tourists alike. You can’t find better drugs, cheaper plastic surgery, or a more ominous travel advisory anywhere in the universe. But trouble is brewing in Brass’s black-market heaven. When an exiled cop comes to enact law and order in this wild new frontier, he finds himself the lead investigator in a series of high-profile murders that puts him toe to toe with the city’s charismatic founder and his equally ambitious daughter. Meanwhile, 2000 km away a memory-wiped android, Leonardo Black rampages across the lunar surface. Programmed with only the notorious “Brass Code”—a compendium of corporate laws that would make Ayn Rand blush—he journeys across the dark side of the moon with only one goal in mind: find Purgatory and conquer it.

Publisher Description

Distributed by the University of Nebraska Press for Caxton Press In the spring of 2000, Mike Medberry, a longtime advocate of conservation with American Lands, the Wilderness Society, and the Idaho Conservation League, suffered a stroke in the remote wilderness of the Craters of the Moon National Monument in Idaho. He was rescued after nearly a full day lying alone and contemplating death in one of the harshest yet most beautiful landscapes in the lower forty-eight states. Medberry was flown to a nearby hospital about the same time that Interior Secretary Bruce Babbitt, on behalf of President Clinton, came to Craters of the Moon to support protecting three-quarters of a million acres as a unique national monument, a conservation effort in which Medberry himself had already been personally involved. This story interweaves Medberry’s own struggle to speak, walk, and think with the struggle to protect this brutal, lava-bound, but for him gentle landscape. Medberry’s recovery from the stroke and his struggle to protect Craters of the Moon is a story of renewal, restoration, accommodation, and, ultimately, of finding workable compromises to some of life’s most difficult problems.

In this interdisciplinary study, Ann Bermingham explores the complex, ambiguous, and often contradictory relationship between English landscape painting and the socio-economic changes that accompanied enclosure and the Industrial Revolution.

This 1972 text takes John Clare as the focus of different attitudes to landscape as something to have a 'taste' for.