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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. |
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vii | |
| Acknowledgements |
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xiv | |
| Preface |
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xv | |
| Introduction: The approaches |
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1 | (22) |
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Views and sightlines 1700--1800 |
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23 | (34) |
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28 | (29) |
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New encounters, new effects 1750--1800 |
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57 | (30) |
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63 | (24) |
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Far objectives, missed connexions 1800--1850 |
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87 | (40) |
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93 | (34) |
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Realities and ideals 1800--1920 |
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127 | (66) |
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137 | (56) |
| Bibliographical notes |
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193 | (6) |
| Index |
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199 | |
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