Since the early nineteenth century, Byron, the man and his image, have captured the hearts and minds of untold legions of people of all political and social stripes in Britain, Europe, America, and around the world. This book focuses on the history and cultural significance for Federal America of the only portrait of Byron known to have been painted by a major artist. In private hands from 1826 until this day, Thomas Sully's Byron has never before been the subject of scholarly study. Beginning with his discovery of the portrait in 1999 and a 200-year narrative of the portrait's provenance and its relation to other well-known Byron portraits, the author discusses the work within the broad context of British and American portraiture of the late eighteenth and early nineteenth centuries. Receiving most attention are Thomas Lawrence and Sully, his American counterpart. The author gives the fullest account to date of Sully's career and his relation to English influences and to figures prominent in the early-nineteenth-century American imagination, among them, Washington, Fanny Kemble, Lafayette, Joseph Bonaparte, and Nicholas Biddle. Byron is discussed as an icon of the young American Republic whose Jubilee year coincided with Sully's initial work on the poet's portrait. Later chapters offer a close reading of the portrait, arguing that Sully has given a visual interpretation truly worthy of his celebrated, controversial, and famously handsome subject.

This set reissues 7 books on the Romantic poet Lord Byron originally published between 1957 and 2005. The volumes examine Byron’s poetry, his poetic development, and his social and private life. Lord Byron’s epic satiric poem Don Juan is examined by some of the leading scholars of Romanticism.

One of this century's leading evolutionary biologists, Motoo Kimura revolutionized the field with his random drift theory of molecular evolution—the neutral theory—and his groundbreaking theoretical work in population genetics. This volume collects 57 of Kimura's most important papers and covers forty years of his diverse and original contributions to our understanding of how genetic variation affects evolutionary change. Kimura's neutral theory, first presented in 1968, challenged the notion that natural selection was the sole directive force in evolution. Arguing that mutations and random drift account for variations at the level of DNA and amino acids, Kimura advanced a theory of evolutionary change that was strongly challenged at first and that eventually earned the respect and interest of evolutionary biologists throughout the world. This volume includes the seminal papers on the neutral theory, as well as many others that cover such topics as population structure, variable selection intensity, the genetics of quantitative characters, inbreeding systems, and reversibility of changes by random drift. Background essays by Naoyuki Takahata examine Kimura's work in relation to its effects and recent developments in each area.

Anglophiles and students of portraiture will find that The Royal Portrait fills a surprising void in the literature, as Scott (Royal Collection) presents for the first time a survey of British portraits housed in the various venues of the Royal Collection. The broad scope ranges from Richard II (the first British king portrayed) to Queen Elizabeth II; the latter monarch, along with Queen Victoria, is the subject of an independent chapter, while other chapters focus on images of royals from a particular dynastic house, such as the Stuart and the Hanoverian. Through an interesting selection of diverse media and formats employed in different periods, Scott explores the central question of "what constitutes a royal portrait?" The answers are multifaceted and contingent on such factors as patronage, function, royal control, and artistic intention; nevertheless symbolic visual conventions can still be traced in the representations of British monarchs over the centuries. This is a clearly written, well-illustrated survey; for more in-depth analyses of particular works one will need to turn to specialized sources, e.g., D. Howarth's Images of Rule (1997). Summing Up: Highly recommended. Lower-division undergraduates through researchers/faculty; general readers. General Readers; Lower-division Undergraduates; Upper-division Undergraduates; Graduate Students; Researchers/Faculty. Reviewed by J. K. Dabbs.

Showcasing one of the nation's finest collections of American art, this remarkable two-volume set features 267 exceptional paintings reproduced in full color and illuminated with never-before-published research findings. Works span American history from the colonial period through the close of World War II and are by many of the nation's best-known artists, including Mary Cassatt, Thomas Cole, Childe Hassam, Winslow Homer, Edward Hopper, and Georgia O'Keeffe. Pre-1900 subject strengths reside in portraiture with canvases by John Singleton Copley, John Singer Sargent, and Henry Ossawa Tanner; still lifes by John Peto and Severin Roesin; and landscapes from the brushes of Frederic Edwin Church, Martin Johnson Heade, Fitz Henry Lane, Thomas Moran, and others. Scenes and portraits by artists including John Steuart Curry, Robert Henri, Peter Hurd, Maurice Prendergast, and John Sloan provide honest, enduring assessments of early 20th-century American life. A stunning sample of early Modernism is seen in important canvasses by Albert Bloch, Stuart Davis, Arthur Dove, and Marsen Hartley, to name a few. Volume 1 includes 140 extended essays on the most important canvases in the collection, which are represented in full-page color reproductions. Volume 2 reproduces in color all the works in the collection and is accompanied by thorough technical notes based on recent object examination, complete provenance, listings of directly related works, and exhaustive exhibition and publication histories. American Paintings is an outstanding resource and a beautifully illustrated record of our country's history and culture.

BYRON IN LONDON is a collection of essays by leading authorities on Byron, charting both his life in London and his writings about the capital. Byron emerges from the different perspectives given as one of English poetryâ (TM)s leading urban and metropolitan writers. Chapters are on Byron and the London boxing fraternity, Byron and the London stage, and Byronâ (TM)s attitude to the newly-emerging London coterie of women writers. There is one chapter on his relationship with John Murray, his London publisher, and another on Ugo Foscoloâ (TM)s life in London. Other chapters place Byron in the English verse tradition of urban writing; and nearly all make reference to the way he describes London in Don Juan.

Since the early nineteenth century, Byron has fascinated people of all political and social stripes in Britain, Europe, America, and around the world. This book focuses on the history and cultural significance for Federal America of Thomas Sully's Byron, which has never before been the subject of scholarly study. The author discusses the work within the broad context of British and American portraiture of the late eighteenth and early nineteenth centuries, giving the fullest account to date of Sully's career and his relation to English influences and to figures prominent in the early-nineteenth-century American imagination, among them, Washington, Fanny Kemble, Lafayette, Joseph Bonaparte, and Nicholas Biddle. Byron is discussed as an icon of the young American Republic whose Jubilee year coincided with Sully's initial work on the poet's portrait. Later chapters offer a close reading of the portrait, arguing that Sully has given a visual interpretation truly worthy of his celebrated, controversial, and famously handsome subject.

Indexes the Times and its supplements.