Landskipping - Pavord, Anna
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A ravishing celebration of landscape, its iridescent beauty and its potential to comfort, awe and mesmerise.
Landskipping explores the different ways in which we have, throughout the ages, responded to the land, beginning in the eighteenth century when artists first started to paint English scenery, and the Lakes, as well as Snowdon, began to attract a new kind of visitor, the landscape tourist. Meanwhile, at the same time, an entirely different band of people, the agricultural improvers, also travelled the land, looking at it in terms of its usefulness as well as its beauty. What emerges…mehr

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Produktbeschreibung
A ravishing celebration of landscape, its iridescent beauty and its potential to comfort, awe and mesmerise.

Landskipping explores the different ways in which we have, throughout the ages, responded to the land, beginning in the eighteenth century when artists first started to paint English scenery, and the Lakes, as well as Snowdon, began to attract a new kind of visitor, the landscape tourist. Meanwhile, at the same time, an entirely different band of people, the agricultural improvers, also travelled the land, looking at it in terms of its usefulness as well as its beauty. What emerges as universal then and now is a place's capacity to frame and define our experience.

Moving from the rolling hills of Dorset to the peaks of the Scottish Highlands, this is an exquisite and compelling book, written by Anna Pavord with zest, passion and deep understanding.
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Autorenporträt
Anna Pavord's books include her bestseller, The Tulip, The Naming of Names , and her most recent work, The Curious Gardener. Her column in the Independent newspaper appeared in it from its launch in 1986 to its closure in 2016. She writes and presents programmes for BBC Radio 3 and 4 and served for ten years on the Gardens Panel of the National Trust, the last five as Chairman. For the last thirty years she has lived in Dorset, England.
Rezensionen
Rangey, deeply felt and sometimes luminous ... Like the raking light that exposes ancient lynchets at sunset, such knowledge brings out new detail in the one particular view over a gate which Pavord has loved in all seasons, and which she now evokes for us as it changes through a full year. From the vantage point of this ending, I look back and find that the mixed landscape of the whole book is cast in a very beautiful light Alexandra Harris Guardian