IN FRONT OF NATURE is the first monograph to feature the work of Thomas Fearnley (1802-1842), a major artist in the tradition of the great romantics like Caspar David Friedrich, J.C. Dahl and J.M.W.Turner. This volume reveals the full range of Fearnley's landscape paintings, from large oils to spontaneous sketches, which he produced en plein air during his summer travels. Fearnley's entire career is considered: Frode Ernst Haverkamp studies his Norwegian upbringing and influence, David Jackson looks at his extensive travels to artistic centres in Italy and Germany, including Dresden where he studied under J. C. Dahl, and his return to Norway via the Swiss Alps and Britain. Ann Sumner studies the artist's little-known British paintings, including his tour of the Lake District and involvement with the Etching Society. Greg Smith focuses on how Fearnley appears in his own landscape studies and in a new type of contemporary painting: gatherings of artists in social settings. CONTRIBUTORS: David Jackson is professor of Russian rScandinavian Art Histories, University of Leeds, and the author of Christen Kobke: Danish Master of Light (2010), The Russian Vision: The Art of Ilya Repin (1844-1930) (2006) and Akseli Gallen-Kallela: The Spirit of Finland (2006); Ann Sumner is director of Birmingham Museums Trust and formerly director of the Barber Institute of Fine Arts. She is the author of Sisley in England and Wales (2008) and Thomas Jones (1742-1803): An Artist Rediscovered (2003); Greg Smithis an art historian and research curator at the Barber Institute of Fine Arts, and the author of Thomas Girtin and the Art of Watercolour (2005); Frode Ernst Haverkamp is the senior curator, Department of Old Masters and Modern Art, National Museum for Art, Architecture and Design, Norway. SELLING POINTS: ? IN FRONT OF NATURE considers Fearnley's relationships with his fellow artists and his place in the wider context of early 19th-century romantic landscape painting and feature works by leading contemporary artists ? The book provides a vital understanding of how Fearnley used his en plein air sketches to work up his final studio paintings
