Individual artists, art monographs Books

Book SynopsisThis book focuses on the performance art of Marilyn Arsem, an internationally acclaimed performance artist known for her innovative and experimental work. Arsem’s work addresses women’s history and myth-making capacities, the potency of site and geography, the idea of the audience as witnesses and the intimacy of one-to-one works. One of the most prolific performance artists working in the United States today, Arsem performs carefully choreographed durational actions that are developed site-responsively and range from deceptively simple interventions to elaborately orchestrated actions. This edited volume seeks to extend Arsem’s legacy beyond the audiences of her live performances and enter her work into the lexicon of the art world. Accompanied by 200 images, this book will be of interest to scholars and students of performance studies, feminist performance, feminist art history and performance history. It will also contribute to the history of alternative spaces and galleries, which is only now being written. I have had the privilege of knowing Marilyn for over 30 years. Her work has given me so many epiphanies about live art, time-based art practice and durational performance practice. How and why do you choose a single action and enact it over an extended period of time? How do you respond to site and create a sacred meditational zone; a reflexive space about the human condition? And most importantly, how do you teach future generations about the importance of living while making art as a spiritual and philosophical practice? This book is yet another example of Arsem’s legacy. Fundamental, I’d say. Guillermo Gómez-Peña Watching Marilyn Arsem perform can be a slow, careful, vulnerable and heart-stoppingly profound experience. To see her is to know better the complex, intermingling particularities of body, space, time, being and action. Reading this comprehensive, lucidly written and deeply insightful book – the first significant publication on Arsem’s practice as a performance artist – will enable new perspectives on a major artist’s work. It also sheds vivid light upon enduring themes for the critical encounter with art: duration and doing, materiality and nothingness, truth and representation, commitment and experiment, togetherness and solitude, experience and endurance. Dominic Johnson, Queen Mary University of LondonTrade Review'With this long overdue publication, editors Jennie Klein and Natalie Loveless have successfully curated a volume that claims critical space for Arsem’s body and magnifies its distinct odor. [...] Beyond the critical essays, handfuls of performance photographs appear at the end of each section in the volume. Quite pleasurably, these visual vignettes bring the tactile environments of Arsem’s work into delicate focus. [...] Responding to Site validates the work of performance artists who most often operate outside the bounds of traditional time structures and codified performance spaces. The book is an indispensable resource for anyone interested in performance art and an integral monograph about one of the field’s most prolific makers.' -- Raegan Truax, TDR: The Drama Review'What this book does admirably well is to provide as much of an experience of Arsem’s work as possible considering the limitations of the medium of text. It also avoids falling into the trap of attempting to only represent her artistic output: the broad scope of the twelve essays in this collection ensures that Arsem’s work is situated in global social and political contexts, making this book a valuable resource for those not only interested in performance art, but in art theory and practice more generally. [...] Intrinsically ephemeral, transient and temporary Arsem’s work may be, but Responding to Site: The Performance Art of Marilyn Arsem nevertheless allows access to at least some aspects of this art, and the ethos of the artist. As such it is a significant resource, a valuable collection of artistic traces, an impactful archival document and a moving and engaging read.' -- Mareli Stolp, Journal for Artistic Research'Austere, demanding, rigorous, pedagogical while also rich, generous, kind, and companionable, the work of Marilyn Arsem has long been respected within a branch of performance art that has resisted commodification. This book extends knowledge of her work to those who have not been able to see it first hand. Extensive illustrations complement essays by academics, curators and fellow artists. Contextualising and analysing her practices from distinct viewpoints, each essay focuses upon particular works or bodies of work, building into a comprehensive offering. This is essential reading for an understanding of Arsem’s oeuvre.' -- Hilary Robinson, Loughborough University'I have had the privilege of knowing Marilyn for over 30 years. Her work has given me so many epiphanies about live art, time-based art practice and durational performance practice. How and why do you choose a single action and enact it over an extended period of time? How do you respond to site and create a sacred meditational zone; a reflexive space about the human condition? And most importantly, how do you teach future generations about the importance of living while making art as a spiritual and philosophical practice? This book is yet another example of Arsem’s legacy. Fundamental, I’d say.' -- Guillermo Gómez-Peña'Watching Marilyn Arsem perform can be a slow, careful, vulnerable and heart-stoppingly profound experience. To see her is to know better the complex, intermingling particularities of body, space, time, being and action. Reading this comprehensive, lucidly written and deeply insightful book – the first significant publication on Arsem’s practice as a performance artist – will enable new perspectives on a major artist’s work. It also sheds vivid light upon enduring themes for the critical encounter with art: duration and doing, materiality and nothingness, truth and representation, commitment and experiment, togetherness and solitude, experience and endurance.' -- Dominic Johnson, Queen Mary University of London'The performance work of Marilyn Arsem is always generous, stubborn, anxious, smarty-pants and beautiful as hell. Finally we have a book that equals this amazing and affective career that even now continues to grow, influence and surprise!' -- Pope.L'I am one of the lucky people to have participated in a workshop led by Marilyn Arsem. It changed my perspectives on seeing, thinking, making and teaching. This long-overdue encounter with Arsem's remarkable site responsive performance work opens with a Manifesto for Performance Art. We are told that performance art cannot be held, saved, reproduced; it is experienced. I believe that is true. But this carefully curated publication of photographs, accounts and essays, like Arsem's work, holds open the space for renewed attentiveness, allowing for a different but no less profound experience. This is a book that calls for your time.' -- Dee Heddon, University of GlasgowTable of Contents Acknowledgments Introduction: Responding to Site – Jennie Klein Performance Photographs 1987-1999 SECTION ONE: DURATION AND ACTION On Time at the Museum – Lucian O’Connor Salt, Stones, and Stars – Jeffery Byrd With the Others – Sandrine Schaefer The Lightness and Darkness of Becoming-Marilyn – Paul Couillard Performance Photographs 2003-2009 SECTION TWO: SITE AND HISTORY “Lux Balcanica est umbra Orientis” Marilyn Arsem’s Balkan Performances – Kristine Stiles Impossible Totalities: Political Performance as Palimpsest – El Putnam Dropping the Frame: Orpheus to Red in Woods – David P. Miller Performance as/of Shamanism and Mediumship: Writing Ada – John Dennis Anderson Performance Photographs 2010-2013 SECTION THREE: PERFORMANCE AND PEDAGOGY Some Thoughts on Teaching Performance Art, in Five Parts – Marilyn Arsem Dialogues with Absence: Reflections on Time and If to Drift – Sandra Johnston Documenting Arsem – Michael Woolley “Reminding Me Always that Nothing Remains”—Marilyn Arsem’s Performance and Pedagogy – Kathy O’Dell Performance Photographs 2013-2015 Afterword: Durational Forms and Pedagogical Encounters – Natalie Loveless Performance Photographs 2015-2019 Appendix: Arsem’s Performances 1967-2019 Author Biographies Further Reading Index

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Book SynopsisChristopher White explains why he chose this title for his new book: ‘The often intimate, reflective and personal side to Rembrandt’s work in treating subjects from history or the Bible reveals an increasingly more introspective interpretation than his contemporaries.’ Rembrandt’s sharp eye draws inspiration from the domestic scene, the local street and wherever he went. His subjects include: children, beggars, musicians, dogs, pigs, horses; even elephants and lions. White studies Rembrandt’s technique from an aesthetic rather than a scientific point of view; his willingness to experiment whether drawing, painting or etching is a notable feature of his work, and by discussing examples of the three different media side by side, the author demonstrates their interdependence.Table of ContentsBasic details of the Artist’s life The Artist and his Family Portraits in situ Everyday life in Amsterdam Landscape and the bucolic scene: life in the countryside Narrative subjects

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Book Synopsis"Never was a painter more nobly joyous, never did an artist take a greater delight in life, seeing it all as a kind of breezy festival and feeling it through the medium of perpetual success... He was the happiest of painters." - Henry James on Veronese, 1909 Collected here for the first time, these fascinating early biographies (one of which has never been translated before) describe and celebrate the astonishingly fertile art of Paolo Veronese. Most of what we know about Veronese comes from these three essays. 'I have known this Paolino and I have seen his beautiful works. He deserves to have a great volume written in praise of him, for his pictures prove that he is second to no other painter', wrote Veronese's contemporary Annibale Carracci in the margins to his copy of Vasari's writings, continuing 'and this fool passes over him in four lines. And just because he was not Florentine.' It was indeed a measure of his fame that Vasari, whose Life of Veronese is reprinted here, should have overcome his pro-Tuscan prejudices to write about his great Venetian contemporary; and he was followed in this by another Florentine, the theorist Raffaele Borghini. But the most striking record of the impact of Veronese's art on his countrymen is the extensive biography by his fellow Venetian, Carlo Ridolfi. Entirely original in the seriousness and passion with which he approached his subject, Ridolfi permanently changed the course of writing about art. This is the first translation of his work into English. Translated and introduced by Xavier F. Salomon, curator of Veronese: Renaissance Magnificence at the National Gallery, London. Fifty pages of colour illustrations cover the span of Veronese's breath-taking career.Trade Review"The London publishing house Pallas Athene has come up with the very welcome and worthwhile project of assembling English translations of early biographies of artists in an easily accessible publication." - Historians of Netherlands Art Reviews

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Book SynopsisPlanned at the same time as his great Apocalypse, Dürer's series of woodcuts illustrating the Passion of Christ, produced between 1497 and 1510, is one of the summits of his art and an astonishing sixteenth-century demonstration of virtuosic printmaking. Dürer's meditation on the final moments of Jesus' story is both awe-inspiring and profoundly human.

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Book SynopsisThis is the first book to present a comprehensive overview of the entire career of British artist Richard Eurich (1903-1992), a figurative painter of compelling power and often visionary intensity who brought rare imaginative reserves to his depiction of the world around him, as well as to his apprehension of the mysterious and unseen. Eurich was a private man, not much given to self-promotion, and as such has not received the widespread attention he deserves. The Art of Richard Eurich locates the artist within the context of 20th-century British art, demonstrating his relevance in all quarters of the art world of the period. Eurich was draughtsman, landscape painter, teacher, War Artist, autobiographer, marine painter extraordinaire, portrait painter, figure painter, satirist, genre painter, visual poet of the beach, and occasional sculptor. His many creative talents are brought together in a compelling analysis of how these various parts refer to each other and to the man who was responsible for them. Featuring a wide selection of his artworks, from the topographical to the visionary, from the drawn to the painted, this book unspools the narrative of Eurich's life through expertly chosen examples of his paintings and drawings and places him in relation to his fellow-artists, friends and contemporaries.Trade Review'handsome and lavishly-illustrated ... most welcome' -- Frances Spalding * Country Life *

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Book SynopsisThe first fully illustrated account of the life and work of English painter Christopher Wood (1901-30), this authoritative work, which includes over 150 images, provides extensive visual analysis of individual paintings, set designs and drawings created by Wood in both Britain and France so bringing fresh perspective to his unique artistic development on both sides of the Channel.Wood's short career drew on a multitude of influences, all of which contributed to the development of his faux-naive style. His oscillation between diverse artistic reference points is borne out in Katy Norris' fascinating narrative that analyses Wood's engagement with the Parisian avant-garde on the one hand, and the attraction of the simpler life he encountered in Cornwall, Cumbria and Brittany on the other. The emotional turmoil of his final years underlines the tensions between the two worlds that Wood inhabited and which he was ultimately was unable to reconcile.Filling a surprising gap in the published literature about this early 20th-century painter, Christopher Wood will appeal to readers who are yet to encounter Wood's work, as well as collectors and enthusiasts.Trade Review'A rhythmic energy pulses through these pictures.' Rachel Campbell-Johnston, The TimesTable of ContentsChronology; Introductory Essay: Positioning Christopher Wood's Art; PART 1: Paris and the South of France (1921 - 27); Chapter 1: Innocence vs. Experience: Formative Years in Paris; Chapter 2: Christopher Wood and Diaghilev's Ballet Russes; PART 2 - Cumberland, Cornwall and Brittany (1928 - 1930); Chapter 3: `Genius Loci': Cumbria and Cornwall; Chapter 4: Final Years (1929-30); Epilogue; Works in Public Collections; List of Exhibitions; Bibliography; Credits; Index

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Book SynopsisProviding a thematic overview of the multifarious work produced by Derek Boshier (b.1937) from the post-war period to the digital age, this fascinating publication reveals how Boshier’s deceptively playful imagery offers analytical commentaries on societal issues and the fragility and fragmentation of human identity. Among contemporaries such as Peter Blake, Pauline Boty and Peter Phillips, Boshier was a central figure in the British Pop Art movement. Embracing Pop sensibilities, his early work juxtaposed figurative painting and imagery to call attention to nuclear anxieties and the growing consumerism of 1960s Britain. Yet this is just one aspect of Boshier's remarkable artistic journey, which has drawn in painting, drawing, sculpture, film, graphic design and printmaking. The book's broad sweep includes recent paintings and drawings created in America at the height of the #MeToo and Black Lives Matter movements, and features commentaries by artists, academics, curators and writers who explore how Boshier's ground-breaking activity interrogates truth and logic, fantasy and reality in the modern age. With contributions by James Cahill, Philip Colbert, Eddie Chambers, Susan Compo, Rachele Dini, Inga Fraser, Jann Haworth, Leslie Jones, Emily Langridge, Gregory Salter, Penny Slinger and John Stezaker.Table of ContentsPreface, M. Livingstone; Introduction, H. Little; 1 'Cold War Consumerism in Derek Boshier's Pop Period', R. Dini; 2 'Encounters: Derek Boshier and Film', I. Fraser Plate section: The Identikit Man, G. Salter; Plaza, J. Haworth; The Depressed Cosmetic Salesman, J. Stezaker; KKK, E. Chambers; Los Angeles Times, J. Cahill; Les Messieurs d’Avignon, P. Slinger; David Bowie and Teresa Cornelys, S. Compo; America America, L. Jones; The King of K Pop, P. Colbert; Interview: Derek Boshier and Hans Ulrich Obrist; Chronology, E. Langridge; Index

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Book SynopsisA journey through the groundbreaking works of Bruce Nauman, one of the most restlessly inventive contemporary artists of today. Since the late 1960s Bruce Nauman has established a completely new understanding of contemporary art, and has been acknowledged as one of the most relevant artists of the twentieth century. Both the last modern artist and because of his ceaseless experimental approach to new media – the very first contemporary artist, Nauman has is recognised for his landmark conceptual approach against which much contemporary art of today can be measured. Focusing in particular on his experiments with sound, the moving image and immersive installations, this book features explorations of Nauman's video works of the 1980s and 1990s, as well as on his studio practice and more recent work, along with a revealing in-depth conversation between the artist and Andrea Lissoni and Nicholas Serota. This essential book reveals Bruce Nauman as an artist who has uniquely blazed a trail in both the twentieth and twenty-first centuries.

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Book SynopsisA panoramic new perspective on the life and work of one of Britain’s most important artists: David Hockney. David Hockney is Britain’s most important living artist, one who is constantly moving into new terrain and never fails to capture a wide public imagination. This pioneering new publication positions the artist’s seminal work within a wide cultural context, charting Hockney’s journey through the ways he has interrogated the nature of looking and representation from his days as a promising student to his place as one of the greatest artists working today. Featuring contributions by some of the most exciting voices in the worlds of art, design, literature and performance, it offers an essential overview of David Hockney’s career, exploring the depth of his influence, and how his art continues to shape modern culture. Edited by Helen Little, with contributions by Catherine Cusset, Rineke Dijkstra, Frank Gehry, Jann Haworth, Allen Jones, Owen Jones, Marieke Lucas Rijneveld, Andrew McMillan, Richard Morphet, David Oxtoby, Eddie Peake, Walter Pfeiffer, Christina Quarles, Bruno Ravella, Ed Ruscha, Gregory Salter, Wayne Sleep, Ali Smith, Christine Strueli and Russell Tovey.

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Book SynopsisPoussin’s scenes of bacchanalian revelry, tripping maenads and skipping nymphs are often described as ‘dancelike’ and ‘choreographed’. The artist’s dancing pictures helped him develop a new approach to painting that would become the model for the French classical tradition. Shedding the sensuous, painterly manner of his early career, Poussin carved out the crisp, relief-like approach that characterized his mature work and set the precedent for three centuries of French art, from Le Brun and David to Cézanne and Picasso. He carried lessons learned from dance into every corner of his production. This book brings together a key group of paintings and drawings by Poussin, exploring the theme of dance and dancers in his production for the first time. Focusing on the dancing pictures created in Rome in the 1620s and 1630s, essays connect Poussin’s interest in dance, his study of antiquities, and his formulation of a new classical style. Richly illustrated and engagingly written, this publication uses the prism of dance to cast Poussin in a new, fresh light.Published by National Gallery Company/Distributed by Yale University PressExhibition Schedule:J. Paul Getty Museum June 8 – August 29, 2021National Gallery, London October 9, 2021 – January 2, 2022

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Book SynopsisAn exploration of the fascinating parallels and differences between Picasso’s Woman with a Book and Ingres’s Madame Moitessier This publication examines, in detail, two extraordinary interrelated works: Picasso’s Woman with a Book (1932) and Ingres’s Madame Moitessier (1844–56). Each painting is explored in depth, illuminating the parallels and differences between the artists’ techniques and creative ambitions. The first essay tells the story of the twelve-year gestation of Ingres’s Madame Moitessier, focusing on the role of drawings in the elaboration of the composition, and of the sitter herself in determining how she was to be presented. The second essay traces the development of Picasso’s Woman with a Book, among the most celebrated likenesses of the artist’s young lover, Marie-Thérèse Walter. In contrast to Ingres’s work, it was painted in just a day or two. The final essay explores, through these two works, the artists’ shared interest in the relationship between nude and clothed bodies, revealing the depth of Picasso’s engagement with Madame Moitessier, which motivates and animates Woman with a Book. Published by National Gallery Company/Distributed by Yale University Press

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Book SynopsisAn exploration of Turner as an artist-traveler, in relation to two important European harbor scenes This publication marks the return to the United Kingdom, for the first time in over a century, of two groundbreaking oil paintings by J. M. W. Turner (1775–1851), on loan from The Frick Collection in New York: Harbour of Dieppe: Changement de Domicile and Cologne, the Arrival of a Packet-Boat: Evening. They were acquired by wealthy American industrialist Henry Clay Frick in 1914 and have remained in the USA ever since. Painted in the mid-1820s, Dieppe and Cologne exemplify Turner’s lifelong fascination with the subject of ports and harbors⁠—past and present⁠—as dynamic, transitional places. Exhibited at the Royal Academy in 1825 and 1826 respectively, they represent in powerfully visual terms the outcomes of Turner’s regular sketching tours within Europe that were central to his fame as an artist-traveler, as well as his radical approach to color, light, and brushwork. This sumptuously illustrated publication examines Turner’s creative process, and his use of sketchbooks and watercolors to capture his ideas as he traveled. Published by National Gallery Global/Distributed by Yale University Press

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Book SynopsisQuinten Massys’ An Old Woman (‘The Ugly Duchess’) is one of the Renaissance’s most famous faces. In a fresh review of the iconic image, this book unveils the painting’s original context: its status as a pioneering work of satirical art, its debt to Leonardo da Vinci’s grotesque drawings, and what it tells us about the period’s complex attitudes towards women, age and normative beauty. The painting and its partner, An Old Man, are parodic portraits that mock the supposed lust and vanity of older women. Yet a closer look also reveals a figure defiantly flouting conventions and a painter subverting artistic expectations. The publication traces the eventful afterlife and enduring power of this seminal image: how she gained her nickname ‘The Ugly Duchess’ and inspired John Tenniel’s much-loved illustrations of Lewis Carroll’s Alice’s Adventures in Wonderland (1865), capturing the imagination of generations of readers. Published by National Gallery Global/Distributed by Yale University Press Exhibition Schedule:National Gallery, London, 16 March–11 June 2023

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Book SynopsisThis is the first major study of the Italian painter Girolamo Pieri Nerli, who spent the last two decades of the nineteenth century in Australia and New Zealand and is best known as a teacher of Frances Hodgkins. The fruit of many years of research, this careful and thoughtful book will be of considerable interest to art historians and the general public. Nerli painted a wide range of subjects in a wide range of styles and is associated with the introduction of Impressionism to the Antipodes. T hough he returned to Italy his most important work, which shows an appealing liveliness with paint, was done in the South Pacific and most of it remains here. His best paintings, full of colour and warmth often with attractive human subjects, have continuing appeal and relevance to both Australia and New Zealand at an important turning point in their cultures. The book includes an introductory text of two chapters, the first on Nerli's life and personality, the second on his painting, accompanied by black and white photographs and reproductions setting the context and evoking the era. This is followed by 40 full-page full-colour reproductions of the most important paintings, each with commentary on the facing page. There will also be a chronology, a bibliography, an appendix reproducing some vivid letters written by Nerli and his wife, and a list of exhibitions.Table of ContentsList of Illustrations; Foreword; Nerli's life and Career; Nerli's Painting The Annotated Plates (40 full-page colour plates with commentary); An Artist's chronology; Bibliography; List of Exhibitions; Index

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Book SynopsisBorn in England c1820, Englishman Charles Heaphy - the first 'New Zealander' to win the Victoria Cross, the first European to explore the West Coast of New Zealand's South Island and the most distinguished 19th-century landscape painter in that country is, by any measure, a central figure in colonial history. In this engaging book, lavishly illustrated with Heaphy's paintings, drawings and maps, author Iain Sharp reveals the story of Heaphy's life and art.From his earliest surviving watercolour of birdlife in the Marlborough Sounds in August 1839 to his last known sketch on the back of an envelope, showing Maori witnesses at a Native Land Court hearing in December 1879, Charles Heaphy's paintings and drawings represent a remarkable visual diary of settler life. The works are without parallel in their evocative richness and have been a prototype for artists from Colin McCahon to Bill Hammond.Drawing on newspapers, diaries and letters as well as Heaphy's art, Sharp depicts a man who embodied the contradictions of European life in the colonies. Heaphy could be both a dreamy romantic and a self-serving opportunist, a man able to shoot a wild pig one day and discourse to scholars on geological science the next, someone who became almost as familiar with the back country as his Maori companions while thinking all the time of Europe. In charting the course of Heaphy's extraordinary life as artist, explorer, surveyor and soldier, Sharp tells us much about the settler culture and history.

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Book SynopsisProduced to accompany a survey exhibition of British artist Marion Coutts' work in 2003, and focusing on her newly commissioned installation Everglade', this substantial monographic publication captures the distinctiveness, and the diversity, of Coutts' practice.Featuring essays by Sally O'Reilly and Vincent Deary, alongside an in conversation with the artist by Katherine Wood, the book explores Coutts' engaging and inventive practice whose subtle use of the moving image is allied to a wider object-based aesthetic.

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Book SynopsisA survey of film and photographic work by the French artist Marine Hugonnier, this monographic publication also functions as catalogue of Hugonnier's exhibition at Dundee Contemporary Arts in 2004.Richly illustrated throughout, the book highlights two companion film projects, Ariana' (2003) and The Last Tour' (2004), and also showcases a series of photographic works by the artist. The publication features commissioned texts by Michael Newman and Jeremy Millar, plus an interview with Marine Hugonnier by Lynne Cooke.Published by Film and Video Umbrella and Dundee Contemporary Arts. Supported by the National Touring Programme of the Arts Council of England.

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Book SynopsisHenri Gaudier-Brzeska (1891-1915) was one of the leading figures of European avant-garde sculpture. Gaudier played an important role in the development of modern sculpture in Britain, working alongside Ezra Pound, Jacob Epstein, Roger Fry, Wyndham Lewis and others. Like many artists of his generation, his career was tragically cut short by the war. Having volunteered for the French army in the summer of 1914, he was killed in action the following year, at the age of just twenty-three. In 1930 Jim Ede, who three years earlier had acquired almost all of Gaudier’s work, published a biography of the sculptor. Entitled A life of Gaudier-Brzeska, the book was re-issued a year later with the title Savage Messiah. Ede’s book played an important role in re-establishing Gaudier’s reputation at a time when he was at risk of fading into obscurity. This new edition, published in 2011 to mark the centenary of Gaudier's arrival in Britain from France, includes previously unpublished material and new essays that re-contextualise the book art historically. It draws from the 1929 manuscript version of Ede's book, now in the archive at the Henry Moore Institute in Leeds, reproducing many of the drawings and photographs first used by Ede.

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Book SynopsisAs early as the 1950s, Professor Irving Lavin was recognized as a major voice in American art history. His sustained production of seminal scholarly contributions have left their mark on an astonishingly wide range of -subjects and fields. Bringing these far-reaching publications together will not only provide a valuable resource to scholars and -students, but will also underscore fundamental themes in the history of art - historicism, the art of commemoration, the relationship between style and meaning, the -intelligence of artists - themes that define the role of the visual arts in human communication. Irving Lavin is best known for his array of fundamental publications on the Baroque artist Gian Lorenzo Bernini (1598-1680). These include new discoveries and studies on the master's prodigious childhood, his architecture and -portraiture, his invention of caricature, his depictions of religious faith and political leadership, his work in the -theatre, his attitude toward death and the role of the artist in the creation of a modern sense of social responsibility. All of Professor Lavin's papers on Bernini are here brought together in three volumes. The studies have been reset and in many cases up-dated, and there is a comprehensive index.Table of ContentsBernini and Antiquity - The Baroque Paradox. A Poetical View Bernini's Portraits of No-Body Bernini's Bust of Francesco I d'Este. "Impresa quasi impossibile" Bernini's Bust of the Medusa: An Awful Pun Bernini's Bust of the Savior and the Problem of the Homeless in Seventeenth-Century Rome Bernini's Image of the Ideal Christian Monarch Bernini's Bumbling Barberini Bees Bernini-Bozzetti: One More, One Less. A Berninesque Sculptor in Mid-Eighteenth Century France Bernini's Death Visions of Redemption The Rome of Alexander VII. Bernini and the Reverse of the Medal The Young Bernini "Bozzetto Style": The Renaissance Sculptor's Handiwork The Regal Gift. Bernini and his Portraits of Royal Subjects Urbanitas urbana. The Pope, the Artist, and the Genius of the Place Index

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Book SynopsisThis beautifully designed and illustrated publication is the first comprehensive biography of the portrait painter Johan Zoffany (1733–1810), one of the leading figures of eighteenth-century British art. The German-born artist shot to fame with his charming conversation pieces and portraits of London celebrities, including actor David Garrick. He soon became the painter of choice of King George III, depicting the royal family with rare informality, and subsequently a founder-member of the Royal Academy of Arts. His pictures have earned him the right to stand alongside Hogarth, Gainsborough and Reynolds as one of the most important founding artists of the British School.

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Book SynopsisThis book accompanies an exhibition at Waddesdon that will unite Chardin’s four paintings of a boy with a house of cards for the first time (loans come from the Musée du Louvre, Paris; National Gallery, London; National Gallery of Art, Washington DC), allowing us to examine Chardin’s treatment of the subject in the context of his fascination with themes of play, childhood and adolescence.

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Book Synopsisfirst complete catalogue raisonee and comprehensive essay of this twentieth century artist

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Book SynopsisBiography of Scottish Artist

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Book SynopsisThis book introduces the artist Joseph Crawhall, a remarkable and innovative animal watercolourist, who made decorative, sensitively observed and humorous studies of animals and birds. It reproduces in colour nearly 60 Crawhall artworks from the Burrell Collection, which holds the largest and most significant collection of artworks by Crawhall in the world. These artworks include dynamic and colourful mature works, technically experimental compositions, watercolours from Crawhall's travels and delightful comic sketches.Written in an accessible style, the book gives readers an overview of Crawhall's career and artistic output. It considers his friendship with the Glasgow Boys, the influence of French art, Whistler and Japanese prints, his flair for decorative design and, above all, Crawhall's unique skill in poetically distilling the essence of an animal or bird's character.

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Book SynopsisGiosetta Fioroni is considered one of the most important figures in Italian painting of the postwar era. Her work is commonly associated with the Scuola di Piazza del Popolo group in Rome – which also included Mario Schifano, Tano Festa and Franco Angeli, among others – as well as with the advent of Pop art in Italy. Yet Fioroni’s practice differs from those of her immediate contemporaries and from the overarching notion of Pop as it came to be understood in the English-speaking world. The divergences are most clearly pronounced in her persistent exploration of femininity, rooted in both her personal experiences and her interpretation of the category in popular culture. ‘I have worked a lot, not on feminism but on femininity’, Fioroni once explained. ‘I would like to maintain a distinction. In a period of lively feminism, I was interested in the look, in the atmosphere tied to femininity.’ Giosetta Fioroni: Alter Ego is the first publication to focus on feminist perspectives in the work of Fioroni. It includes an exclusive interview with the artist conducted by Hans Ulrich Obrist and a scholarly essay by Anna Dumont on the subject of gendered looking in Fioroni’s portraits of women.

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Book SynopsisNick Hornby (b. 1980, London) is one of the leading sculptors of his generation in Britain today, creating works on both intimate and monumental scales, and at the intersection of art history and contemporary technology. Hornby’s practice uses software that allows him to extract, alter and hybridise sculptures from art history into new works made from marble, steel, bronze, resin, wood and composite materials. It could be said that Hornby has opened up a new sculptural language for the twenty-first century.This, his first major monograph, features approximately 175 images, many of which are reproduced here for the first time or have been commissioned for the publication. Alongside documentation of works presented in galleries and outdoor spaces are production images taken in the studio and fabrication workshops. Hornby’s practice is here divided into four categories: Intersections, Extrusions, Hydrographics and Collaborations.A foreword by Luke Syson, Director of the Fitzwilliam Museum, Cambridge, offers insight into Hornby’s internal and external relationship with sculpture, considering the links between two and three dimensions, abstraction and representation, the ‘real’ and the digital.Editor Matt Price’s introduction takes readers on a whistlestop tour of the artist’s oeuvre, from his early family life and studies at Chelsea and The Slade in London, to his latest major exhibitions and commissions. Price covers a range of significant aspects such as the importance of music and sound, which were key elements of Hornby’s early work, to sculptures made in collaboration with others, and recent pieces combining art history with technology in their design and fabrication.An essay by Dr Hannah Higham, Senior Curator of Collections and Research at the Henry Moore Foundation, provides the most substantial piece of critical writing on Hornby’s work to date, drawing out specific touchstones in the history of art and discussing the relationship between the work and time. Higham further explores the ways that the motion and position of the viewer alter the experience of the sculptures, with new angles revealing fresh artistic inspirations from Hans Arp or Elizabeth Frink to ideas from communities Hornby has worked with and other contemporary artists with whom he has collaborated.An interview with Dr Helen Pheby, Associate Director, Programme, at Yorkshire Sculpture Park, probes the artist further about his cultural and theoretical inspirations, methods, materials and ideologies, including his views on collaboration, the public nature of art and its accessibility. Their conversation provides an insight into the thinking of the artist at a crucial stage in his career.The monograph brings together works spanning Hornby’s career for the first time. It follows Hornby’s first institutional solo exhibition at MOSTYN, Wales, and his first permanent outdoor sculptural commission for Harlow Science Park in Essex.The publication is edited by Matt Price, designed by Herman Lelie, printed by EBS, Verona, and published by Anomie, London.Nick Hornby, born in 1980, is a British artist living and working in London. Hornby studied at The Slade School of Art and Chelsea College of Art where he was awarded the UAL Sculpture Prize. In the UK he has exhibited at Tate Britain, Southbank Centre, Leighton House (all London), Cass Sculpture Foundation, Sussex, MOSTYN, Wales, and the Fitzwilliam Museum, Cambridge. International exhibitions have been held at the Museum of Arts and Design, New York and Poznan Biennale, Poland, along with residencies with Outset, Israel, and Eyebeam, New York. In 2014 Hornby was made a Fellow of the Royal Society of Sculptors.

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Book Synopsis

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Book SynopsisVictoria Crowe is one of the world's most vital and original figurative painters. Her instantly recognisable work is represented in a large number of public and private collections. This extensively illustrated new book looks in depth at some of her own favourite portraiture. Looking at the psychology of her subjects and of herself in painting them, this is a fascinating book. Whether you are intrigued by the enigmatic stare of a psychiatrist, struck by the haunted eyes of an Auschwitz survivor or curious about the meaningful surroundings of her own self-portrait, this is an absorbing and enthralling read. Victoria Crowe lives in Scotland and Venice.

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Book SynopsisThis publication features the work of French artist Eugène Louis Charvot (1847-1924), a distinguished painter and printmaker. Recognized in his time, Charvot's work was lost to history and has been rediscovered in Jacksonville Florida. A fascinating individual, Charvot practiced medicine for many years but stated that his first love was art. Thus, despite the rigors of a prestigious medical career, Charvot devoted himself to the pursuit of his muse throughout his life. Inspired by the serene countryside of his youth, Charvot became a landscapist, and made his debut in 1876 at the annual Salon in Paris. Spending his medical career in the French military, Charvot was posted in colonial Tunisia (1885-89) and Algeria (1892-96), where he documented the life around him and sent oils back to Paris for entry in the SalonsAfter Charvot's death in 1924, his work fell into obscurity. His family preserved his award-winning etchings, his landscapes and Orientalist paintings as well as his unpublished diary, family letters and sketchbooks. Charvot's daughter, Yvonne Charvot Barnett, brought the majority of his work to Jacksonville, Florida where the discovery of these extensive holdings has led to a reevaluation of Charvot's work and a resurrection of the reputation of this accomplished artist. The works now reside in the Cummer Museum of Art & Gardens, as the Charvot Collection. Through an in-depth review of his career as an artist, this new volume highlights Charvot's breadth of processes, productivity and inspiration in painting, etching and drawing. With a focus on family portraits, pastoral country scenes, nocturnes and North African genre and street scenes, the book weaves family photographs, journal entries and excerpts from family letters to recreate the world view that informed Charvot's oeuvre

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Book SynopsisA major new study and celebration of the career and legacy of the modernist sculptor, painter, collagist and educator Luise Clayborn Kaish (1925-2013). This is a major new study and celebration of the career and legacy of the modernist sculptor, painter, collagist and educator Luise Clayborn Kaish (1925 – 2013). Kaish was a key figure in the New York art scene of the late 20th century, whose multidisciplinary and process-oriented practice contributed to various artistic discourses at the time. The strength and breadth of her work, her influential role in education, and the prestigious awards she received in recognition of her practice set her apart as an early female leader in the arts. She will be remembered for her immense talent, highly individual point of view, pursuit of the sublime, keen execution, and passion for life, which, despite the tides of changing tastes, will remain forever significant. This volume brings together nearly of her works. Essays covering Kaish's life and career, her artistic practices, her lifelong interest in the spiritual and metaphysical, and her work as an educator are followed by a main plate section, Illustrated Chronology and Exhibition History. AUTHOR: Maura Reilly is a curator and arts writer, based in New York. Gail Levin is an American art historian, biographer, artist, and a Distinguished Professor of Art History, American Studies, Women's Studies, and Liberal Studies at Baruch College and the Graduate Center of the City University of New York. Daniel Belasco is executive director of the Al Held Foundation, New York. 185 colour illustrations

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Book SynopsisAccompanying an exhibition at the Barber Institute of Fine Arts - only the second exhibition ever devoted to the artist - this noteworthy publication considers De Beer’s work and career, working methods, and traces the history of De Beer’s paintings in British collections. The Antwerp painter Jan de Beer (c.1475-1527/28) was highly esteemed in his lifetime and still famous a couple of generations after his death, but then fell into oblivion until the early twentieth century. Only recently have his achievements been fully recognized and documented. The artist’s known oeuvre consists of forty works, mainly devotional paintings and triptychs but also a dozen drawings and a stained glass window, after a lost design. De Beer’s stylish and elegant art appealed to patrons and collectors, churches abroad, and copyists. His work is typically associated with that of the Antwerp Mannerists, a prominent group of mostly anonymous painters active in the city during his lifetime. This publication will accompany an exhibition at the Barber Institute of Fine Arts, University of Birmingham (25 October 2019 to 19 January 2020) that focuses on one of its and De Beer’s acknowledged masterpieces: the double-sided Joseph and the Suitors/ The Nativity. This is the only surviving fragment from what must have been a major altarpiece. It will be accompanied by a half-dozen key loans of paintings and drawings by De Beer and his workshop including all the attributed paintings in UK collections. These will provide both an instructive context for the Barber painting and for De Beer’s art more generally, with the whole chronological range of his career represented. It will be only the second ever exhibition devoted to De Beer, and the first to show the broad range of his work. The fully-illustrated catalogue will feature extended entries for all the exhibited works and three essays exploring the core themes of the show, written by Robert Wenley, Head of Collections at the Barber Institute and the lead curator of the exhibition, and two leading De Beer specialists. Professor Dan Ewing (Barry University, Miami Shores, Florida) will consider De Beer’s work and career; while Peter van den Brink (Director, Suermondt-Aachen Museum) will explore De Beer’s working methods, in particular as revealed by the underdrawings of his pictures. Robert Wenley’s essay will survey the history of De Beer’s paintings in British collections.

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Book SynopsisBurne-Jones (1833-98), British artist and designer closely associated with the later phase of the Pre-Raphaelite movement. The books is a series of paintings about the Perseus myth Book includes essays and illustrations about the artist.

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Book SynopsisCollection of Tessa Newcomb's paintings

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Book SynopsisJulius Euting, an epigraphist, artist, avid hiker, nature-lover, and intrepid explorer, lived a life of wonder, discovery and extraordinary academic achievement, making groundbreaking contributions to Punic, Hebrew and Aramaic studies. In 1883, a perilous exhibition with French-Alsatian geographer Charles Huber aimed to collect ancient texts and investigate archaeological sites in remote northern Arabia. However, the once-promising collaboration turned sour, poisoned by Franco-German rivalry and Huber?s financial dependence on Euting, leading to a split. Euting found himself risking his life on the Red Sea, whilst Huber tragically met his end in Juiddah in July 1884. Euting?s notebooks, filled with vivid observations, entertaining anecdotes, and personal reactions serve as a diary of his tumultuous journeys. Amidst the pages are meticulous records of Aramaic, Nabateaen and Ancient North Arabian inscriptions, accompanied by watercolours and sketches. In this latest publication, William Facey?s introduction weaves the tale of Euting?s life and his complex relationship with Huber, showcasing their 1883-84 journey and 19th-century exploration. The book concludes by evaluating the discovery of the Tayma Stele, crediting Euting for this archaeological triumph and challenging prevailing notions of its original discovery.Volume I contains 300 pages. Volume II contains 384 pages.

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Book SynopsisMartin's work is characterised by a unique freedom, expressed through the possibilities of her chosen canvas - a piece of paper or textile, a sculptural surface, wall or screen. She interrogates 'who we are at the core, as people', and since her beginnings with live performance drawing in the mega clubs of Tokyo she has navigated creative worlds to interrogate and play with the role of artist and viewer. This monograph charts her career and includes early pieces, larg-scale murals and commissions, and collaborations with museums, technical institutes, museums and fashion brands.

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