Search results for ""national portrait gallery""

Fragments of a Jigsaw: Portraits of Artists and Writers of Wales is an unprecedented collection of photos by Bernard Mitchell who has compiled a gallery of notable characters within the Arts community in Wales. Fragments of a Jigsaw: Portraits of Artists and Writers of Wales is based on the on-going Welsh Arts Archive project. The project began in 1966 with a series of portraits of the Swansea friends of Dylan Thomas, including the artists Ceri Richards and Alfred Janes, the poet Vernon Watkins and the composer Daniel Jones. The collection kept growing: since 1990, Bernard Mitchell has added many artists who have since passed away, including, Will Roberts, Josef Herman, John Petts, Ivor Roberts Jones, John Elwyn, David Tinker and Ernest Zobole. The work continues with the artists working today. In 1999, a large exhibition of photographs of artists was held at the National Library of Wales, Aberystwyth. Photographs are also held in the collections of the National Portrait Gallery, London, The National Museum of Wales, Cardiff and the Glynn Vivian Gallery, Swansea. This is a unique collection of photo-portraits from the Welsh arts scene.For more information on the Welsh Arts Archive project, visit bernardmitchell. co.uk/welsharts-archive/.

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Our favorite moral philosopher is caught up in a delicate dispute between members of a prominent family as her husband, Jamie, is dragged into his own internecine rivalry.Isabel accepts an invitation to serve on the advisory committee of the Scottish National Portrait Gallery, but soon finds herself swept up in an all-too-familiar dilemma. David is the grandson of a Scottish clan chief and is supportive of Scottish nationalism. But his fervent beliefs are threatening family harmony, especially because his sister Catriona's socialist views put her at odds with her brother. When their mother, Laura, a fellow committee member, asks Isabel to intervene, she tries to demur. But always one for courteous resolutions to philosophical disagreements, Isabel can't help but intercede.In the meantime, Jamie, having criticized Isabel for getting involved in the affairs of others, does precisely that himself. Jamie is helping to select a new cellist for his ensemble, but he suspects that the conductor may be focused on something other than his favored candidate's cello skills.With so many factors complicating matters, Isabel and Jamie will have to muster all their tact and charm to ensure that comity is reached between all these fractious parties.

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Every day we are inundated with faces. Images of celebrities, acquaintances, and friends--in the news, on social networking sites, on the street--are constantly changing. Portraits, on the other hand, slow us down. They capture the artist's carefully conceived approach to the subject, whether a friend, a loved one, or a self-portrait. For this book and exhibition, the second in an ongoing series, the National Portrait Gallery held an open competition, asking artists throughout the United States to submit likenesses of people close to them. From more than 3,300 entries from every state, a jury of experts chose forty-nine works of art in a variety of media, including painting, sculpture, drawing, video and new media, and photography. They are as diverse as America and represent many stylistic approaches. The grand prize winner received a $25,000 award and will be given a commission to create a portrait of a notable living American for the Portrait Gallery's permanent collection.The artists shown here use portraiture or self-portraiture to explore complex issues of identity, while they also test the boundaries of figurative art. These faces compel our curiosity and document the dynamic relationship between artist and subject. Ranging from quietly pensive to wildly expressive, these creative approaches to the art of portraiture assert the power of human connections.

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Since the mid-nineteenth century photography has had a central place in cultural encounters within and between migrant communities. Migrant histories have been mediated through the photographic image, and the cultural practices of photography have themselves been transformed as migrant communities mobilise the photographic image to navigate experiences of cultural dislocation and the forging of new identities. Exploring photographic images and the cultural practices of photography as 'contact zones' through which cultural exchange and transformation takes place, this volume addresses the role of photography in migrant histories in the United States from the mid-nineteenth century to today. Taking as its focal point photography's role in shaping migrant experiences of cultural transformation, and in turn how migrant experiences have re-configured culturally differentiated practices of photography, case studies on migration from Europe, Central America, and North America position photography as entwined with cultural histories of migration and cultural transformation in the United States. Free ebook available at OAPEN Library, JSTOR and Project Muse Contributors: Sarah Bassnett (Western University), David Bate (University of Westminster), Justin Carville (Institute of Art, Design & Technology, Dun Laoghaire), Erina Duganne (University of Texas, Austin), Orla Fitzpatrick (National Museum of Ireland), Bridget Gilman (San Diego State University), Aleksandra Idzior (University of Fraser Valley), Alexandra Irimia (University of Western Ontario), Sandra Krizic Roban (Institute of Art History, Zagreb), Sigrid Lien (University of Bergen), Helene Roth (Ludwig-Maximilians-Universitat Munich), Leslie Urena (Smithsonian National Portrait Gallery)

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"A history of cool." — Airmail "Without a doubt she is the great reference of photography in the Hip Hop Culture, with photos that are already the history of contemporary culture of the 20th century." — Staf Magazine "In over 240 pages, the book encapsulates the spirit of history-making generations and their influence on fashion and wider visual culture." — The Luupe Covering four decades of photography, this book serves as a stunning snapshot of Beckman’s significance in the world of art, photojournalism, music, fashion, and popular culture – but most prevalently, it’s a testament to her unique ability to extract beauty from the outliers of society. With written contributions from Beckman’s peers including academia’s Jason King, Chair of NYU’s Clive Davis Institute of Recorded Music & Vivien Goldman Author & Professor at NYU; journalists Vikki Tobak, and co-founder of PAPER, Kim Hastreiter; visual artist Cey Adams; music legends Sting, Run DMC, Paul Weller, Salt-n-Pepa, Belinda Carlisle, and Slick Rick; and fashion’s Dapper Dan, Dior’s Maria Grazia Chiuri, Levi’s Chad Hinson – Rebels: From Punk to Dior showcases Janette Beckman’s influence in her realm. In addition to publishing five books, Janette Beckman’s work has been exhibited in galleries worldwide and is included in the permanent collections of the Smithsonian National Museum of African American History and Culture, the Museum of the City of New York, and the British National Portrait Gallery. She is represented by the Fahey Klein Gallery.

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Editor's Choice - The Bookseller"...the latest addition to the genre is the most stylish yet, comprising images from 1950s Vogue....Even in monochrome the Vogue Colouring Book is a masterful creation, transporting you back to the billowing layers, long gloves and poised hats of the 1950s." Stella magazine.This, the first colouring book from British VOGUE, has been created by award-winning writer, fashion editor, curator and Royal College of Art Professor, Iain R Webb. Celebrating the centenary of British VOGUE, these hand-drawn artworks are inspired by iconic images from the magazine in the 1950s - an era of hats and matching gloves, haughty elegance and hourglass silhouettes (a period that continues to inspire contemporary designers including Miuccia Prada and Dolce & Gabbana).The book features a glamorous dream wardrobe of luxurious ballgowns and soigné cocktail dresses, smart suits and dramatic accessories by key designers including Christian Dior, Balenciaga, Givenchy and Chanel. The accompanying captions offer fashion and style tips (often highly amusing in hindsight) and are taken from the original pages of British VOGUE. The c90 artworks can be coloured in in the spirit of the original images that inspired them or embellished with whatever colours and patterns take the reader's fancy. The colouring book is the perfect present for all those who love vintage fashion and will be published in time for VOGUE's centenary celebrations in 2016, which begin with a major exhibition at the National Portrait Gallery.

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The first book highlighting the historical roots and contemporary implications of the silhouette as an American art formBefore the advent of photography in 1839, Americans were consumed by the fashion for silhouette portraits. Economical in every sense, the small, stark profiles cost far less than oil paintings and could be made in minutes. Black Out, the first major publication to focus on the development of silhouettes, gathers leading experts to shed light on the surprisingly complex historical, political, and social underpinnings of this ostensibly simple art form. In its examination of portraits by acclaimed silhouettists, such as Auguste Edouart and William Bache, this richly illustrated volume explores likenesses of everyone from presidents and celebrities to everyday citizens and enslaved people. Ultimately, the book reveals how silhouettes registered the paradoxes of the unstable young nation, roiling with tensions over slavery and political independence.Primarily tracing the rise of the silhouette in the decades leading up to the Civil War, Black Out also considers the ubiquity of the genre today, particularly in contemporary art. Using silhouettes to address such themes as race, identity, and the notion of the digital self, the four featured living artists--Kara Walker, Kristi Malakoff, Kumi Yamashita, and Camille Utterback—all take the silhouette to unique and fascinating new heights.Presenting the distinctly American story behind silhouettes, Black Out vividly delves into the historical roots and contemporary interpretations of this evocative, ever popular form of portraiture.Published in association with the Smithsonian’s National Portrait Gallery, Washington, DC

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The National Portrait Gallery, the National Gallery and the Royal Academy all saw either radical architectural interventions or rethinks of their mission under Charles Saumarez Smith’s leadership, making him uniquely qualified to explore the ways in which art museums have changed over the past century and examine where they might be headed in the future. For this book, Saumarez Smith has undertaken an odyssey to art museums across the globe. From Tate Modern in London to the Benesse House Museum on the Japanese island of Naoshima; from the Getty Center in Los Angeles to the Museum of New and Old Art, a ferry-ride from Hobart in Tasmania; from the Pompidou Centre in Paris to the West Bund Museum in Shanghai – he has visited them all, casting an acute eye on the way the experience of art is shaped by the buildings that house it and the organizing principles by which it is displayed. What has changed over the past century? Where the public once visited museums to be educated in art history, he argues, they are now more likely to be in search of a private, aesthetic experience. Museum displays that were automatically didactic, chronological and either national or Western in viewpoint are now thematic and global. While museums used to be invariably in city centres, they may now be in remote locations, destinations of cultural pilgrimage. And where architects once created neutral spaces in which to display art, they now build spectacular architectural landmarks, stamping an identity on run-down neighbourhoods and sparking regeneration through cultural tourism. With 122 illustrations in colour

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Shortly after the dawn of photography, the unlikely partnership between the respected painter David Octavius Hill and the young engineer Robert Adamson produced some of the most important photographs in the history of the medium. Their alliance began when Hill, while working on his large commemorative painting of the people involved in forming the Free Chruch of Scotland in 1843, began using photography as a tool to document the church elders. What followed was a four-and-a-half-year partnership - cut short by Adamson's untimely death in 1848 - that produced a large body of work. During their association Hill and Adamson experimented with some of the earliest calotype processes creating hundreds of portraits, staged dramatic photographs, and architectural and landscape images. The Getty Museum holds more than 400 works by Hill and Adamson, 47 of which are featured in this volume. The plates are accompanied by commentary from Anne M. Lyden, curatorial assistant in the Department of Photographs at the Museum. A colour foldout of Hill's above-referenced painting "The Signing of the Deed of Demission (The Disruption Picture)" appears in the back of the book. The book includes a chronology of the key events of the artists' partnership and an edited transcript of a colloquium on the artists, with participants: Lyden; Weston Naef, curator of photographs at the J. Paul Getty Museum; Sara Stevenson, curator of photographs at the Scottish National Portrait Gallery; Alison Morrison-Low, curator, History of Science Section, National Museums of Scotland; Jonathon Reff, photographer, Los Angeles; Michael Wilson, private collector, Los Angeles and London; and David Featherstone, independent editor and curator, San Francisco.

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'An astonishingly rich story... wonderfully informative' The Times 'Rappaport does a terrific job of bringing respectful rigour to her account of Seacole's extraordinary life' Daily MailIn Search of Mary Seacole is a superb and revealing biography that explores her remarkable achievements and unique status as an icon of the 19th century, but also corrects some of the myths that have grown around her life and career. Having been raised in Jamaica and worked in Panama, Mary Seacole came to England in the 1850s and volunteered to help out during the Crimean War. When her services were turned down, she financed her own expedition to Balaclava, where she earned her reputation as a nurse and for her compassion. Popularly known as ‘Mother Seacole’, she was the most famous Black celebrity of her generation – an extraordinary achievement in Victorian Britain. She regularly mixed with illustrious royal and military patrons and they, along with grateful war veterans, helped her recover financially when she faced bankruptcy. However, after her death in 1881, she was largely forgotten for many years. More recently, her profile has been revived and her reputation lionised, with a statue of her standing outside St Thomas's Hospital in London and her portrait – rediscovered by the author – is now on display in the National Portrait Gallery. In Search of Mary Seacole is the fruit of almost twenty years of research by Helen Rappaport into her story. The book reveals the truth about Seacole's personal life and her 'rivalry' with Florence Nightingale, along with much more besides. Often the reality proves to be even more remarkable and dramatic than the legend.

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A unique exploration of self-portraits by two artists born nearly a century apart This beautifully illustrated book draws together for the first time the work of French artist Claude Cahun (1894-1954) and British contemporary artist Gillian Wearing (b. 1963). Although they were born almost a century apart, their work shares similar themes--gender, identity, masquerade, and performance. In 2015, Sarah Howgate traveled with Wearing to the island of Jersey, in the English Channel, where Cahun lived and worked until her death, and where her archive is housed. In examining Cahun's photographs, Wearing was struck by the remarkable parallels with her own explorations of the self-image through photography. Cahun was a contemporary of Andre Breton and Man Ray, but her work was rarely exhibited during her lifetime. Wearing, who has exhibited extensively and is a recipient of Britain's prestigious Turner Prize, was no stranger to Cahun's work when she made the trip to Jersey--her 2012 self-portrait, Me as Cahun holding a mask of my face, is a reconstruction of Cahun's iconic Self-portrait, made in 1927. In this book, Howgate examines the work of both artists, investigating how their cultural, historical, political, and personal contexts have affected their interpretations of similar themes. This book features stunning reproductions of more than ninety key works, presented thematically by artistic evolution, performance, masquerade, and memento mori, among others. Also included are new works by Wearing, a revealing interview with her by Howgate, and an illuminating essay on Cahun by writer and curator Dawn Ades. Exhibition schedule: National Portrait Gallery, London March 9-May 29, 2017

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Photographs and Reflections by Paul McCartney'Millions of eyes were suddenly upon us, creating a picture I will never forget for the rest of my life.'In 2020, an extraordinary trove of nearly a thousand photographs taken by Paul McCartney on a 35mm camera was re-discovered in his archive. They intimately record the months towards the end of 1963 and beginning of 1964 when Beatlemania erupted in the UK and, after the band's first visit to the USA, they became the most famous people on the planet. The photographs are McCartney's personal record of this explosive time, when he was, as he puts it, in the 'Eyes of the Storm'.1964: Eyes of the Storm presents 275 of McCartney's photographs from the six cities of these intense, legendary months - Liverpool, London, Paris, New York, Washington, D.C. and Miami - and many never-before-seen portraits of John, George and Ringo. In his Foreword and Introductions to these city portfolios, McCartney remembers 'what else can you call it - pandemonium' and conveys his impressions of Britain and America in 1964 - the moment when the culture changed and the Sixties really began.1964: Eyes of the Storm includes:- Six city portfolios - Liverpool, London, Paris, New York, Washington, D.C. and Miami - and a Coda on the later months of 1964 - featuring 275 of Paul McCartney's photographs and his candid reflections on them- A Foreword by Paul McCartney- Beatleland, an Introduction by Harvard historian and New Yorker essayist Jill Lepore- A Preface by Nicholas Cullinan, Director of the National Portrait Gallery, London, and Another Lens, an essay by Senior Curator Rosie Broadley

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A richly illustrated history of women’s suffrage in the United States that highlights underrecognized activistsMarking the centenary of the ratification of the Nineteenth Amendment in 1920, Votes for Women is the first richly illustrated book to reveal the history and complexity of the national suffrage movement. For nearly a hundred years, from the mid-nineteenth century onward, countless American women fought for the right to vote. While some of the leading figures of the suffrage movement have received deserved appreciation, the crusade for women’s enfranchisement involved many individuals, each with a unique story to be told. Weaving together a diverse collection of portraits and other visual materials—including photographs, drawings, paintings, prints, textiles, and mixed media—along with biographical narratives and trenchant essays, this comprehensive book presents fresh perspectives on the history of the movement.Bringing attention to underrecognized individuals and groups, the leading historians featured here look at how suffragists used portraiture to promote gender equality and other feminist ideals, and how photographic portraits in particular proved to be a crucial element of women’s activism and recruitment. The contributors also explore the reasons why certain events and leaders of the suffrage movement have been remembered over others, the obstacles that black women faced when organizing with white suffragists and the subsequent founding of black women’s suffrage groups, the foundations of the violent antisuffrage movement, and the ways suffragists held up American women physicians who served in France during World War I as exemplary citizens, deserving the right to vote.With nearly 200 color illustrations, Votes for Women offers a more complete picture of American women’s suffrage, one that sheds new light on the movement’s relevance for our own time.Published in association with the Smithsonian’s National Portrait Gallery, Washington, DC

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Perfect for planning and enjoying a stress-free family holiday, this easy-to-use guide book is packed with insider tips and information on the best family-friendly activities and attractions.Take a tour of the White House, admire the monuments and memorials of the National Mall or visit the National Air and Space Museum. From recommendations of child-friendly restaurants to suggestions for rainy-day activities, this guide book takes the work out of planning a family trip to Washington, DC.Inside Family Guide Washington, DC:- Each major listing includes details of the closest toilets, the nearest places to grab a snack or meal, what do if it rains, and where kids can play and let off steam- Contains cartoons, quizzes and games to keep young travellers happy all day long- Detailed coloured maps of all the major attractions and areas help you navigate with ease- Colour-coded area guides make it easy to find information - At-a-glance pages highlight all the best sights and activities in each area so you can plan your day quickly- Features expert suggestions for the best places for families to stay, eat and shop - Gives essential travel information, including transport, visa and health information- Covers National Air and Space Museum, National Gallery of Art, Washington Monument, World War II Memorial, Lincoln Memorial, Franklin Delano Roosevelt Memorial, Thomas Jefferson Memorial, United States Capitol, the White House, Smithsonian American Art Museum and National Portrait Gallery, Georgetown, George Washington's Mount Vernon Estate, Jamestown, Busch GardensTM and moreLooking for a comprehensive guide to Washington? Try our DK Eyewitness Travel Guide Washington, DC. On a shorter trip and want to see the highlights? Try our Top 10 Washington, DC travel guide.

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Emily Andersen has been making photographic portraits of the international avant-garde since graduating from the Royal College of Art in the early 1980s. Having started out by finding her way into some pretty cool-sounding private parties in London and New York, she began convincing artists and musicians to pose for her – from Nan Goldin to Nico. Over the past thirty-five years, she has built up a remarkable and beautiful portfolio that includes many high-profile writers, poets, film directors, actors and architects, with Peter Blake, Michael Caine, Derek Jarman, Zaha Hadid, Arthur Miller, Helen Mirren, Michael Nyman and Eduardo Paolozzi among those featured in this new publication devoted to her black-and-white portraits.In addition to celebrities, Andersen has documented many interesting and inspiring figures who are celebrated and respected within their fields, offering an invaluable insight into the lives of people who have made significant contributions to the wider cultural and creative life of the USA, Britain and Europe over the current and recent generations. An illuminating essay by critic Jonathan P. Watts not only explores the lives of some of Andersen’s many sitters and the photographs she has taken of them, but also get to grips with ideas such as the nature of portraiture, photojournalism and the limitations of the documentary photograph, framing them within debates of the late 1980s onwards. ‘While all of these portraits may not be recognisably activist images’, asserts Watts, ‘they’re rooted in the belief of a micro-politics of everyday lives and relationships.’ Readers can discover more about the background, circumstances and dynamics of many of the shoots by means of notes prepared by Andersen herself to accompany each image, which are regularly entertaining and thought-provoking as well as informative.Beyond capturing the essence of these figures and of the times in which they are living, Andersen has a particular talent for entering into their private lives and private spaces, often being invited into her sitters’ own homes. By photographing family members and friends, she gets an angle on them that is often deeply personal, sensitive and honest. Creating works that are carefully composed and choreographed and yet regularly informal and relaxed, there is always, somehow, a sense that Andersen is more interested in encouraging her subjects to speak through her images than in imposing her own impressions upon them. It is also fascinating to note how Andersen is often keen to document the young children of celebrities, especially girls, and has made a substantial body of work of fathers and daughters. She is always interested to know what these young women grew up to be, and sometimes returns to photograph the same people years, if not decades, later.Andersen has been commissioned for innumerable magazines and newspapers including the New Musical Express (NME), The Face, Elle Deco, Domus, The Times, The Guardian, The Independent, The Sunday Telegraph and The Economist, and has been commissioned by publishers such as Quadrille, Simon and Schuster, Oxford University Press, Hachette, Random House and Harper Collins. Her works have been exhibited internationally in venues including The Photographers’ Gallery, London; The Institute of Contemporary Art, London; The Scottish National Portrait Gallery, Edinburgh; The Barber Institute of Fine Arts, University of Birmingham; Massachusetts Museum of Contemporary Art; Jehangir Art Gallery, Mumbai; and China Arts Museum, Shanghai. A winner of the John Kobal prize for portraiture, she has a number of works in The National Portrait Gallery, London and in other public collections including The British Library, London, and The Contemporary Art Society, London. Andersen is a senior lecturer in photography at Nottingham Trent University.Designed by Melanie Mues of Mues Design, London, with reprography by DPM, London, and printed by EBS, Verona, this stunning hardback monograph has been released in both a trade edition published by Anomie and as an artist’s limited edition of fifty signed and numbered copies, accompanied by an original print.The cover image is of the Chilean-French filmmaker Alejandro Jodorowsky and his son, Axel, in London in 1989.

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For nearly half a century, Sir Roy Strong has enjoyed a high public profile in the arts world in Britain. Yet remarkably little is known about his life before the Swinging Sixties when he burst upon the scene as the revolutionary trendy young director of the National Portrait Gallery, aged thirty-one. In this book he recounts for the first time the story of his social origins and the roots of his life-long passion for the culture and history of England. He describes his childhood home in a suburban North London terrace, revealing himself to have been a shy solitary child of melancholy temperament, painting Elizabethan miniatures and Shakespearean set designs in his teens. It follows him through grammar school and university, where together with a generation of postwar ‘meritocrats’ like A.S. Byatt and Alan Bennett, his passion for learning was awakened and nourished. We catch glimpses of seminal experiences, such as his first outings to the theatre, opera and ballet, and his first trip abroad to Italy, which was to have a lasting influence on his sensibilities. He explores key, sometimes painful relationships with his family, his school teacher with whom he had a lifelong correspondence, and his debt to such people as C.V. Wedgwood, A.L. Rowse, Frances Yates and Cecil Beaton. In it we glimpse a vanished world dominated by class and hierarchy up which he climbed. As a backdrop we have the transformation of London from the drab, postwar world of the 1950s to the epicentre of fashion in the 1960s, and the development of Sir Roy’s distinctive sartorial style, inspired by the burgeoning shops on Carnaby Street. Richly illustrated with drawings, letters, photographs and other archival material, this is an honest and compelling portrait of a young man about to step into the limelight of the British cultural scene he helped to modernize and in which he played a leading role.

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Lauren Child's beautiful and artistic retelling of The Princess and the Pea.The tale of a prince, a princess, perfect politeness, pages of love and a peculiarly hard pea. This utterly original interpretation of the classic tale has dazzling illustrations from multi-talented collaborators, award-winning Lauren Child and widely acclaimed photographer Polly Borland. This beautifully presented picture book explores the tale of the down-to-earth princess through a stunning mix of artwork and photography to create a fairy tale to be treasured.Lauren Child is the multi-talented prize-winning creator of the characters Charlie and Lola and Clarice Bean. She has won the Smarties Gold Award, Smarties Bronze Award, Kate Greenaway Medal and been shortlisted for the Children's Book of the Year at the British Book Awards. Lauren lives in London. Polly Borland is a widely acclaimed, award winning photographer, famous for her vivid portraits. She is one of the few people to have been allowed into to Buckingham Palace to photograph the Queen and has had her own exhibition at London's National Portrait Gallery. Born in Australia, Polly now lives in Brighton but continues to work all over the worldLook out for Lauren Child's Charlie and Lola books:We Honestly Can Look After Your Dog; But Excuse Me That is My Book; My Collecting Sticker Book; My Picnic Sticker Book; My Very Busy Sticker Book; My Completely Best Story Collection; I'm Really Ever So Not Well; My Completely Best Story Collection; My Extremely Good Story Collection; Snow is my Favourite and My Best; We Honestly Can Look After Your Dog; My Especially Busy Box of Books; Whoops! But it wasn't Me; I am Really, Really Concentrating; My Best, Best Friend; This is Actually My Party; I really Wonder What Plant I'm Growing; I Will Be Especially Very Careful; My Doodling and Colouring-In Book; Sizzles, Where Are You?; I Absolutely Love Animals; You Won't Like this Present as Much as I Do; I am Inventing an InventionAnd other books by Lauren Child:The Princess and the Pea; The Secret Garden; Who Wants to be a Poodle? I don't!; Maude, the Not-So-Noticeable Shrimpton; Clarice Bean; Ruby Redfort

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Published on the occasion of Bridget Riley’s major exhibition at David Zwirner in London in the summer of 2014, this fully illustrated catalogue offers intimate explorations of paintings and works on paper produced by the legendary British artist over the past fifty years, focusing specifically on her recurrent use of the stripe motif. Riley has devoted her practice to actively engaging viewers through elementary shapes such as lines, circles, curves, and squares, creating visual experiences that at times trigger optical sensations of vibration and movement. The London show, her most extensive presentation in the city since her 2003 retrospective at Tate Britain, explored the stunning visual variety she has managed to achieve working exclusively with stripes, manipulating the surfaces of her vibrant canvases through subtle changes in hue, weight, rhythm, and density. As noted by Paul Moorhouse, “Throughout her development, Riley has drawn confirmation from Eugène Delacroix’s observation that ‘the first merit of a painting is to be a feast for the eyes.’ [Her] most recent stripe paintings are a striking reaffirmation of that principle, exciting and entrancing the eye in equal measure.” Created in close collaboration with the artist, the publication’s beautifully produced color plates offer a selection of the iconic works from the exhibition. These include the artist’s first stripe works in color from the 1960s, a series of vertical compositions from the 1980s that demonstrate her so-called “Egyptian” palette—a “narrow chromatic range that recalled natural phenomena”—and an array of her modestly scaled studies, executed with gouache on graph paper and rarely before seen. A range of texts about Riley’s original and enduring practice grounds and contextualizes the images, including new scholarship by art historian Richard Shiff, texts on both the artist’s wall paintings and newest body of work by Paul Moorhouse, 20th Century Curator at the National Portrait Gallery in London, and a 1978 interview with Robert Kudielka, her longtime confidant and foremost critic. Additionally, the book features little-seen archival imagery of Riley at work over the years; documentation of her recent commissions for St. Mary’s Hospital in West London, taken especially for this publication; and installation views of the exhibition itself, installed throughout the three floors of the gallery’s eighteenth-century Georgian townhouse located in the heart of Mayfair.

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Published to celebrate the 200th anniversary of the birth of G.F. Watts, this book provides a lively and engaging introduction to one of the most charismatic figures in the history of British art. Covering all aspects of Watts’s career, it places him back at the centre of the visual culture of the 19th century. George Frederic Watts (1817–1904) was one of the great artists of the 19th century. As a young man Watts exhibited alongside Turner, and by the end of his long career he was influential upon Picasso. Sculptor, portraitist and creator of classic Symbolist imagery, Watts was seen also as more than an artist – a philanthropic visionary whose art charted the progress of humanity in the modern world. After four years in Italy in the 1840s, Watts was recognized as a Renaissance master reborn in the Victorian age. Nicknamed ‘Signor’, and working in isolation from the mainstream commercial art-world, he became a cult figure, obsessively returning to a series of subjects describing the fundamental themes of existence – love, life, death, hope. Engaging in turn with Romanticism, the Pre-Raphaelites, the Aesthetic Movement and Symbolism, Watts remained true to his own personal vision of the evolution of humanity. As a portraitist, Watts set out to capture the essence of the great characters of 19th-century Britain, donating his finest portraits to the National Portrait Gallery in London. Watts’s portraits of figures such as William Morris, John Stuart Mill and the poets Tennyson and Swinburne have become the classic images of these cultural celebrities, while more intimate portraits such as Choosing, showing the artist’s first wife, the actress Ellen Terry, are among the most popular of all British portraits. During the 1880s Watts emerged from his cult status to be embraced by the public. Feted as the great modern master, even as “England’s Michelangelo”, he was given large retrospective exhibitions in London and at the Metropolitan Museum in New York. His reputation grew also in Europe, where the Symbolists revered him as one of their great exemplars. Watts’s most celebrated works, such as Love and Life, Hope, and the epic sculpture Physical Energy, were reproduced globally and their fame was unsurpassed within contemporary art in the years around 1900. By this time, Watts had acquired a country home in Surrey – Limnerslease – around which he and his second wife, the designer Mary Watts, built a type of utopian settlement, which has recently been restored and opened to the public as Watts Gallery – Artists’ Village. By the end of his life Watts was a national figure, an inspirational artist who had found a meaningful role for art as a catalyst for social change and community integration.

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Engage, support and develop confident historians This Student Book covers the key knowledge for Pearson Edexcel GCSE (9-1) History Option 13 Migrants in Britain, c800-present and Notting Hill c.1948-1970. Written by an experienced author team (Rosemary Rees, Tony Warner, Joshua Garry and series editor Angela Leonard), with a wealth of experience and knowledge, together, they bring this fascinating journey through British history to life. Key features for students include: clear and accessible language to appeal to students of all abilities a wealth of contemporary images and sources differentiated activities and checkpoint activities recap pages to help with consolidating and retaining knowledge a Preparing for the exam section, with exam advice and annotated sample answers an Extend your knowledge section for students wishing to conduct further research into this topic. The student book also incorporates tried and tested teaching approaches: Thinking Historically activities throughout tackle some of the key misconceptions that can hold student thinking back. Writing Historically spreads, based on the Grammar for Writing approach used by many English departments, explain how students can improve their writing, making their answers more sophisticated, clear and concise. About the series editor: Angela Leonard taught history in secondary schools for over 20 years and was also a teacher trainer at the University of London Institute of Education for over a decade. She has extensive experience as a senior GCSE examiner and as an author and series editor of history textbooks. About the authors: Rosemary Rees taught history in primary and secondary schools for many years and has been involved in teacher training at St Martin's College, Lancaster as well as teaching for the Open University. She has worked as a GCSE external assessor and has extensive experience as a senior examiner at GCSE and GCE levels. She has authored and series edited numerous history books for KS3, GCSE and GCE. Tony Warner is the founder of Black History Walks which leads tours in areas across London, including Notting Hill. The walks are designed to uncover the 3500 years of black history in London. He spent several years running workshops on institutional racism and has created community partnerships with, and lectured at, The Imperial War Museum, National Portrait Gallery, Museum of Docklands and British Film Institute. He is currently Activist in Residence and Honorary Research Fellow at UCL's Sarah Parker Remond Centre. Joshua Garry, Joshua is a Deputy Head of History at a school in London with a passion for creating a more diverse and inclusive history curriculum. “I think first and foremost you want your history curriculum to represent the experiences of the people inside the classroom or the people inside Britain. I always like to start in my classroom first. What does my classroom look like? I want my students to be able to connect with those stories. To see where they fit in.” – Joshua Garry

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Featuring the collection of the National Gallery of Art in Washington, DC, Belle is an enthralling adventure through three hundred years of art! Belle, a painted butterfly, has been quietly hovering over a beautiful white poppy in a seventeenth-century Dutch painting that has been her home for three hundred years. Suddenly and unexpectedly there is a sudden whoosh of air and she finds herself flying out of her picture into the void So begins the adventures of Belle, the red admiral butterfly in Jan Davidsz de Heem's Vase of Flowers. Accidentally dislodged, when her painting was being taken by museum staff to be examined by the Conservation Department, Belle and her sidekick Brimstone, a fellow butterfly who was ejected from the painting at the same time, must find their way back home. When their painting rolls into an elevator without them, their journey through the art museum begins. Because they are made of paint, they discover that they can blend into any of the other paintings in the museum, no matter what the subject or period. The characters travel through the museum galleries, morphing into and out of paintings by multiple artists and in many styles, while searching for their home painting. At the same time they must avoid becoming lunch for a painted bird in hot pursuit after being inadvertently released from another painting by an awkward bump from Brimstone! Belle and Brimstone tell their story as it happens with all the scary encounters and comic incidents that have them hiding out in unlikely places in the paintings they encounter. They dash and dart as the predatory bird flies after them, chasing them from room to room. Successful and safe in the end Brimstone is up for more adventures. Belle is not so sure! Maybe it will be safer if they stay put in their painting from now on. Can you find them? While the story is an adventure story written for young readers it will also enchant younger listeners. Featuring the collection of the National Gallery of Art, this tale is a fanciful romp through three hundred years of art history, inviting young people to delve into the world of art through the paintings of de Heem, Vermeer, Chardin, Goya, Rembrandt, Elisabeth Vigée-LeBrun, Mary Cassatt, Renoir, Monet, Tissot, Picasso, Derain, Marc, Matisse, Georgia O'keeffe, Rothko, Pollock, Lichtenstein and many others. As an added bonus Belle has taken the trouble to create Belle's Amazing, Astonishingly Magical Journal and illustrated it with her comments on each painting and ideas on where to hide when being chased! Let Belle and Brimstone be your guides and docents and mind out for that Bird! Mary Lee Corlett, an art historian and research associate at the National Gallery of Art in Washington, D.C., owes her love of art to her father, whose mechanical drawings and plans always seemed magical to her as a child, and to an inspired teacher who introduced her to the wonderful ideas and concepts that underlie all great art. As a child she drew and painted but later when, thinking she would like to teach art, she enrolled in college and attended studio art classes and studied education, she discovered that the art history classes were more exciting than her own studio work. Her first job after collecting her BA was as a teaching assistant in the Education department at the Cleveland Museum of Art, doing art projects in Mini-Masters classes of 4-5 year olds. She then moved to Washington and worked at the National Portrait Gallery before assuming her current position. She still draws and paints but her daughter has forsaken paint brush and easel for flute and music stand. They still visit the galleries together and walk through all the amazing, astonishing and magical rooms full of wonderful paintings and sculptures just to check that Belle and Brimstone are safe and sound! Phyllis Saroff is a professional artist who can't remember when she didn't draw pictures. Inspired in First Grade by an older girl drawing pictures for a story she had written Phyllis started to illustrate her own stories. Her father would bring home large stacks of used accordion-fold computer paper from his lab. It was printed on one side with his equations, and the other side was blank. The blank side was Phyllis' side. He let her leave her drawings all over the house, on the coffee table, the dining room table and the kitchen table. His daughter only had to get them out of the way to set the table for dinner. He thought each drawing was a masterpiece; each one greater than the last. He bought art supplies for every birthday and when she was eleven he bought her a small drafting table which she still uses in her studio. She now sells her paintings in galleries and illustrates books for a living and her 97 year-old father still thinks every one of her drawings is a masterpiece.

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