Search results for ""Royal Academy of Arts""

Accompanying catalogue for the Marina Abramović exhibition at the Royal Academy from 23 September – 1 January 2024. Over the past half century, Marina Abramović has earned worldwide acclaim as a pioneer of performance art. This handsome new book records the first UK exhibition to include works from her entire career. Re-performances of some of her best-known and most radical pieces appear alongside new and recent work. An augmented-reality app for iOS and Android enables readers to watch films of Abramović’s original performances while reading the book. An essential purchase for all followers of Abramović’s extraordinary 55-year career, this important publication brings expert voices into the debate that her groundbreaking art engenders. How far should an artist push herself in pursuit of her work? What role does the audience play in creating a performance? How can performance art outlive the moment in which it takes place?

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Pablo Picasso's artistic output is astonishing in its ambition and variety. This handsome new publication examines a particular aspect of his legendary capacity for invention: his imaginative and original use of paper. He used it as a support for autonomous works, including etchings, prints and drawings, as well as for his papier-collé experiments of the 1910s and his revolutionary three-dimensional 'constructions', made of cardboard, paper and string. Sometimes, his use of paper was simply determined by circumstance: in occupied Paris, where art supplies were hard to come by, he ripped up paper tablecloths to make works of art. And, of course, his works on paper comprise the preparatory stages of some of his very greatest paintings, among them Les Demoiselles d'Avignon (1907) and Guernica (1937). With reproductions of more than 300 works of art and additional texts by Violette Andres, Stephen Coppel, Emmanuelle Hincelin, Christopher Lloyd, Johan Popelard and Claustre Rafart Planas, this sumptuous study reveals the myriad ways in which Picasso's genius seized the potential of paper at different stages throughout his career.

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Ann Christopher RA is a non-figurative sculptor who works primarily in cast bronze, stainless steel, silver and fabricated Corten steel; her output comprises both large and small sculptures and site-specific commissions. Christopher's elegant and understated works reveal connections with a vast spectrum of sources from across the globe, such as rock formations in Israel, fossils from the Cretaceous chalks of Hertfordshire, prehistoric standing stones in Avebury and early Aegean figurines. The marks Christopher makes on her works are suggestive both of natural processes, such as weathering, and the forms and tools of mechanised industry. Christopher has been exhibiting sculpture for over 45 years. During that period she has won many awards and prizes, including the Silver Medal for Sculpture of Outstanding Merit by the Royal Society of British Sculptors and the Otto Beit Medal of Sculpture of Outstanding Merit. She is a fellow of the Royal Society of British Sculptors and was elected a Royal Academician in 1989. She lives and works near Bath.

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A farmer's son from Cheshire, British artist Charles Frederick Tunnicliffe (1901-79) won a scholarship to the Royal College of Art in 1920. He went on to work in numerous mediums, his favored subject matter being Britain's native birds and other fauna, always depicted punctiliously and yet, unusually for the time, in their natural habitats. Renowned as the illustrator of the 1932 edition of Henry Williamson's Tarka the Otter and numerous Brooke Bond tea cards (popular collector's items in Britain in the postwar period), Tunnicliffe lived on the Welsh island of Anglesey for more than 30 years. He was elected a Royal Academician in 1954. This handsome catalogue raisonne of his prints, over 430 in number, includes lavish illustrations and authoritative annotations by the printmaking authorities Robert Meyrick and Harry Heuser.

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Born in 1943 in London, Bill Jacklin RA studied and worked in graphic design before a move to study painting at the Royal College of Art. Initially abstract, his work moved towards figuration in the mid-1970s, at which point he also became preoccupied with the effects of light and movement, twin strands that have characterised his work ever since. Since his move to New York in 1985, he has concentrated on painting portraits of the city in all its guises, from large-scale compositions of crowds in flux to Seurat-like etchings depicting more intimate urban moments.Jacklin enjoys making monotypes, whose fusion of printmaking and painting techniques is particularly well suited to his subject-matter. Painted on a polished, non-absorbent surface, these images are unique, and no reusable element, such as an etching plate, woodblock or stencil, is employed in their creation. This handsome new book reproduces a wide range of Jacklin's exuberant monotypes and contains an informative ac

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A student at Goldsmiths College and the Royal College of Art, Eileen Cooper RA became well known in the 1980s for her strong and passionate figuration. Her unapologetically female approach to her subject-matter encompasses sexuality, motherhood, life and death. She was elected a Royal Academician in 2001 and served as Keeper of the Royal Academy between 2010 and 2017, the first woman in the institution’s history to do so. This lovely new sketchbook reveals Cooper’s fascination with the female body in various media, from pencil and crayon to charcoal and gouache, and celebrates her work in all its joyful intimacy.

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For generations, Black artists from the American South have forged a unique art tradition. Working in near isolation from established practices, they have created masterpieces in clay, driftwood, roots, soil, and recycled and cast-off objects that articulate America’s painful past – the inhuman practice of enslavement, the cruel segregationist policies of the Jim Crow era, and institutionalised racism. Their works date from the early twentieth century to today and respond to issues ranging from economic inequality, oppression and social marginalisation, to sexuality, the influence of place, and ancestral memory. Among the sculptures, paintings, reliefs and drawings included here are works by Hawkins Bolden, Thornton Dial, Sam Doyle, Bessie Harvey, Lonnie Holley, Ronald Lockett, Joe Minter, Nellie Mae Rowe, Mary T. Smith, Henry and Georgia Speller, Mose Tolliver, Charles Williams and Purvis Young. Also featured are the celebrated quiltmakers of Gee’s Bend, Alabama, among them Mary Lee Bendolph, Marlene Bennett Jones, Loretta Pettway and Martha Jane Pettway.

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Monet''s lavish paintings are re-imagined in zesty, energetic and amusing ways with illustrations that younger readers will find amusing and engaging. They tell the story of Monet and his garden: his arrival; the country clothes he wore; the bright Japanese prints he collected; how the Impressionist artist painted outdoors, rain or shine; the thousands of seed-packets he ordered; his gardeners, who had to leave Giverny to go to war... Spread by spread the garden is explained and built up with Ascari''s and Valentinis''s original illustrations, which take Monet''s work as their starting point and transform it in beautiful and unexpected ways.

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Michelangelo's (1475–1564) "Taddei Tondo," in the collection of the Royal Academy in London, offers a fascinating insight into the master's technical and experimental skill. Joshua Reynolds, the Academy's first president, considered that Michelangelo represented everything that an artist should aspire to, combining technical brilliance with sublime poetical imagination, and the Tondo shows this in scintillating relief. Expertly researched and written by the renowned Renaissance art historian Alison Cole, this book moves through the life of the "Tondo," from Michelangelo's rivalry with Leonardo to the marble's arrival at the Royal Academy and its use in the RA Schools. Finishing with a fresh look at the Tondo's role in revealing Michelangelo's technical experimentalism, Cole explores the importance of finish and what constitutes a finished work of art. Lavishly illustrated and including new photos of the Tondo, this is an enriching exploration of a lesser-known side of the great Renaissance. AUTHOR: Alison Cole is a Renaissance art historian who currently works as a writer and strategic consultant in the arts, digital and cultural sector. She has served on the executive boards of institutions such as Arts Council England, the Southbank Centre and The Art Fund. She is the author of 'Virtue and Magnificence: Art of the Italian Renaissance Courts' (1995) and has written several books on art history in association with major galleries. Her latest book, published by Laurence King, is a revised and expanded edition of 'Art of the Italian Renaissance Courts'. SELLING POINTS: . A new examination of the Taddei Tondo, the only Michelangelo marble in Britain . Authoritatively written by the renowned Renaissance art historian Alison Cole . Accompanied by new photographs of the tondo taken at its home in the Royal Academy Collections 50 colour images

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Käthe Kollwitz, Paula Modersohn-Becker, Gabriele Münter and Marianne Werefkin are among the exceptional artists associated with the emergence of Expressionism in Germany in the early decades of the 20th century. Each challenged prevailing ideals of feminine identity at a time of great societal change. As women, they were expected to marry and raise a family; some chose to, some did not. As ambitious artists, they wanted to work. As they rose to these challenges, their art further undermined conventions. Their portraits of children symbolise joy, hope and innocence but also melancholy, tension, curiosity, the passing of time and unfulfilled desire. Their radical depictions of the nude wrest the female body away from the male gaze towards a newfound role, expressive of powerful maternity and female subjectivity. These dramatic modernist compositions, with their fluid brushwork and bright hues, push at the boundaries of form, colour and spiritual meaning.

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Renowned for such prominent buildings as London’s Tate Modern, Beijing’s Bird’s Nest National Stadium and 1111 Lincoln Road in Miami Beach, Herzog & de Meuron sits at the cutting edge of contemporary design. Founded in Basel over 40 years ago, the Swiss architectural practice is now an international partnership with projects across the globe – among them museums, hospitals, skyscrapers, arenas, and private and civic buildings. Produced in close collaboration with the architects, and comprising new texts by leading writers, practitioners and thinkers, this exciting new publication gives an authoritative account of the inner workings of what the New York Times dubbed ‘one of the most admired architecture firms in the world’.

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These sketchbooks, the work of the acclaimed Scottish artist Barbara Rae CBE RA during her three journeys towards the Northwest Passage in the depths of the Arctic Circle in 2015, 2016 and 2017, record in colourful and assured brush strokes the icebergs, frozen bays and snowdrifts of this often hostile landscape. Polar bears roam and the Northern Lights dance across its pages, accompanied by Rae's handwritten notes in which she records her experiences and her immediate reactions to this harsh, unforgiving environment. Each page of the sketchbooks is meticulously reproduced, and the handsomely bound volume sits comfortably in the hand, making it the perfect gift for anyone interested in painting or exploration.

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Though little known outside her native country, Helene Schjerfbeck (1862-1946) is one of Finland's best-loved artists. Her career, which stretched from the late 1870s to the end of the Second World War, encompassed both Impressionism and Modernism. This book records an exhibition that marks the first time her works have been seen in the UK since she exhibited in London herself in 1890. It presents the full range of her exceptional paintings and drawings, with 70 works in all genres, including portrait, landscape and still-life. Schjerfbeck's technique, her social and cultural context and her legacy are all examined in depth by the authors. The book also explores the role of the masquerade in Schjerfbeck's work, and the impact of old-master paintings on her practice.

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This jewel-like book evokes unmistakable Italian landscapes and cityscapes. Anne Desmet's pen commits every detail to paper, and the small-scale format emphasises her distinctive flair for capturing the relationship between extreme foreground and distance. This is an opportunity to explore Italy, from Apennines to Veneto, through the eyes of a very particular artist.

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Lost Futures looks in detail at the wide range of buildings constructed in Britain between 1945 and 1979. Although their bold architectural aspirations reflected the forward-looking social ethos of the postwar era, many have since been either demolished or altered beyond recognition.Photographs taken at the time of their completion are accompanied by expertly researched captions that examine the buildings' design, creation, the ideals they embodied and the reasons for their eventual destruction. Lost Futures covers many building types, from housing to factories, commercial spaces and power stations, and presents the work of both iconic and lesser-known architects. The author charts the complex reasons that led to the loss of these projects' ambitious futures, and assesses whether some might one day be recaptured.

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Revolution: Russian Art, 1917-1932 encapsulates a momentous period in Russian history that is vividly expressed in the diversity of art produced between 1917, the year of the October Revolution, and 1932 when Stalin began to suppress the avant-garde and its debates. Based around the great exhibition of 1932 held at the State Russian Museum in Leningrad, the book explores the fascinating themes and artistic developments of the first fifteen years of the Soviet state, including painting, sculpture, ceramics, posters, graphics and film. The exhibition itself was to be the swansong of avant-garde art in Russia: new policies quickly ensured that Socialist Realism - collective in production, public in manifestation and Communist in ideology - was to become the only acceptable art form. This volume is a timely and authoritative exploration of how modern art in all its forms flourished, was recognised, celebrated, and broken by implacable authority all within fifteen years.

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Considered one of the most important religious structures of the twentieth century, the Chapel of the Rosary in Vince was regarded by Matisse himself as his great masterpiece. He dedicated four years to the creation of this convent chapel on the French Riviera, and the result is one of the most remarkable and comprehensive ensemble pieces of twentieth-century art. Every element of the chapel bears the artists touch, from the vivid Mediterranean hues of the stained glass windows to the starkly powerful murals; even the vestments and altar were designed by Matisse. This beautifully illustrated volume captures the chapel in exquisite detail, allowing an unparalleled view of this iconic and sacred space. With stunning new photography that captures the dramatic effects of the changing light in the building throughout the day, this book is the first to present the experience of being within the chapel exactly as Matisse himself envisaged it, while Marie-Therese Pulvenis de Selignys authoritative and insightful text explores the extraordinary story of the chapels creation and the challenges faced by the 77-year-old artist in realising his great vision.

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The South African artist William Kentridge Hon RA was born in Johannesburg in 1955 and lives and works there to this day. He is internationally renowned for the expressionism of his work in numerous media, among them charcoal, printmaking, sculpture and film, as well as his acclaimed theatrical and operatic productions. As elusive as it is allusive, Kentridge’s art is shaped by apartheid and grounded in the politics of the post-apartheid era, and in science, literature and history, while always maintaining space for contradiction and uncertainty. In a brilliant exposition of Kentridge’s output, Stephen Clingman, Distinguished Professor of English at the University of Massachusetts, Amherst, undertakes a series of enquiries, of walks around the artist and his practice, through the various layers and linkages, crossings and connections of his art. As he proceeds, he considers Kentridge’s themes, explores them and proceeds by association to others. Along the way, overlaps, thought-collages, allusions and assemblages come together to create a connective, dimensional way of thinking inspired by Kentridge’s own habits of creation.

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Francis Bacon is considered one of the most important painters of the twentieth century. A major exhibition of his paintings at the Royal Academy of Arts, planned for 2020 but postponed because of the pandemic, explores the role of animals in his work – not least the human animal. Having often painted dogs and horses, in 1969 Bacon first depicted bullfights. In this powerful series of works, the interaction between man and beast is dangerous and cruel, but also disturbingly intimate. Both are contorted in their anguished struggle, and the erotic lurks not far away: ‘Bullfighting is like boxing,’ Bacon once said. ‘A marvellous aperitif to sex.’ Twenty-two years later, a lone bull was to be the subject of his final painting. In this fascinating publication – a significant addition to the literature on Bacon – expert authors discuss Bacon’s approach to animals and identify his varied sources of inspiration, which included wildlife photography and the motion studies of Eadweard Muybridge. They contend that, by considering animals in states of vulnerability, anger and unease, Bacon was able to lay bare the role of instinctual behaviour in the human condition. Images below, left to right: Francis Bacon (1909-1992), Fragment of a Crucifixion, 1950. Oil and cotton wool on canvas, 140 x 108.5 cm. Stedelijk van Abbemuseum, Eindhoven. Photo Hugo Maertens Francis Bacon (1909-1992), Study for Portrait (with Two Owls), 1963. Oil on canvas, 198.1 x 144.8 cm. Private collection. Photo Prudence Cuming Associates Ltd Francis Bacon (1909-1992), Man with Dog, 1953. Oil on canvas, 152 x 117 cm. Albright-Knox Art Gallery, Buffalo, New York. Gift of Seymour H. Knox Jr, 1955, inv. K1955:3. Photo Prudence Cuming Associates Ltd All images © The Estate of Francis Bacon. All rights reserved, DACS/Artimage 2020.

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Leonardo da Vinci (1452-1519) created many of the most beautiful and important drawings in the history of Western art. Many of these were anatomical and became the yardstick for the early study of the human body. From their unique perspectives as artist and scientist, brothers Stephen and Michael Farthing analyse Leonardo's drawings - which are concerned chiefly with the skeletal, cardiovascular, muscular and nervous systems - and discuss the impact they had on both art and medical understanding. Stephen Farthing has created a series of drawings in response to Leonardo, which are reproduced with commentary by Michael, who also provides a useful glossary of medical terminology. Together, they reveal how some of Leonardo's leaps of understanding were nothing short of revolutionary and, despite some misunderstandings, the accuracy of Leonardo's grasp.

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The subjects and styles of Anthony Whishaw encompass an exceptional range. He paints in concurrent series, which sometimes overlap to form unexpected hybrids. His paintings vary in scale from only 20 cm to nearly 7 metres in length, and a similar breadth of scope also exists within his subject-matter, which examines both macro- and microcosms, from the depths of space to electrochemical activity in the brain. His paintings can be both figurative and abstract, illustrative and allusive. Whishaw also employ a broad range of media. He uses acrylic and collage techniques on canvas, board and paper, often adding sand, soil, ash or metal to help his exploration of the plastic quality of paint. His work has been exhibited at venues including the ICA and the Barbican Centre in London. He has many awards to his name, including the Royal College of Art Drawing Prize, and the Arts Council of Great Britain Award. He was elected an Associate Royal Academician in 1980 and a Royal Academician in 1989. He lives and works in London.

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Over the past decade, Frank Bowling has enjoyed belated attention and celebration, including a major Tate Britain retrospective in 2019. This comprehensive monograph, published in 2011, is now available in an updated and expanded edition. Born in British Guiana in 1934, Bowling arrived in England in his late teens, going on to study at the Royal College of Art alongside David Hockney and Derek Boshier. By the early 1960s he was recognised as an original force in the vibrant London art scene, with a style that brilliantly combined figurative, symbolic and abstract elements. Dividing his time between New York and London since the late 1960s, he has developed a unique and virtuosic abstract style that combines aspects of American painterly abstraction with a treatment of light and space that consciously recollects the great English landscape painters Gainsborough, Turner and Constable. In a compelling text the art writer, critic and curator Mel Gooding hails Bowling as one of the finest British artists of his generation.

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The Royal Academy's legendary Summer Exhibition has been an annual event since 1769 and is always an occasion for innovation, experiment and debate. But 2020 may prove to be its most extraordinary year yet: prevented from opening in May by the closure of the Royal Academy during the Covid-19 pandemic, the exhibition this year opens in the autumn. A committee of artists and architects, led by the artistic duo Jane and Louise Wilson RA, will hang over 1,000 works in the galleries of Burlington House, all while navigating the challenges of social distancing, travel restrictions and shielding. The Summer Exhibition Illustrated was first published in the 1870s and presents the highlights of the show, which this year include works by Korakrit Arunanondchai, Karen Kilimnik and Chris Ofili. In their conversation that opens the book, the Wilsons expand on the experience of opening the exhibition in such exceptional circumstances and celebrate the resilience of artistic practice and its power to bring people together. The Summer Exhibition 2020 will run from the 6 October 2020 to 3 January 2021.

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In 1964 Lucian Freud set his students at the Norwich College of Art an assignment: to paint naked self-portraits and to make them 'revealing, telling, believable... really shameless'. It was advice that the artist was often to follow himself. Visceral, unflinching and often nude, Freud's self-portraits give us an insight into the development of his style as a painter. The works provide the viewer with a constant reminder of the artist's overwhelming presence, whether he is confronting the viewer directly or only present as a shadow or in a reflection. Essays by leading authorities - including those who knew him well - explore Freud's life and work, and analyse the importance of self-portraiture in his practice and the intensity that he maintained when studying his own.

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Accompanying catalogue for the Marina Abramović exhibition at the Royal Academy from 23 September – 4 January 2024. The exhibition travels to the Stedlijk in March 2024. Over the past half century, Marina Abramović has earned worldwide acclaim as a pioneer of performance art. This handsome new book records the first UK exhibition to include works from her entire career. Re-performances of some of her best-known and most radical pieces appear alongside new and recent work. An augmented-reality app for iOS and Android enables readers to watch films of Abramović’s original performances while reading the book. An essential purchase for all followers of Abramović’s extraordinary 55-year career, this important publication brings expert voices into the debate that her groundbreaking art engenders. How far should an artist push herself in pursuit of her work? What role does the audience play in creating a performance? How can performance art outlive the moment in which it takes place? Text in Dutch.

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The first monograph on this important but overlooked artist. Coincides with a major show of new work at Alan Cristea Gallery, London, 27 June to 31 July, 2019. Mick Moon RA was born in Edinburgh in 1937 and grew up in Blackpool. He studied at the Chelsea School of Art (1958-62) and later taught at the Slade School of Fine Art (1973-90). He was elected a Royal Academician in 1994 and his work now forms part of many public collections including those of the Scottish National Gallery, Tate and the Victoria and Albert Museum. Moon's paintings and prints combine a wide variety of media and techniques in complex and intriguing layers. More recently, photographic elements have formed part of his practice, along with textural materials such as wood and cloth which Moon combines with ink and paint. The art historian Mel Gooding provides an authoritative insight into Mick Moon's practice and a definitive overview of his career. He argues that Moon is one of the most important artists of his generation and asserts his place as one of the key figures of post-war British art.

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Despite being at the forefront of high-tech innovation in architecture, Chris Wilkinson obe ra is an architect who believes passionately in the importance of drawing by hand. Where many practices are now dominated by computeraided design, Wilkinson still uses drawing as a way to think through ideas, to grapple with design problems and as a tool of communication. This volume brings together images selected from twenty years of Wilkinson's sketchbooks, presenting a fascinating record not just of draughtsmanship but of the creation of architectural narrative. Covering every stage of the design process, this unique insight into the working drawings of a hugely influential architect includes sketches for many of his practice's most groundbreaking works - from structures for the London Olympics to the restoration and reconstruction of the three Grade II listed gas holders in Kings Cross, London - as well as a gazetteer with photographs of the final projects. Chris Wilkinson: Sketchbooks is both an essential purchase for anyone interested in the development of architectural draughtsmanship and a powerful demonstration of its importance.

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The fairy tales of the Brothers Grimm according to David Hockney are like no other version you will have read before. Although inspired by earlier illustrators of the tales, from Arthur Rackham to Edmund Dulac, Hockney's extraordinary etchings re-imagine these strange and supernatural stories for a modern audience, capturing their distinctive atmosphere in a style that is recognisably the artist's own. Reprinted for the first time since its original publication in 1969, Hockney's book brings together some well-known tales - Rapunzel, Rumpelstiltskin - with others that are less familiar. Informed by great art of the past, attuned to idiosyncrasies of character and incident, and fresh in execution and content, his illustrations invite us to read each one as if for the first time.

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In recent years David Hockney has returned to England to paint the landscape of his childhood in East Yorkshire. Although his passionate interest in new technologies has led him to develop a virtuoso drawing technique on an iPad, he has also been accompanied outdoors by the traditional sketchbook, an invaluable tool as he works quickly to capture the changing light and fleeting effects of the weather. Executed in watercolour and ink, these panoramic scenes have the spatial complexity of finished paintings - the broad sweep of sky or road, the patchwork tapestry of land - yet convey the immediacy of Hockney's impressions. And as in the views down village streets and across kitchen tables that appear alongside them, his rooted and fond knowledge of the area around the East Yorkshire Wolds is always clear. If you know the region, the location of the sketches is unmistakable; if you don't, its features will come to life in these pages.

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John Carter, the important post-war abstract sculptor, presents his works on paper. Reveals the beauty of his mathematically rigorous explorations. John Carter RA has made some of the most beautiful and lucid artworks of the last fifty years. The apparent simplicity and directness of his abstract reliefs belie an ambiguity that extends even to their definition, as Carter seeks subtly to reimagine the relationship between sculpture and painting. Carter is best known for his 'wall objects', shallow sculptures based on abstract mathematical formulae. He begins each work with notebook sketches, moving on to larger, measured drawings. It is these drawings - taken from throughout Carter's career - that this book presents. Each drawing is a fascinating model of colour abstraction, with commentary by the artist. Carter's drawings reveal the originality of his mind and the love of exactitude and clarity that drives his practice. His singular contribution to the post-war flowering of British abstraction can clearly be seen here.

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Gilbert McCarragher is an artist and photographer based in London and Dungeness. His architectural photography is featured extensively in books and magazines including El Croquis, Domus and John Pawson Plain Space (2010). As an artist, he works in multiple photographic mediums, and has exhibited at the Royal Academy of Arts, Victoria and Albert Museum, Institute of Contemporary Art (London), Jerwood Space and the Wapping Project.

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Mwili, Akili Na Roho: Ten Figurative Painters from East Africa features the work of ten artists from Kenya, Uganda, and Tanzania, including Sam Ntiro, Elimo Njau, Asaph Ng’ethe Macua, Jak Katarikawe, Theresa Musoke, Sane Wadu, Peter Mulindwa, Chelenge van Rampelberg, John Njenga, and Meek Gichugu. The personal histories, thematic concerns, and formal strategies of this multigenerational group of artists present an opportunity to engage more deeply in the genealogies of artistic creation in the region, while considering the enduring influence of certain ideas and institutions in the creation, dissemination, and reception of art in and from East Africa. This catalogue is published to coincide with an expanded version of Mwili, Akili Na Roho at the Nairobi Contemporary Art Institute in 2022, following earlier iterations at Haus Der Kunst in Munich (2020) and the Royal Academy of Arts in London (2021).

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Fahd Burki is known for his works on paper employing acrylic, charcoal, marker pen and collage; he has also produced a number of screen prints. These works frequently feature abstract graphic fields that contain a central form dominating the picture plane. The sources for these forms range from tribal folk art to science fiction. Painstakingly produced by hand, Fahd Burki’s imagery offers a series of playful and at times menacing icons or symbols harvested from a very personal mythology of the present, at once disconcertingly familiar and completely novel. Fahd Burki (b. 1981, Lahore, Pakistan) lives and works in Lahore and London. He graduated from the National College of Arts, Lahore in 2003 and received a Postgraduate Diploma from the Royal Academy of Arts, London in 2010. Since 2004, his works have been exhibited at various art fairs including: LISTE 17, Basel, Switzerland; Artissima 18, Turin, Italy; India Art Summit, New Delhi, India and Art Dubai 2013, Dubai, UAE. Recent solo exhibitions have been held in Lahore and Dubai.

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‘A dazzling anthology uniting the written word with the visual’ STEPHEN FRY A Short Affair is a vibrant anthology that combines the best of original short fiction with remarkable work by contemporary artists from the Royal Academy Schools. In this visually stunning collection from Pin Drop, the renowned short fiction and arts studio, Simon Oldfield brings together eighteen original short stories by giants of the form, alongside exciting new voices from the prestigious annual Pin Drop Short Story Award. With a foreword by Tim Marlow, Artistic Director of the Royal Academy of Arts, each story is accompanied by a unique artwork. ‘Pin Drop is a wonderful and rare conception. The perfect antidote to the sound-bite culture’ WILLIAM BOYD Writers include: Elizabeth Day, Bethan Roberts, Nikesh Shukla, Claire Fuller, Ben Okri, Anne O’Brien, A. L. Kennedy, Anna Stewart, Craig Burnett, Douglas W. Milliken, Will Self, Jarred McGinnis, Barney Walsh, Rebecca F. John, Joanna Campbell, Emily Bullock, Cherise Saywell and Lionel Shriver Artists include:Eddie Peake, Kay Harwood, Gabriella Boyd, Jonathan Trayte, Luey Graves, Marco Palmieri, John Robertson, Coco Crampton, Pio Abad, Declan Jenkins, Mary Ramsden, Carla Busuttil, Jessy Jetpacks, Nick Goss, Tim Ellis and Adam Shield

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Selected writings from a leading critic of modern art, “the best art writer of his generation” (Art Newspaper) Michael Peppiatt, guest curator of the Royal Academy of Arts’ 2021 exhibition ‘Francis Bacon: Man and Beast’, has for more than 50 years written trenchant and lively dispatches from the centre of the international art world. In this collection of key essays, Peppiatt gives his unique insight into the making and interpretation of modern art, from Manet and Degas through to Kandinksy and Picasso to Freud and Hockney. Covering a whole spectrum of artists and art-world figures—from pioneers such as Klimt and Soutine, to collectors and dealers who played a pivotal role in the modern art world, to artists such as Jean Dubuffett, Francis Bacon and Zoran Music, with whom he had close relationships—Peppiatt interweaves personal anecdote with critical judgement. Each text is accompanied by a new introduction, written in the author’s signature vivid and jargon-free style, in which he contextualises his writings and reflects on significant moments in a lifetime of artistic engagement. This volume will provide readers with an exhilarating tour of the extraordinary reach and variety of modern art.

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For more than forty years William Watson has occupied a unique place in the study and teaching of Chinese art in Great Britain. Professor Watson's publications cover a wide field, his command of Chinese, Japanese, Russian and western languages giving access to the fullest literature on his subjects. The colloquies he organized at the Percival David Foundation achieved international repute, with results that remain on record. At the Royal Academy of Arts he took a leading part in the Chinese archaeological exhibition of 1972 which reinstated cultural relations between Britain and China. Also at the Royal Academy he was the instigator and chief organizer of the Japanese exhibition of 1982, in which for the first time the art of the Tokugawa period was comprehensively presented outside of Japan as enshrining the national genius. The present two volumes collect Professor Watson's main smaller publications made in the course of museum and university careers. Many are specific studies of works in terms of cultural context, dating and historical significance. They contain mainly writing on Chinese, Japanese and Korean subjects, in particular the bronze art, ceramics and sculpture of the T'ang and earlier periods. Painting is treated in some closely defined topics.

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The magic of embroidery is that it can transform something ordinary into something extraordinary. Armed with just a needle and thread, this book, and a little imagination, there is no limit to the fun you can have transforming clothes, accessories and homewares. The 25 inspiring designs can be applied to just about anything and cover a range of ability levels. Each project is clearly explained with step-by-step text, photographs and templates. All the necessary information on tools, materials and techniques is included too. So it's super easy to give your home and wardrobe a quirky and stylish boost. AUTHOR: Amy Burt is a full-time embroiderer who teaches at the Royal School of Needlework. In 2018, Amy's embroidery of 'The Young Stevie Nicks' was chosen from over 20,000 entries to be displayed in London during the prestigious Royal Academy of Arts 250th Summer Exhibition curated by Grayson Perry RA. Amy also works as a freelance embroiderer in the fashion industry. She is a senior embroiderer at the British Haute Couture fashion house Ralph & Russo. She lives in London. 300 photographs, 20 templates

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Landscape architect and designer Tom Stuart-Smith began his practice in London in 1998. Known for contrasting built forms with naturalistic planting, he has designed gardens, parks and landscapes in Europe, India, Morocco, the United States and the Caribbean. With clients such as the Royal Horticultural Society, the Royal Academy of Arts, and Her Majesty Queen Elizabeth, Stuart-Smith has established himself as the United Kingdom’s leading landscape architect. Featuring twenty-four of Stuart-Smith’s gardens from around the world, this book is the first major overview of his career. Through four essays by the designer, readers will learn about his inspirations and methods, while also marvelling at the beauty of his designs. Each garden is accompanied by an overview drawing, spectacular commissioned photography, and text by leading garden writer Tim Richardson. Offering rare insights and ideas on planting, design and landscaping, this book is a must-have for garden lovers and gardening professionals. Offering unique insights into landscape design and planting, this book will provide inspiration and ideas for garden-lovers and professionals, opening up imaginative possibilities for designing spaces from the smallest to the grandest. With 275 illustrations

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Exploring the myths and realities of the origins of the “modern artist” in Britain The artist has been a privileged figure in the modern age, embodying ideals of personal and political freedom and self-fulfillment. Does it matter who gets to be an artist? And do our deeply held beliefs stand up to scrutiny? Making the Modern Artist gets to the root of these questions by exploring the historical genesis of the figure of the artist. Based on an unprecedented biographical survey of almost 1,800 students at the Royal Academy of Arts in London between 1769 and 1830, the book reveals hidden stories about family origins, personal networks, and patterns of opportunity and social mobility. Locating the emergence of the “modern artist” in the crucible of Romantic Britain, rather than in 19th-century Paris or 20th-century New York, it reconnects the story of art with the advance of capitalism and demonstrates surprising continuities between liberal individualism and state formation, our dreams of personal freedom, and the social suffering characteristic of the modern era.Distributed for the Paul Mellon Centre for Studies in British Art

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A companion to the prize-winning exhibition catalogue "Illuminating the Renaissance: The Triumph of Flemish Manuscript Painting in Europe", edited by Thomas Kren and Scot McKendrick (2003), this volume contains thirteen selected papers presented at the two conferences held in conjunction with the exhibition. The first was organized by the Getty Museum, and the second was held at the Courtauld Institute of Art, under the sponsorship of the Courtauld and the Royal Academy of Arts. Added here is an essay by Margaret Scott on the role of dress in the Burgundian court. Chapters include Lorne Campbell's research into Rogier van der Weyden's work as an illuminator, Nancy Turner's investigation of materials and methods of painting in Flemish manuscripts, and trenchant commentary by Jonathan Alexander and James Marrow on the state of current research on Flemish illumination. Although topics are wide ranging, one recurring theme is the structure of collaboration in manuscript production. Essays uncover an important new patron of manuscript illumination and address the role of illuminated manuscripts at the Burgundian court along with the contributions of individual illuminators. A series of biographies of Burgundian scribes is also included.

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Painting with Fire shows how experiments with chemicals known to change visibly over the course of time transformed British pictorial arts of the long eighteenth century--and how they can alter our conceptions of photography today. As early as the 1670s, experimental philosophers at the early Royal Society of London had studied the visual effects of dynamic combustibles. By the 1770s, chemical volatility became central to the ambitious paintings of Sir Joshua Reynolds, premier portraitist and first president of Britain's Royal Academy of Arts. Valued by some critics for changing in time (and thus, for prompting intellectual reflection on the nature of time), Reynolds's unstable chemistry also prompted new techniques of chemical replication among Matthew Boulton, James Watt, and other leading industrialists. In turn, those replicas of chemically decaying academic paintings were rediscovered in the mid-nineteenth century and claimed as origin points in the history of photography. Tracing the long arc of chemically produced and reproduced art from the 1670s through the 1860s, the book reconsiders early photography by situating it in relationship to Reynolds's replicated paintings and the literal engines of British industry. By following the chemicals, Painting with Fire remaps familiar stories about academic painting and pictorial experiment amid the industrialization of chemical knowledge.

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LONGLISTED FOR THE WILLIAM MB BERGER PRIZE FOR BRITISH ART HISTORY 2022 A major survey of Dame Laura Knight, first female Royal Academician and popular British artist of the 20th century. Laura Knight (1877–1970) was one of the most famous and popular English artists of the twentieth century. She was the first woman to have a solo exhibition at the Royal Academy of Arts, in 1965. In the following decades, her realist style of painting fell out of fashion and her work become largely overlooked. Anew generation has rediscovered her work, finding a contemporary resonance in her depictions of women at work, of people from marginalized communities and her contributions as a war artist. This beautifully illustrated book, which accompanied a major exhibition at MK Gallery, provides an overview of Knight’s illustrious career: from her training at Nottingham Art School at the age of 13 and her time in North Yorkshire and Cornwall, to her visits to traveller communities and a segregated American hospital. It also features her circus, ballet and theatre scenes, paintings of women during the war and her late paintings of nature. The selection of over 160 works combines celebrated paintings with less known graphic and design works, including ceramics, jewellery and costumes that reflect the artist’s enduring interest in the everyday activities of people from all walks of life.

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The artistic accomplishments of James Northcote (1746–1831) have tended to be overshadowed by his role as a biographer of Joshua Reynolds, first president of the Royal Academy of Arts, with whom Northcote apprenticed for five years. Here, Mark Ledbury constructs a very different image of Northcote: that of a prolific member of the Royal Academy and an active participant in the cultural and political circles of the Romantic era, as well as a portrait and history painter in his own right. This book pays particular attention to Northcote’s One Hundred Fables (1828), a masterpiece of wood engraving, and the unconventional, collaged manuscripts for the volume, now at the Yale Center for British Art. Along with another series of collages now at The Morgan Library & Museum and a second volume of fables published posthumously in 1833, these collages and printed works constitute the most ambitious project of the artist’s later years. An underappreciated and courageously eccentric masterpiece, the Fables were an early experiment in what is now a familiar multimedia practice and are extensively published here for the first time. Idiosyncratic, personal, and visionary, the Fables serve as a lens through which to examine Northcote’s long, complex, and fruitful artistic career.Distributed for the Yale Center for British ArtExhibition Schedule:Yale Center for British Art(10/02/14–12/14/14)

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‘A dazzling anthology uniting the written word with the visual’ STEPHEN FRYINCLUDES NEW STORIES BY RUSSELL TOVEY AND BOOKER PRIZE NOMINEE SOPHIE WARD, AND ARTWORK BY TRACEY EMIN, EXCLUSIVE TO THIS EDITION This vibrant collection brings together twenty original short stories by giants of the form alongside exciting new voices, including two new stories by Russell Tovey and Sophie Ward. Simon Oldfield, curator and editor, combines the best in contemporary short fiction with remarkable illustrations by Tracey Emin and other artists from the Royal Academy of Arts. Illuminating, beautiful, haunting and always interesting, A Short Affair brings you the very best in short story writing.Writers include: Russell Tovey, Elizabeth Day, Bethan Roberts, Nikesh Shukla, Claire Fuller, Ben Okri, Anne O'Brien, A. L. Kennedy, Anna Stewart, Craig Burnett, Douglas W. Milliken, Will Self, Jarred McGinnis, Barney Walsh, Rebecca F. John, Joanna Campbell, Emily Bullock, Cherise Saywell, Lionel Shriver and Sophie WardArtists include: Tracey Emin, Kay Harwood, Gabriella Boyd, Jonathan Trayte, Luey Graves, Marco Palmieri, John Robertson, Coco Crampton, Fani Parali, Murray O'Grady, Pio Abad, Eddie Peake, Declan Jenkins, Mary Ramsden, Carla Busuttil, Jessy Jetpacks, Nick Goss, Tim Ellis, Adam Shield and Humphrey Ocean 'Pin Drop is a wonderful and rare conception. It provides us with a special opportunity to celebrate the short story on its own unique terms. The perfect antidote to the soundbite culture' WILLIAM BOYD

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Eddy Kamuanga s large-scale figurative paintings display a wealth of historical understanding in a sophisticated interplay of strikingly coloured forms juxtaposed on grey negative space. Kamuanga s work taps into the rich, yet complex colonial history of the Democratic Republic of Congo, (DRC). His politically nuanced and culturally sensitive work explores the seismic shifts in economic, political and cultural identity in the DRC since colonization. Increasingly globalized in outlook, many in the DRC today are rejecting their ancestral heritage in favour of modernity, a conflict that fuels Kamuanga s work. The DRC is the world s largest exporter of coltan, a mineral critical to the production of computer chips and mobile phones. In all Kamuanga s works, the skin of each figure is embedded with integrated circuits, referring to the harsh conditions experienced by workers who mine coltan by hand. Eddy Kamuanga has been recognized internationally as one of the most interesting, young, contemporary African talents of today and his reputation is fast growing worldwide. His work has been shown across Africa, notably at Zeitz MOCAA, South Africa, and has been included in exhibitions in Europe and the United States, at institutions such as the Fowler Museum, UCLA, Los Angeles, (CA); the Hood Museum of Art, Dartmouth College, (NH); the Saatchi Gallery; and the Royal Academy of Arts, London. Eddy Kamuanga Ilunga is represented by October Gallery, London, UK.

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Jean Fautrier (1989-1964) was a major 20th century artist. Trained at the Royal Academy of Arts and influenced by J.M.W. Turner, he was quickly noticed by the collector Jeanne Castel in 1923. At first, his style was figurative and played on contrasts of light. He expertly harnessed the essence of reality in order to transfigure it, redefining the genres of landscape painting, still lifes and nudes (especially in his series of dark works) during the inter-war period. A few years later, his approach underwent a radical shift and became much more abstract. He launched the “Informalist” art movement, playing with pictorial materials and combining different substances to create visions of an extraordinary material quality. Close to the great intellectual figures of his time, including Jean Paulhan, Paul Éluard, Francis Ponge, René Char and André Malraux, Fautrier never ceased producing remarkably powerful and politically resonant works, as is attested by his major series Otages (1943-1945), Objets (1947-1948) and Partisans (1956). In 1960, he was awarded the first prize for painting at the Venice Biennale. Boasting an exceptionally exhaustive iconography, this first ever comprehensive annotated catalogue of Jean Fautrier’s paintings includes the technique, origin, exhibitions and bibliography for each work. It is supplemented with a detailed biography, technical analyses and authoritative scientific texts, as well as transcriptions of interviews and radio broadcasts from Fautrier’s time. Text in English and French.

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