Search results for ""Lund Humphries Publishers Ltd""

Focussing on the period from 1930 to 1960, this fascinating publication considers the transition of Victor Pasmore (1908-1998) from one of Britain's leading figurative painters to one of its foremost exponents of abstract art.From Pasmore's own writings and those of his contemporaries, a fascinating picture emerges of the years in the late 1940s and early 1950s when lyrical landscapes – incorporating increasingly suggestive formal structures - were suddenly superseded by abstract paintings and collages, and then by constructed reliefs.Seeking to explore these decades and later years, the book's visual narrative traces a path from the artist's earliest canvases through to his engagement in the 1960s with the controversial Apollo Pavilion in Peterlee, County Durham. This important publication will renew interest in an important period in British art history and shed new light on a crucial stage in Pasmore's long career.

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This is a complete, illustrated catalogue of the painting and sculpture of Pop Art pioneer Gerald Laing (1936–2011), who shot to fame in the 1960s with his large-scale, iconic paintings of film-stars such as Brigitte Bardot and Anna Karina, conveyed in styles and colours that aped the crude but powerful printing processes of mass advertising. In 1964 Laing moved to New York and transformed effortlessly from Pop artist to abstract minimalist, showing works in the seminal Primary Structures exhibition of 1966 and forming lasting friendships with leading lights of the US art world, such as Andy Warhol, Larry Poons, Roy Lichtenstein and Larry Bell. A self-imposed exile to a restored Scottish castle in 1969 removed him from the art world’s centre, but allowed him the space to develop a more personal, sculptural vocabulary in which the hard edges of his abstraction gradually gave way to anthropomorphic form.This catalogue raisonné covers each distinct phase of Laing’s career and includes a fully illustrated catalogue of his works alongside comprehensive related reference material: chronology, exhibition history and list of public collections. An introductory essay by Michael Findlay, a close friend of Laing, provides an overview of his artistic development while essays by gallerist Lyndsey Ingram, editor David Knight and Marco Livingstone, a leading authority on Pop Art, examine specific periods and aspects of Laing’s practice.

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Irish-born designer Eileen Gray (1878-1976) is widely known today as a pioneer of both Art Deco and Modernism. In a career spanning nearly 80 years she produced innovative designs for furniture, lighting, carpets, interiors and architecture. Much less well known is that throughout her life as a designer and an architect she never stopped producing small paintings and drawings. This book is the first to focus on Eileen Gray's important but essentially private work as a painter.Eileen Gray considered herself a designer and an architect, not a painter: she viewed her work as a painter with great modesty, treating it as a private occupation and a vehicle for artistic expression during periods when she could not design furniture. Much of her artwork has disappeared, either lost in the Second World War or destroyed by the artist herself. But a body of works on paper, produced between the 1920s and the 1950s, has survived: elegant, geometric drawings and gouaches of muted tonality and subtle power.This book, which reproduces unseen material from the Eileen Gray archive and draws on Gray's correspondence with her niece Prunella Clough on the nature of painting, will be a revelation to her many followers and admirers.

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This is the first book to survey the work of painter and printmaker Tom Hammick (b.1963). It sets Hammick's art within the context of contemporary debates about painting while relating it to the two-centuries-old Romantic tradition. Julian Bell explores in depth the artist's working processes, imagery and career to date, arguing that Hammick's work constitutes one of the richest imaginative achievements in late 20th- and early 21st-century British art. Many of Hammick's pictures respond to the landscape of South-East England, where he has spent much of his life. Others are inspired by his encounter with the wilderness of Canada's remote maritime provinces, a regularly revisited imaginative resource that has given his work much of its distinctive flavour. Hammick has spent three periods in Canada: as both a student and later visiting lecturer in Painting and Printmaking at Nova Scotia College of Art and Design, Halifax between 1989 and 2002, and in 2005 after being awarded a residency at the Art Gallery of Newfoundland and Labrador, now called the Rooms. Informed by the author's sustained contact with Hammick over many years, illustrated with over 120 carefully selected images, and produced in close collaboration with the artist, Tom Hammick: Wall, Window, World will appeal to the artist's collectors and wide popular audience, as well as students, art-world professionals and painting enthusiasts. It is available also in a special edition incorporating the three-part colour etching Fallout, created by the artist specially for this publication in an edition of 60.

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The paintings of Paul Feiler (1918-2013), the focus of this first survey of the artist's life and career, were inspired by the English landscape, particularly the cliffs and inlets of the coast of south-west Cornwall. For his friend Peter Lanyon, Feiler's early works provided him with a sense of 'calm and I mean a sense of pause...To achieve that repose in the landscape I know one has to suffer the opposite.' Feiler's vision was based on the understanding that 'you stand vertically and you look horizontally'; through this he aimed to fulfil Cezanne's requirement that 'a picture should give us...an abyss in which the eye is lost.' He moved from painterly abstraction to an exploration of the elusive nature of space through the effects of narrow bands of colour, silver and gold in a pattern of square and circle, which he varied and developed over more than forty years. Based on full access to the artist's archive of letters, catalogues and photographs, Michael Raeburn describes how Feiler overcame many painful early experiences to achieve the meditative serenity of his deeply spiritual work. For all those interested in the history of modern British painting, this is a much-needed resource.

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Celebrating the generous gift of Barbara Hepworth's plasters to The Hepworth Wakefield by the Hepworth Estate, this groundbreaking publication combines a fully illustrated catalogue of the sculptor's surviving prototypes in plaster, and occasionally aluminium, with a detailed analysis of her working methods and a comprehensive history of her work in bronze. In addition, insights into the building which will be home to the collection are provided through essays exploring the history of The Hepworth and, in a contribution by David Chipperfield, the design of the new museum by his architectural practice. A fascinating account of the sculptor's connections with Wakefield Art Gallery also features. The Hepworth's collection of over 40 unique, unknown sculptures are the surviving working models from which editions of bronzes were cast. They range in size from works that can be held in the hand to monumental sculptures, including the Winged Figure for John Lewis's Oxford Street headquarters. The majority are original plasters on which the artist worked with her own hands and to scale. Providing a unique insight into Hepworth's working processes, on which little has been written, Barbara Hepworth: The Plasters will enhance appreciation of her work as a whole. Drawing extensively on archival records and photographs, this publication is an important source for information about a significant collection of work, the gallery which houses it and Hepworth in general.

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Since the rediscovery of British Surrealism at the Children of Alice exhibition at Marcel Fleiss's Galerie 1900-2000 in Paris in 1982, there has been a major revival of interest in Surrealism outside France. Surrealism in Britain is the first comprehensive study of the British Surrealist movement and its achievements. Lavishly illustrated, the book provides a year-by-year narrative of the development of Surrealism among artists, writers, critics and theorists in Britain, from the 1936 International Surrealist Exhibition in London right through to the present day. Michel Remy has conducted personal interviews with many of the artists involved and the book includes an examination of the work of, among others, Paul Nash, Henry Moore, Eileen Agar, Len Lye, Humphrey Jennings, David Gascoyne, Grace Pailthorpe and Reuben Mednikoff, Roland Penrose, F. E. McWilliam, Conroy Maddox, Emmy Bridgwater, Edith Rimmington, Desmond Morris, Lee Miller, Julian Trevelyan and John Tunnard. Poetry, prose, painting, sculpture, photography and artists' texts all have their place in this fascinating and attractive book.

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This is a revised second edition of A New Arabic Grammar of the Written Language first published in 1962. It is based on and replaces Thatcher's Arabic Grammar and has a vocabulary of over 4,000 words, almost twice as many as in the old Thatcher, while the number of chapters has been increased from forty-nine to fifty-two. The Supplement contains a number of new features. Apart from selections from the Qur'an, fables, stories, newspaper extracts, advertisements and letters, additional material in the form of extracts from classical and modern Arabic writings and proverbs is included. Appendix A provides a useful introduction to the main colloquial Arabic dialects, Appendix B, a useful reading guide, and Appendix C, further grammatical information not supplied in the first edition. This book will serve as a basis for a further and deeper study of the classical language and literature and at the same time form a good foundation for those who wish to concentrate on the modern written language of literature and the daily press. The authors have been careful to indicate which usages are current in modern Arabic, and which are antique or antiquated. The vocabulary also is both classical and modern. This is above all a practical grammar, not an advanced reference grammar like Wright's. It is meant for the beginner who is not familiar with the peculiarities of Semitic languages. Nevertheless it is comprehensive enough, the authors believe, for most students' needs in the first two or three years of their study.

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The Art Institution of Tomorrow is a unique manifesto for raising the standard of institutional practices across the world. It suggests that existing art institutions are not equipped to deal with the radical social, economic and environmental change we are living through and engage with advancement in the arts, and that unless they re-focus on their core purpose and fundamentally transform their organisational structure and operational models, they will start to lose their relevance and influence. Built on an extensive study of non-profit visual-arts organisations and the creative industries at large, and incorporating interviews with institutional leaders from throughout the sector, the book expresses a clear outline of change that art institutions will need to undergo in order to maintain their relevance for generations to come.

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Written by an art advisor and former gallerist with an insider’s perspective, this book provides a timely overview of the commercial-gallery sector at a moment of rapid change and expansion. More than any participant in the art market, galleries are seen as mysterious actors with an opaque code of conduct. This book offers a fascinating view of the gallery ecosystem, presenting a systematic diagnosis of key challenges and opportunities facing the sector today. Henry Little discusses the integration of bricks and clicks, addressing the tension between a gallery’s physical premises and its online presence, further asking how the world’s largest galleries have pulled so far ahead both in terms of their physical expansion and their digital offering. In an industry which increasingly rewards consolidation and brand recognition, the book asks how small and mid-tier galleries can hold their own and whether the traditional gallery model may be under threat in an increasingly digital future.

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Linking histories of women, relationships to the natural environment, material culture and art, Andrea Pappas presents a new, multi-dimensional view of eighteenth-century American culture from a unique perspective. This book investigates how and why women pictured the landscape in their needlework. It explores the ways their embroidered landscapes address the tumultuous environmental history of the period; how their depictions of nature differ from those made by men; and what women’s choices of motifs can tell us about their lives and their relationships to nature. Embroidering the Landscape situates these pastoral and georgic needleworks (c. 1740-1775) at the intersection of environmental and social histories, interpreting them through ecocritical and social lenses. Pappas’ investigation draws out connections between women’s depicted landscapes and environmental and cultural history at a time when nature itself was a charged arena for changes in agriculture, husbandry, gardening, and the emerging discourses of botany and natural history. Her insights change our understanding of the relationship between culture and the environment in this period and raise new questions about the unrecognized extent of women’s engagement with nature and natural science.

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Over a period of forty years, Hélène Binet has photographed both contemporary and historical architecture this is the complete monograph of her work, with two extensive critical essays. Marco Iuliano details Hélène Binet's background, from her childhood in the Italian fishing village of Sperlonga and in Rome, through her early discovery' of architectural photographer Lucien Hervé, to other significant influences, like the collaborations with Daniel Libeskind, John Hejduk and the connections at the Architectural Association (AA) in London where she met Zaha Hadid. The essay highlights in detail Binet's approach to photography, her process and archive. Martino Stierli sets Binet's work within the conceptual framework of architectural photography, discussing whether an architectural photograph is an inventory of a building or space, a translation into a two-dimensional image or, rather, an image in its own right; an artifact that loosely relates to the original object or phenomenon. Wit

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This book focuses on Kay Fisker (1893-1965)’s housing estates in Copenhagen. A leading exponent of Danish Functionalism, Fisker was influenced by Louis Sullivan, and had a strong belief in continuity, putting modernism in perspective and identifying precedents. He built many large-scale housing schemes, mostly for non-profit workers' housing associations, and developed innovative and beautifully considered high-density, low-rise block schemes, which have proven useful and influential to the growing number of contemporary architects who have examined his designs. Beautifully illustrated with photographs and architectural drawings, this book documents and critically analyses three of Kay Fisker's seminal housing projects in Copenhagen: Hornbaekhus (1923); Vestersohus (1935-39); and Dronningegarden (1943-58). These projects reflect how Fisker's work contains valuable lessons for contemporary architects in economy, precision and generosity in housing design. Essays by Martin Søberg, Poul Sverrild and Job Floris set Fisker’s work within their historical, social and architectural context. In the final section, architects from three leading contemporary practices – Clancy Moore, Monadnock and Tony Fretton - discuss how Kay Fisker has influenced their own approaches and work.

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C.R.W. Nevinson (1889-1946) is regarded as one of the finest British printmakers of the first half of the twentieth century - admired by contemporaries and modern-day viewers in equal measure. Yet despite this assured reputation, nothing substantial has been published on his remarkable printmaking career until now.Nevinson began creating prints in 1916, only stopping, due to ill health, in 1932. During this period he produced 148 prints, all of which reflecting his distinct vision and outstanding skills as a printmaker. Providing historical and social insights, his body of work is impressive in its range - images depicting the horrors of the First World War sit alongside contrasting cityscapes which present Nevinson's singular interpretation of Paris, New York and London.Drawing on original archival research and including a catalogue raisonne of Nevinson's prints, this unrivalled resource stands as a landmark publication in the literature available on this outstanding British modernist. It is an essential reference volume for all those who collect, sell or study Nevinson's prints and also provides much needed context for those with a general interest in the artist and the period in which he worked.

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Lynn Chadwick (1914-2003) was one of the leading British sculptors of his generation. This essential illustrated catalogue raisonne of his sculpture is published in a new, fourth edition to coincide with Chadwick's centenary in 2014 and incorporates a new illustrated listing of his lithographs and jewellery, new reproductions of many of his sculptures (including some in colour), a completely new page design, and the most up-to-date catalogue information on his work.Chadwick began his career as an architectural draughtsman, but after the Second World War he took up sculpture without any formal training. He initially concentrated on mobiles, and these were followed by welded constructions and bronzes. He established his international reputation in 1956, when he won the International Prize for Sculpture at the Venice Biennale. He consistently worked in welded iron and was constantly intrigued by human and animal forms: no matter how abstract the sculpture became at times, it was always firmly rooted in a deep understanding of the natural world.This indispensable reference book includes comprehensive, updated lists of Chadwick's exhibitions, the public collections he is represented in, and a full biography, alongside the fully illustrated complete catalogue of his sculpture. The introductory essay by the late Dennis Farr, which draws on interviews with the artist, examines Chadwick's development as a sculptor and his sculptural techniques, and the catalogue notes now incorporate a useful new explanation of Chadwick's bronze casts and foundries.

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Ivon Hitchens (1893-1979) is widely regarded as the outstanding English landscape painter of the 20th century. Immediately recognisable by its daring yet subtle use of colour and brushmark to evoke the spirit of place, his work is to be found in public and private collections throughout the world.This is the definitive study of Hitchens' life and work. Peter Khoroche draws on the painter's published writings, correspondence and conversation to create a critical reappraisal of Hitchens' theory and practice. He surveys the entire oeuvre (still-lifes, flower pieces, nudes, interiors and large-scale murals besides the landscapes), a huge legacy of work spanning sixty years, and charts the journey from conventional beginnings to 'figurative abstraction'.A selection of over 100 colour images, examples of Hitchens' best and most characteristic painting in all genres, provide a retrospective exhibition covering the artist's entire career. These illustrations, singled out for praise by reviewers of the hardback edition, demonstrate the artist's outstanding talents and reinforce his standing as a key figure in the history of British art.

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AI and the Art Market is the first book to offer an approachable introduction to AI for art-market professionals, considering AI's impact on and possible applications within the art world, whether as a business tool or as an artistic medium. The two primary topics of how AI is affecting the art market, and the growing market for AI art, are united under the broad theme of how art-market professionals can be better equipped to work with AI in an art-world context, as relative novices. The book addresses questions like: Can AI benefit your business? How can you best support artists working with AI and approach selling their work? What risks should you be aware of, and how can you distinguish between truly cutting-edge innovation and outlandish, unsubstantiated claims about AI? More broadly, how/is AI reshaping practices within the art market and what cultural changes should we be prepared for in the long term? AI and the Art Market puts forward a balanced overview of this increasingly

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Paul Huxley RA (b.1938) has enjoyed a distinguished career both as a painter and a teacher. Huxley's fascinating artistic life, expertly surveyed by Jeremy Lewison, is at last given the attention that it deserves in this, the first monograph on the artist. Huxley's early interest in abstraction chimed with the dynamism that pulsed through London's art scene in the 1960s. Recognised as a new talent by pioneering curator Bryan Robertson, Huxley enjoyed early success in exhibitions including The New Generation, which opened at the Whitechapel Art Gallery in 1964. Building from this positive critical reception, and immersing himself in the vibrant artistic communities of London and New York, Huxley built a career characterised by an instinct to push boundaries and find new ways to advance the language of abstract painting. Constantly evolving, the artist's rich body of work, highlights of which are presented here, stands as testament to a life committed to tirelessly investigating and c

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Exploring the development of Elizabeth Blackadder’s art in all its richness, this revised edition of Duncan Macmillan's 1999 book expands the account of an important artist and her significant body of work. With her oeuvre ranging through still life, landscapes and flower painting, Elizabeth Blackadder (1931-2021) was one of the best known and respected artists in the British painting tradition. The first woman to be elected to both the Royal Academy and the Royal Scottish Academy, she exhibited widely from the 1960s and her work has been reproduced extensively. Updated to include new imagery, Duncan Macmillan's expert text is essential reading for Blackadder's legion of fans.

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Henry Flitcroft was first employed by the leading aristocratic architect of the time, Richard Boyle, Lord Burlington, who helped him to establish his long career. Flitcroft had about 50 clients over 40 years, working for many dynasties, including the royal family, the Bedfords, the Yorke/Hardwickes and the Malton/Rockinghams. Remarkably, he was employed regularly by the Duke of Montagu and his family from 1725 to 1765, and the Hoare family from 1728 to his death in 1769, and was responsible for some of the great country houses of the period including Wimpole, Woburn Abbey and Wentworth Woodhouse. This is the first book which details his life and examines his complete body of work. It sets Flitcroft within his social context, providing insights into those for whom he worked as well as his fellow architects. Flitcroft waged fierce battles to maintain his professional positions at Westminster Abbey and St Paul’s and the documents are revealed here for the first time. The book dissects the dramatic story of Flitcroft's insane son and the legal cases that ensued which link Flitcroft and G.E. Street, who inherited Flitcroft's own house in Hampstead. In addition, Flitcroft’s furniture designs are assessed and his notable churches and London buildings including Chatham House, Benjamin Franklin House and Pushkin House. Finally, his last great project at Stourhead is re-examined.

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Comparing the work of Archigram and High-Tech architects thematically, this book explores the historical and cultural context of London to reveal their influences and interconnections and why two such radical groups emerged from a seemingly conservative city. This book examines the relationships between the work of Archigram and that of the British High-Tech architects, groups that were based in London and developing in the 1960s and 70s. While one group consisted of academics and artists known for their humour and eccentricity and the other were a group of deadly serious architects emerging to international proliference, this book argues that they shared uncannily similar impulses. There is the self-evident commonality of language: overblown machines, kits-of-parts of pieces and components, and a disintegration of building as object in favour of the constituent elements. Underlying both movements is a mutual, undying optimism in technological process and technological expression. Set within the rich history and culture of London, the book makes its comparisons by exploring central shared ideas: utopia, engineering, theatricality, infrastructure and narrative, and the iconography of war machinery.

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Esther Pressoir: A Modern Woman’s Painter situates Esther Estelle Pressoir’s body of work within the effervescent art scene of the early 20th century, both in America and abroad. The first book to present the wide-ranging oeuvre of this American modernist, it covers the span of Pressoir’s long life (1902-86) with a particular focus on the interwar decades (1920-40). Coming of age in the 1920s, Stella, as she was known to her friends, cast off societal expectations of a working-class immigrant family in New England and moved through the studios, galleries, and nightclubs of New York. Following an unprecedented 18,000 km bicycle trip across Europe in 1927, where she kept a daily journal and made hundreds of sketches, Pressoir developed an expressionistic style that straddled figuration and abstraction. She made provocative renderings of the female nude that challenged historical models, including unabashed self-portraits and intimate depictions of her longtime model, muse, and lover, a black dancer from Harlem named Florita. Pressoir’s work is illuminated here in an examination of her private travel journal, letters, and numerous paintings, prints and drawings, some of which were recovered from the veritable time capsule of her art studio after she died. Placing Pressoir’s work in relation to trailblazing contemporaries such as Alice Neel, Florine Stettheimer and Suzanne Valadon, this book establishes Pressoir as a force to be reckoned with in the decades of emergent feminism and modern art in America and restores her to her rightful place in the expanding canon of art and women’s histories.

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Owen Jones (1809–1874), a prolific architect, designer, illustrator and printer, was recognised during his lifetime as one of the most influential contemporary figures in art and design theory. This insightful book, the latest in the V&A Nineteenth-Century Series, explores his relationship with the South Kensington Museum (later the Victoria and Albert Museum), from its inauguration in the 1850s through to his death in 1874. With particular focus on the creation of his celebrated volume The Grammar of Ornament (1856), his decorative scheme for the museum’s so-called ‘Oriental Court’ and the preparation of his lesser-known publication Examples of Chinese Ornament (1867), it offers a fascinating exploration of the identity of the early museum and its imperial context.

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The history of modern architecture has been well covered in the classical surveys of Sigfried Giedion, Kenneth Frampton, William Curtis, Alan Colquhoun, and others who traced the developments of this major movement that dominated the architectural landscape of the 20th century until the beginning of the 1970s, when a major contesting movement appeared on the scene, labelled as Post-Modernism. Taking a similar approach, this book explores the different tendencies that affected the developments of the past six decades, beginning around the 1960s, when a new wind started to blow from within Modernism, leading to different reactions and counter-reactions, the effects of which are still felt today. This book provides a survey of contemporary developments, starting with an introductory chapter on the transitional period of the 1960s and then examining the different movements that followed, charting a middle course between the ‘aesthetic’ histories that examine architecture solely in terms of its formal aspects, and the ‘ideological’ histories that subject it to a critique that often skirts the discussion of its formal aspects. Global in scope, each chapter begins with a theoretical overview of the ‘paradigm’ in question, leading to an examination of its main actors and projects. The survey concludes with a section on more recent trends, including environmental concerns that placed sustainability as one of the main objectives in architecture in parallel to an aesthetic direction that blurs the boundaries between architecture and art, relying on technological innovations to develop ever more complex forms.

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Art and photography have played a key role in capturing and reflecting on the conditions for the Brexit referendum. Illustrated by a range of work by artists including Cornelia Parker, Wolfgang Tillmans, David Shrigley, Tacita Dean and Jeremy Deller as well as the satirists Cold War Steve and Led By Donkeys, who offer fascinating insights into their work, along with ephemera such as campaign posters and leaflets, and more personal photographs which capture the searing impact of the vote on both UK and EU citizens, this impassioned and compelling book explores the role of the photograph and sometimes moving image in the ongoing consequences of what the author views as a political cataclysm. From Jeremy Deller’s film of musicians protesting outside the House of Commons and Mark Duffy’s extraordinary photograph of a debate held inside, to portraits of those whose lives have been changed immeasurably, this art of protest brings together disparate aspects of the bitterly fought battle to remain and the consequences of the decision to leave the EU on 1 January 2021 and serves as a reminder of this political and social schism. In doing so, the book offers insight into our society, exploring issues of national identity, migration, colonialism/decolonialism, racism, the flag, austerity, the border in Northern Ireland, Scotland and how artists can intervene in political debate. It offers an original, visually stimulating and attractive examination of this still topical subject, revealing how art and photography can capture and memorialise key moments in our history.

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Book of Ruins offers a survey – not encyclopedic, but substantial – of leading moments when the fact and idea of ruins were taken up by writers, travellers and artists: painters, film makers, landscape architects, and architects. Gathering together short texts and extracts that describe and reflect on ruins, dating from remote antiquity (Scipio shedding tears when viewing the destruction of Carthage) to present times (the ruins of a modern city, portrayed in the film Requiem for Detroit), it provides a perspective upon what the past has meant to different cultures at different times. Following an introductory essay, the book includes 70 entries, chronologically ordered, each including an attractive indicative image (or two), an introductory commentary by the authors, and the text itself. The texts come from designers (from Bernini through Piranesi to David Chipperfield) as well as other artists (John Piper), and from literary figures (Goethe, Wordsworth, Byron and Shelley, Hugo, and Hardy). It concludes by discussing what we do with ruins by way of preservation, conservation, adaptive reuse and appropriation, and contemporary loss and ruin, as illustrated by 9/11 and the Neues Museum and highlighting the continuing relevance of the ruin.

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A Circumpolar Landscape demonstrates that Canadian and Scandinavian landscape painting reaches far beyond national identity and a preoccupation with Eurocentrism. This study brings together the work of Emily Carr, the Canadian Group of Seven, Anna Boberg, and Gustaf Fjaestad among others, with each chapter highlighting the high level of interactivity between artists and the environment. Simultaneously, this book highlights the lack of awareness of the respective ecosystems in which many of these works were produced. Working around northern hemispheric latitudinal lines, this book considers how a similar ecology and topography - orientated around the themes of forests, wilderness, lakes, mountains, aurorae, and ice was depicted and is shared across these northern landscapes. This powerful and timely book takes these respective art histories in the direction of the environmental humanities and an ecocritical art history, recognising the broader transnational and ecological framework

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Henry Holiday (1839–1927) was a polymath who counted figures such as Lewis Carroll, William Morris, Edward Burne-Jones and Emmeline Pankhurst as his friends. Most significantly, he was unquestionably one of the greatest stained-glass artists of the Victorian-Edwardian period, yet his considerable achievements have not received the recognition that they deserve. Taking Holiday’s commissions for New York State churches as its focus, George Bryant’s ground-breaking study places the artist’s transatlantic accomplishments in the context of the social, artistic, religious and economic shifts that shaped his success in the US during America’s Gilded Age – a period where existing social hierarchies were challenged by new money and European immigration that ended with the outbreak of the First World War. Also providing a clear understanding of the technical and aesthetic differences that set Holiday's stained glass apart from that of his contemporaries such as Edward Burne-Jones, La Farge, and Tiffany, Bryant's truly original publication, based on substantial archival research, makes a significant contribution to our understanding of nineteenth-century stained-glass design and Henry Holiday's important achievements.

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Godefridus Schalcken: A Late 17th-century Dutch Painter in Pursuit of Fame and Fortune is the first book in English dedicated to the entire artistic output of seventeenth-century Dutch artist Godefridus Schalcken (1643–1706). It examines the artist’s paintings and career trajectory against the background of his ceaseless pursuit of fame and fortune. Combining a comprehensive analysis of Schalcken's artistic development and style with our increasing biographical knowledge, it provides an authoritative overview of Schalcken’s ample production as an artist. It also integrates his art into the circumstances of his life in relation to his ambitious career aspirations, exploring how economic conditions, a concomitantly oversaturated art market, talent and ambition, demographics, and even sheer luck all played a role in Schalcken’s great professional success. Since Schalcken’s art, like that of all Dutch painters, provides a plethora of information about seventeenth-century culture—its predilections, its prejudices, indeed, its very mind-set—the book inevitably links his work to the broader socio-cultural contexts in which it was created.

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Rana Begum RA (b.1977) is an artist known for her wide ranging works, from the intimate to the monumental. Using a variety of materials and exploring the use of light, she blurs the boundaries between sculpture, architecture, design and painting to create works that are both playful and ambiguous. This comprehensive monograph expands on previous writings to investigate the ideas behind the artist's varied use of materials, including wood, metal, ready-made industrial components and MDF. With a focus on her processes, the ways in which Begum's work intersects with architecture and design are drawn out, while key sources of inspiration - from the environments in which the artist works, to Islamic art and minimalism - are discussed.Combining contextual essays and an extensive interview with the artist, the development of Begum's work — from painting and furniture design to installations and light sculptures — is traced to present an in-depth overview of the multifaceted, complex work of this fascinating artist.

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This book presents a rich and rewarding history of houses in England through the stories of nine houses, dating from the 1600s to the 1980s, which have been inhabited by the author, an architect and academic. Chronologically ordered, the book covers rural vernacular houses from the 17th Century, Georgian and Victorian townhouses, villas and converted industrial buildings, Edwardian semis and 20th-century council housing and mixed tenure new developments. Firstly reflecting on the author’s own experience of the house, each chapter then examines its historical context, before making a detailed analysis of the buildings design and layout, usefully illustrated with architectural drawings. Each chapter concludes with a useful discussion of lessons learnt from each house/historic period and compares them with contemporary houses which use similar materials, construction techniques or ideas. It not only details the evolution of the design and construction of houses through the centuries, but also includes concise but highly informative sections on the history of various types of construction and materiality, such as brickmaking and timber and steel frame; sections on conversion and adaptive reuse and what works and what doesn't; the evolution of styles; housing density; ownership; and the three broad waves of council/social housing etc. On reflecting on her own experiences, the author provides useful insights into how we relate to our homes, how they shape and affect us and the value and meaning of the home.

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Woodland Imagery in Northern Art reconnects us with the woodland scenery that abounds in Western painting, from Albrecht Dürer’s intense studies of verdant trees, to the works of many other Northern European artists who captured 'the truth of vegetation' in their work. These incidents of remarkable scenery in the visual arts have received little attention in the history of art, until now. Prosperetti brings together a set of essays which are devoted to the poetics of the woodlands in the work of the great masters, including Claude Lorrain, Jan van Eyck, Jacob van Ruisdael, Peter Paul Rubens, Rembrandt and Leonardo da Vinci, amongst others. Through an examination of aesthetics and eco-poetics, this book draws attention to the idea of lyrical naturalism as a conceptual bridge that unites the power of poetry with the allurement of the natural world. Engagingly written and beautifully illustrated throughout, Woodland Imagery in Northern Art strives to stimulate the return of the woodlands to the places where they belong — in people’s minds and close to home.

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Albrecht Dürer (1471-1528) enjoyed European-wide fame during his lifetime. Dürer was not only a brilliant painter, but also a pioneering printmaker, experimental draughtsman, book publisher, first German art theoretician and amateur poet. His art was avidly collected, repeatedly copied in diverse media, and often forged. Then, with his death, the posthumous Dürers were born. This book addresses his afterlife or, more correctly, afterlives. Beginning with the heartfelt eulogies of his friends and the creation of contemporary portraits of the Nuremberg master, Dürer's person, his likenesses, and his art have been celebrated for over five hundred years. Our contemporary Dürer is the subject of intense scholarly discussions on the one hand and of social and commercial popularization on the other hand.

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Sofonisba Anguissola (c.15321625), an Italian Renaissance painter born in Cremona to a noble family, was one of the first women artists of Europe to establish an international reputation during her lifetime. This book explores the evolution of Sofonisba Anguissola's art from her training in Cremona, through her service at the court of Philip II in Madrid, to her later years as a married woman in Sicily and Genoa. It was at the Spanish court that Sofonisba Anguissola secured her reputation as a painter of international renown. Therefore, the volume places special emphasis on the social, political and cultural preconditions surrounding her role and status at the Spanish court, where she became a lady-in-waiting and painting instructor to Queen Elizabeth of Valois. In order to interrogate the circumstances of her service and her painting practice in Spain, and thus to better explain her later artistic career in Italy, the book focuses on her education, her noble status, her family ties

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For Kurt Jackson (b.1961), ‘Painting the sea could become an obsession, an entire oeuvre in its own right, an endless life absorbing task.’ And, as this book attests, Jackson’s dedication to capturing its constant shape shifting – stillness to thundering force, shallows to mysterious depths – have brought forth paintings that communicate the sea's ebb and flow, its magic and elusiveness.Kurt Jackson's Sea captures the beauty of the artist's constantly evolving relationship with one of nature's most challenging subjects. Two hundred colour images complement Jackson's reflections on his interactions with inspirational coastal landscapes - largely experienced in his native Cornwall, but stretching way beyond the county too.

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Rudolph Ihlee (1883-1968) was a prize-winning student at the Slade where his contemporaries included Stanley Spencer, Mark Gertler, Maxwell Gordon Lightfoot, C.R.W. Nevinson and Edward Wadsworth. Turning his back on a flourishing career in London, he relocated to the southern French town of Collioure, where the Mediterranean light had mesmerised artists such as Derain and Matisse before him.Exploring for the first time Ihlee's impressive oeuvre in the context of a fascinating biography, this book provides a lively account of the career of an accomplished but under-appreciated artist, who found creative freedom and personal contentment on the inspirational Catalan coast.

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Over the last three decades, Jacqueline Humphries (b.1960) has, through an innovative painterly process, challenged the limits of abstraction. She has produced a body of work that reaches beyond modernism, Abstract Expressionism, and abstraction as we know it.Multi-layered in application, Humphries challenges the viewer to interact with her painting in diverse ways, inviting new approaches to looking and being with a work. Expertly analysing the ways in which Humphries has challenged convention and placed abstract painting at the centre of our twenty-first century visual environment, Frances Guerin's illuminating text reveals an artist at the peak of her powers.

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With a body of work that explores a broad spectrum of subjects - from lesbianism and feminism to contemporary politics and the natural world - Nicole Eisenman (b.1965) challenges convention and encourages viewers to construe meanings from images that demand interrogation and debate.Illustrating paintings spanning the early 1990s to the present day, Dan Cameron unpacks the complexities of Eisenman's oeuvre via thematic chapters that address key ideas which emerge when drawing specific works together. As such, this first major account of Eisenman's painting career, presents a clear analysis of the primary motivators that have fuelled the imagination of one of the most interesting and original contemporary artists working today.

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Exploring the ways in which painting, applied design and illustration intertwined over the course of the accomplished career of Paul Nash (1889-1946), this book provides a new perspective on one of the most gifted and celebrated English artists of the twentieth century. Skilfully navigating the diversity of Nash’s design output, which drew in illustration, book jackets, posters, set design, pattern papers, fabrics, glass, ceramics and photography, in the context of Nash’s painting and wider pre-occupations, James King presents an artist who strove to resolve his artistic vision. With Nash's work informed by seismic shifts within the visual arts during his lifetime – from the influence of the Arts and Crafts Movement on the one hand, to Surrealism and Abstraction on the other – this fascinating book reveals the considerable gifts that allowed Nash to create a wholly original vision in turn.

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Why should the public participate in planning? And who are the stakeholders who are required to participate in the planning process? This guide assesses public and stakeholder participation in the planning process, which is a statutory requirement across the entire scope and scale of planning activities in many global contexts. It provides a historical overview of participation and outlines how this has evolved over time. It then outlines a series of key issues for the contemporary planning professional in terms of their approach to public and stakeholder participation, particularly in light of alterations in landscapes of governance and recent social, political and technological developments. Illustrated with mostly UK and European case studies, but also drawing insights from further afield, the book also provides a framework for critiquing contemporary participation, including an assessment of the pitfalls, obstacles and unintended consequences of participation efforts. As such, it identifies key principles for participation and asks critical questions for its assessment.

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Since the global financial crash of 2008, artists have become increasingly engaged in a wide range of cultural activism targeted against capitalism, political authoritarianism, colonial legacies, gentrification, but also in opposition to their own exploitation. They have also absorbed and reflected forms of protest within their art practice itself. The Art of Activism and the Activism of Art maps, critiques, celebrates and historicises activist art, exploring its current urgency alongside the processes which have given rise to activism by artists, and activist forms of art. Author Gregory Sholette approaches his subject from the unusual dual perspective of commentator (as scholar and writer) and insider (as activist artist). He describes a new wave of activist art taking place not only within community-based protest groups, as it has for decades, but also amongst professionally trained, MFA-bearing art practitioners, many of whom, by choice or by circumstance, refuse to respect the conventional borders separating painting from protest, or art from utility. The book explores the subtle distinction between activist forms of art and protest by artists, and proposes that contemporary activist art and art activism constitute a broader paradigm shift that reflects the crisis of contemporary capitalism.

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Since launching his practice in 2001 with The Lawns, which was shortlisted for the Stirling Prize, Nick Eldridge has become renowned for his beautiful bespoke houses. This book provides a wide-ranging survey of his key projects up to the present day including the Manser Medal-winning house, Greenways in Coombe Park. Eldridge is an architectural storyteller: thoughtfully responding to different landscapes, settings, histories and clients, each house explores fresh narratives, while at the same time, being connected by strong threads to a cohesive body of work. Throughout the book, from earliest projects to new work, including a beach house in Shoreham, a barn conversion in Cornwall and an innovative modern modular house in Devon, Eldridge’s work explores and experiments: his houses feel fresh and different, lifted by an innovative approach to tectonic engineering and form fused with a passion for artisanal interiors, fine detailing and characterful materials. They show the architect’s varied influences: from Arts & Crafts and mid-century modern through to hi-tech design - Eldridge spent six years with Norman Foster. The projects analysed in the book are broadly divided into two main sections: new build projects, and highly imaginative, responsive adaptations, extensions and reinventions of existing buildings.

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Between the Stock Market Crash and the Vietnam War, American corporations were responsible for the construction of thousands of headquarters across the United States. Over this time, the design of corporate headquarters evolved from Beaux-Arts facades to bold modernist expressions. This book examines how clients and architects together crafted buildings to reflect their company's brand, carefully considering consumers' perception and their emotions towards the architecture and the messages they communicated. By focusing on four American corporate headquarters: the PSFS Building by George Howe and William Lescaze, the Johnson Wax Administration Building by Frank Lloyd Wright, Lever House by Skidmore, Owings & Merrill, and The Roehm & Haas Building by Pietro Belluschi, it shows how corporate modernism evolved. In the 1930s, architecture and branding were separate and distinct and by the 1960s, they were completely integrated. Drawing on interviews and original material from corporations' archives, it examines how company leaders, together with their architects, conceived of their corporate headquarters not only as the consolidation of employee workplaces, but as architectural mediums to communicate their corporate identities and brands.

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This book presents a detailed account of Guillermo Kuitca's major bodies of work, analysing his diverse range of imagery and reflecting on his engagement with the spaces in which we live.Following Kuitca’s development from the 1980s to his latest body of work, the narrative reveals an artist who has continually challenged himself and his audience with new kinds of painterly language. In Kuitca’s hands, everyday visual material such as road maps, street plans, architectural blueprints and theatre seating charts are transformed into remarkable paintings. Their impact comes from their apparent engagement with dark subjects such as the Holocaust and Argentina’s 'Dirty War,' as well as the artist’s innovative imagery and techniques.Drawing on conversations and studio visits the author has had with the artist, Guillermo Kuitca reveals the multifarious elements of a challenging and exciting body of work. It is essential reading for anyone fascinated by this truly original artist.

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This book focuses on the way in which urban planning and transport planning can work together to achieve sustainable accessibility. Sustainable accessibility has a focus on walking, cycling and public transport, achieved by planning urban areas so that a person’s daily activities are undertaken closer to home. It is also about reducing the need to travel by private car, especially for long distances. This approach is critically important in the context of the climate emergency we face. Illustrated by case studies from the UK, Australia and Sweden, this book shows how, and why, we can successfully plan for sustainable accessibility through urban development planning and transport planning practices. Examining three different spatial scales: Metropolitan, Town Centres, and Neighbourhoods, and employing a multi-dimensional perspective, sustainable accessibility is considered through the lens of different residents and their daily needs. There is a strong focus on their qualities of ‘place’ and on governance, considering who should take action, and how processes of implementation influence the effectiveness of design approaches. This innovative multi-dimensional perspective re-frames traditional approaches and offers the reader an appreciation of the bigger picture of what is needed to plan for sustainable accessibility, while at the same time outlining the specific details that are necessary for its implementation and introducing the application of accessibility thinking and associated tools.

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Radical Women tells an original story of British modernism from the perspective of Jessica Dismorr's career, along with the women artists - some famous, some lesser-known - she worked and exhibited with.The work of Jessica Dismorr (1885-1939) has been described as encapsulating 'the stylistic developments of twentieth-century British Art', and her oeuvre certainly encompasses some of its most exciting moments - from Rhythm in the early 1910s, through Vorticism, towards post-war modernist figuration and finally into the abstraction she shared with radical political artists groups in the 1930s. Within this period of intense creativity, which extended beyond art to literary and design accomplishments too, Dismorr was privileged to work and exhibit alongside some of the most exciting female artists of the time, including Barbara Hepworth and Winifred Nicholson, to lesser-known figures such as Dorothy Shakespear, Anne Estelle Rice and Helen Saunders. Bringing a web of fascinating connections to light for the first time, this publication provides a fresh interpretation of a pioneering period and the role women played within it.

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Creating the V&A tells the definitive story of the formative years of London’s world-renowned Victoria and Albert Museum and the gathering of its early collections in the decade between the Great Exhibition of 1851 and the death of Prince Albert in 1861.The story of the V&A’s genesis is often centred on the first director and first curator (Henry Cole and J. C. Robinson), and their competing agendas for design reform and connoisseurship. And yet there is an untold story of how the young royal couple for whom it is named were highly instrumental in the establishment of the museum, as public supporters and large-scale lenders before a permanent collection was in place. The book is also full of fascinating and colourful stories of the strategies deployed to harvest treasures on the market as the young museum sought to fill its rapidly expanding buildings and compete with the British Museum and the Crystal Palace.For anyone interested in the history of collecting and curating, and for all fans of this legendary London museum, Creating the V&A explains how the foundational collections established parameters which still inform the museum’s collecting policies, role and identity today.

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