Search results for ""Author David Dawson""

A Times Best Art Book of 2022Reproductions of the young Lucian Freud’s letters alongside insightful context and commentary reveal the foundations of the artist’s personality and creative practice. The young Lucian Freud was described by his friend Stephen Spender as ‘totally alive, like something not entirely human, a leprechaun, a changeling child, or, if there is a male opposite, a witch.’ All that magnetism and brilliance is displayed in the letters assembled here. Ranging from schoolboy messages to his parents, through letters and carefully-chosen, often embellished postcards to friends, lovers and confidants, to correspondence with patrons and associates. They are peppered with wit, affection and irreverence. Alongside rarely seen photographs and Freud’s extraordinary works, each chapter charts Freud’s evolving art alongside intimate accounts of his life. We trace Freud’s early friendships with Stephen Spender, John Craxton, his wild days at art school in East Anglia, and a stint as a merchant seaman. Among the highlights are Freud’s accounts of his first trip to Paris in 1946 and encounters with Picasso, Alexander Calder and Giacometti (who, he thought, looked like Harpo Marx). Equally revealing are letters to and from his first love, Lorna Wishart and second wife, Caroline Blackwood. Among his friends and confidantes were Sonia Orwell and Ann Fleming: remarkable, hitherto unknown letters to both of whom are included. To Ann Fleming he wrote a richly-comic, six-page description of a high society fancy dress ball which took place at Biarritz in 1953. He also went to stay with Ann and her husband Ian in their house in Jamaica, Goldeneye. From there, he sent a stream of letters, plus a telegram to his colleagues at the Slade School of Fine Art (where he was supposed to be teaching): “PLEASE SEND TEN SHEETS GREY GREEN INGRES PAPER”. The volume ends in early 1954 with his inclusion at the age of 31, as one of the artists representing Britain at the Venice Biennale - the high point of his early career. Co-authored by David Dawson and Martin Gayford, this is the first published collection of Freud’s correspondence, many brought to light for the first time. Reproduced in facsimile alongside reproductions of Freud’s artwork, the letters are linked by a narrative that weaves them into the story of his life and relationships through his formative first three decades. Collectively, they provide a powerful insight into his early life and art.

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A breathtaking visual biography of Freud, told through his own words, unpublished private photographs, and painted portraits This unprecedented look at the private life of Lucian Freud begins with childhood snapshots and ends with rarely seen photographs made in his studio in the last weeks of his life. In between, the life of one of the most important artists of the twentieth and twenty-first centuries is vividly documented – through family photos, in images of the painter in his studio with some of his most celebrated sitters, and in portraits by his peers, first among them Francis Bacon.

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When people seek psychological support, formulation is the theory-driven methodology used by many practitioners to guide identification of the processes, mechanisms, and patterns of behaviour that appear to be contributing to the presenting difficulties. However, the process of formulating – or applying psychological theory to practice – can often seem unclear. In this volume, we present multiple demonstrations of formulation in action – written by applied psychologists embedded in clinical training, research, and practice. The volume covers a range of contemporary approaches to formulation and therapy that have not been considered in extant works, and includes unique sections offering critical counter-perspectives and commentaries on each approach (and its application) by authors working from alternative theoretical positions.

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Essays on the development of the post-medieval house, its contents and decoration. During the last forty years, South-West England has been the focus of some of the most significant work on the early modern house and household in Britain. Its remarkable wealth of vernacular buildings has been the object of muchattention, while the area has also seen productive excavations of early modern household goods, shedding new light on domestic history. This collection of papers, written by many of the leading specialists in these fields, presents a number of essays summarizing the overall understanding of particular themes and places, alongside case studies which publish some of the most remarkable discoveries. They include the extraordinary survival of wall-hangings in a South Devon farm, the discovery of painted rooms in an Elizabethan town house, and a study of a table-setting mirrored on its ceiling. Also considered are forms of decoration which seem specific to particular areas of the West Country houses. Taken together, the papers offer a holistic view of the household in the early modern period. John Allan is Consultant Archaeologist to the Dean & Chapter of Exeter Cathedral; Nat Alcock is EmeritusReader in the Department of Chemistry, University of Warwick; David Dawson is an independent archaeologist and museum and heritage consultant. Contributors: Ann Adams, Nat Alcock, John Allan, James Ayres, Stuart Blaylock, Peter Brears, Tania Manuel Casimiro, Cynthia Cramp, Christopher Green, Oliver Kent, Kate Osborne, Richard Parker, Isabel Richardson, John Schofield, Eddie Sinclair, John R.L. Thorp, Hugh Wilmott,

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'Provoking, vital, engrossing, gorgeously produced... My art book of the year.' - Financial Times With more than 480 illustrations, this is the most comprehensive publication to date on one of the greatest painters of the twentieth and early twenty-first centuries, Lucian Freud. Lucian Freud was one of the most significant artists of the twentieth and early twenty-first centuries, and Phaidon is honoured to publish the most complete retrospective of his career to date. This sumptuous, definitive set is the result of an extraordinary collaboration between David Dawson - Director of the Lucian Freud Archive and for two decades Freud's assistant, model, and friend - author Martin Gayford, and editor Mark Holborn. Their collaboration has resulted in a book that goes beyond the work to reveal insights into the man himself. Gayford describes Freud's determination always to tell the truth about what he was recording in paint. He believed in a found beauty, not one that was imagined by an artist and then imposed on his subject. He painted what he saw, in exquisite detail, and he found it beautiful. With more than 480 illustrations, Phaidon celebrates that beauty - evoked in portraits of Freud's friends and family, his lovers, his neighbours, and others whose looks he liked, from his bookmaker to a bank robber. This is both a vital contribution to art scholarship and a gorgeous addition to the bookshelves of art lovers around the world.

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Lucian Freud is not only the most celebrated artist working in England, but one of the most private. He has frequently stated his reluctance to be photographed and he has almost never agreed to be interviewed. Following the publication of the last ten years of his work by Jonathan Cape in the autumn of 2005, the painter has agreed to talk to Sebastian Smee, a writer on art whom he greatly respects, in a series of conversations rather than formal interviews. He wants to talk about painting itself, the demands of his own work and the painters he admires. Two photographers have had access to Freud's studio. The late Bruce Bernard was a friend for many years and the subject of two of Freud's paintings. Bernard was an authority on photography, a great picture editor, and also a very fine photographer. He made a number of studies of Freud at work. Over the last five years in particular, Freud's assistant, the painter David Dawson, has been photographing the artist constantly. The results reveal various stages of works in progress, including paintings of Dawson himself, and the intensity of the activity in this very secret domain. The only precedent to such a document might be David Douglas Duncan's photographs of Picasso at work, but nothing as extensive has been published on such a major painter before.

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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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