Search results for ""Paul Mellon Centre for Studies in British Art""
Paul Mellon Centre for Studies in British Art Lucie Rie: Modernist Potter
The life and legacy of brilliant but elusive potter Lucie Rie is investigated through interviews, letters and the analysis of her elegant, modernist vessels Lucie Rie (1902–1995), one of the 20th century's most celebrated and iconic potters, combined an acute understanding of modernism with the skills of her chosen craft. Emmanuel Cooper, a distinguished potter who knew Rie, interviewed many of her friends and acquaintances to produce this complete and detailed account of Rie's life and work. The author was given unrestricted access by the Rie estate to previously unpublished letters and other material, which provide fascinating new insights into her life and work and allowed him to reevaluate Rie's creative output within the broader context of modernism and the emergence of the studio pottery movement in Britain. ‘It [is] unlikely that this biography of Rie will ever be surpassed.’ —Frances Spalding, Literary Review‘A precious gift, from the only man who could have written it.’ —Glenn Adamson, Crafts MagazineDistributed for the Paul Mellon Centre for Studies in British Art
£25.00
Paul Mellon Centre for Studies in British Art James Gillray: A Revolution in Satire
A lavishly illustrated biography of James Gillray, inventor of the art of political caricature James Gillray (1756–1815) was late Georgian Britain’s funniest, most inventive, and most celebrated graphic satirist and continues to influence cartoonists today. His exceptional drawing, matched by his flair for clever dialogue and amusing titles, won him unprecedented fame; his sophisticated designs often parodied artists such as William Hogarth, Joshua Reynolds, and Henry Fuseli, while he borrowed and wittily redeployed celebrated passages from William Shakespeare and John Milton to send up politicians in an age—as now—where society was fast changing, anxieties abounded, truth was sometimes scarce, and public opinion mattered. Tim Clayton’s definitive biography explores Gillray’s life and work through his friends, publishers—the most important being women—and collaborators, aiming to identify those involved in inventing satirical prints and the people who bought them. Clayton thoughtfully explores the tensions between artistic independence, financial necessity, and the conflicting demands of patrons and self-appointed censors in a time of political and social turmoil. Distributed for the Paul Mellon Centre for Studies in British Art
£50.00
Paul Mellon Centre for Studies in British Art Landscape Design and Revolution in Ireland and the United States, 1688-1815
Explores how revolutionary ideas were translated into landscape design, encompassing liberty, equality, improvement and colonialism Spanning the designed landscapes of England’s Glorious Revolution of 1688, the American Revolution of 1776 and the Irish rebellion of 1798, with some detours into revolutionary France, this book traces a comparative history of property structures and landscape design across the eighteenth-century Atlantic world and evolving concepts of plantation and improvement within imperial ideology. Revolutionaries such as Jean-Jacques Rousseau, George Washington, Arthur Young, Lord Edward FitzGerald and Pierce Butler constructed houses, farms and landscape gardens—many of which have since been forgotten or selectively overlooked. How did the new republics and revolutionaries, having overthrown social hierarchies, translate their principles into spatial form? As the eighteenth-century ideology of improvement was applied to a variety of transatlantic and enslaved environments, new landscape designs were created—stretching from the suburbs of Dublin to the sea islands of the state of Georgia. Yet these revolutionary ideas of equality and freedom often contradicted reality, particularly where the traditional design of the great landed estate—the building block of aristocratic power throughout Europe—intersected with that of the farm and the plantation. Distributed for the Paul Mellon Centre for Studies in British Art
£45.00
Paul Mellon Centre for Studies in British Art The Radical Vision of Edward Burne-Jones
A bold reassessment of nineteenth-century British painter and decorative artist Edward Burne-Jones, elucidating his fundamentally radical defiance of the Victorian age Challenging the dominant characterization of Edward Burne-Jones as an escapist who withdrew from the modern world into imaginary realms of his own creation, this groundbreaking book argues that he was engaged in a fundamentally radical defiance of the age, protesting against imperial aggression, capitalist economic inequality, and environmental destruction in the wake of the industrial revolution. Harnessing the utopian power of embodied aesthetic encounters, Burne-Jones drew inspiration from the medieval concept of dreams as visionary states of transformation. Therefore, his art functioned not as a retreat, but as a vehicle for revolutionary awakening. Often characterized as a painter, this book re-centers Burne-Jones’s practice in the decorative arts, demonstrating that he consistently interrogated the boundaries of artistic media, in keeping with wider debates over the role of the arts in the nineteenth century. The first scholarly monograph solely devoted to Burne-Jones since 1973, The Radical Vision of Edward Burne-Jones offers a thorough re-examination of his work, illuminating his radical defiance of the artistic, social, and political hierarchies of nineteenth-century Britain.Distributed for the Paul Mellon Centre for Studies in British Art
£45.00
Paul Mellon Centre for Studies in British Art Julia Margaret Cameron
A bold new study of Julia Margaret Cameron's Victorian photographs, charting the legacy of colonialism following the 1857 Indian Uprising
£45.00
Paul Mellon Centre for Studies in British Art Architecture in Britain and Ireland, 1530-1830
A major new history of architecture in Britain and Ireland that looks at buildings and their construction in detail while revealing the cultural, material, political, and economic contexts that made them Architecture in Britain and Ireland, 1530–1830 presents a comprehensive history of architecture in Britain during this three-hundred-year period. Drawing on the most important advances in architectural history in the last seventy years, ranging across cultural, material, political, and economic contexts, this book also encompasses architecture in Ireland and includes substantial commentary on the buildings of Scotland and Wales. Across three chronological sections: 1530–1660, 1660–1760, and 1760–1830, this volume explores how architectural culture evolved from a subject carried solely in the minds and skills of craftsmen to being embodied in books and documents and with new professions—architects, surveyors and engineers—in charge. With chapters dedicated to towns and cities, landscape, infrastructure, military architecture, and industrial architecture, and beautifully illustrated with new photography, detailed graphics, and a wealth of historic images, Architecture in Britain and Ireland, 1530–1830 is an invaluable resource for students, historians, and anyone with an interest in the architecture of this period, and promises to become a definitive work of scholarship in the field.
£60.00
Paul Mellon Centre for Studies in British Art Westminster Abbey
A comprehensive and authoritative history that explores the significance of one of the most famous buildings and institutions in England.
£25.00
Paul Mellon Centre for Studies in British Art Frank Auerbach: Drawings of People
The first extended study of Frank Auerbach's remarkable portrait drawings reveals their complexity and ambition as works of graphic art This book offers an original approach to one of Britain’s leading artists: Frank Auerbach (b. 1931). It looks in detail at his portrait drawings, which Auerbach has been making since the 1950s, and which he has always considered important, freestanding works of art. By turns eerie, shocking, enigmatic, and hauntingly tender, they demand fresh interpretation and investigation. Reproducing more than 130 examples of these portraits, some for the first time, and featuring new essays by curators, scholars, and critics, this book provides an unprecedented opportunity to explore and reassess these striking and sometimes unsettling works of graphic art. Frank Auerbach: Drawings of People includes texts by both the editors and the artist himself, and new essays by Kate Aspinall, James Finch, Alex Massouras, David Mellor, and Barnaby Wright. Distributed for the Paul Mellon Centre for Studies in British Art
£40.00
Paul Mellon Centre for Studies in British Art Enlightened Eclecticism: The Grand Design of the 1st Duke and Duchess of Northumberland
A beautifully illustrated exploration of opulent tastes and the power of patronage in 18th-century Britain The central decades of the eighteenth century in Britain were crucial to the history of European taste and design. One of the period’s most important campaigns of patronage and collecting was that of the 1st Duke and Duchess of Northumberland: Sir Hugh Smithson (1712–86) and Lady Elizabeth Seymour Percy (1716–76). This book examines four houses they refurbished in eclectic architectural styles—Stanwick Hall, Northumberland House, Syon House, and Alnwick Castle—alongside the innumerable objects they collected, their funerary monuments, and their persistent engagement in Georgian London’s public sphere. Over the years, their commissions embraced or pioneered styles as varied as Palladianism, rococo, neoclassicism, and Gothic revival. Patrons of many artists and architects, they are revealed, particularly, as the greatest supporters of Robert Adam. In every instance, minute details contributed to large-scale projects expressing the Northumberlands’ various aesthetic and cultural allegiances. Their development sheds light on the eclectic taste of Georgian Britain, the emergence of neoclassicism and historicism, and the cultures of the Grand Tour and the Enlightenment.Distributed for the Paul Mellon Centre for Studies in British Art
£50.00
Paul Mellon Centre for Studies in British Art The Radical Print
A groundbreaking account of printmaking in Britain that explores the medium's intersection with radical politics
£45.00
Yale University Press Inigo Jones and the European Classicist Tradition
In this groundbreaking volume, conventional assumptions about one of England’s greatest and most influential classical architects are turned on their head. Traditionally, Inigo Jones has been looked upon as an isolated, even old-fashioned, figure in European architecture, still espousing the Palladian ideals of the 16th century when European contemporaries were turning to the Baroque. Yet an investigation of contemporary European architecture and of Jones’s buildings belies this impression, demonstrating that Jones must be viewed in the context of a European-wide, early-17th-century classicist movement.Giles Worsley examines the full range of Jones’s architecture, from humble stable to royal palace. Worsley shows that key motifs that have been seen as proof of Jones’s Palladian loyalties—particularly the Serliana, the portico, and the centrally planned villa—have a much older and deeper meaning as symbols of sovereignty. The book transforms our understanding not only of Inigo Jones but also of the architecture of his time.Published for the Paul Mellon Centre for Studies in British Art.Published for the Paul Mellon Centre for Studies in British Art
£40.00
Yale University Press Thomas Gainsborough: The Portraits, Fancy Pictures and Copies after Old Masters
Scholars and enthusiasts alike will revel in this ambitious two-volume catalogue raisonné of Thomas Gainsborough’s portraits and copies of Old Master works. The catalogue contains approximately 1,100 paintings, including nearly 200 works newly attributed to the British master, as well as updated information about his subjects and specially commissioned photography. Each portrait entry includes the biography of the sitter—including several newly identified—the painting’s provenance, and exhibitions in which each work was shown. Gainsborough’s copies after Old Masters, painted in admiration and used to assimilate their style of painting into his own work, are documented here as well. Research includes in-depth analysis of newspaper archives and other printed material to establish the date of a painting’s production, chart the development of the artist’s style, and assess the impression the work made within the context of its time.Published in association with the Paul Mellon Centre for Studies in British Art
£150.00
Ben Uri Gallery and Museum Becoming Gustav Metzger: Uncovering the Early Years: 1945-59
Becoming Gustav Metzger, produced in association with The Gustav Metzger Foundation, is the first publication to examine the little-known formative years of refugee artist and activist Gustav Metzger (Nuremberg, Germany, 1926-London, England, 2017). Generously supported by the Paul Mellon Centre for Studies in British Art and the Association for Art History, Becoming Gustav Metzger includes original texts by Stephen Bann CBE (Emeritus Professor, University of Bristol), Andrew Wilson (Senior Curator Modern & Contemporary British Art, and Archives at Tate Britain), Dr. Elizabeth Fisher (Leverhulme Research Fellow, Northumbria University), Mathieu Copeland (independent curator and author of Gustav Metzger: Writings 1953-2016), and the curators. Fully illustrated, it also includes colour reproductions of rarely seen drawings and paintings from this crucial early period, as well as early abstract works on board and cardboard, and a kodak box. Together they chart Metzger’s artistic journey from figuration to abstraction prior to the development of his later radical auto-destructive practice.
£20.00
Yale University Press George Romney: A Complete Catalogue of His Paintings
This magnificent catalogue, in three volumes and with nearly 2,000 illustrations, will restore George Romney (1734–1802) to his long-overdue position – with his contemporaries Reynolds and Gainsborough – as a master of 18th-century British portrait painting. The product of impressive and thorough research undertaken over the course of 20 years, Alex Kidson asserts Romney’s status as one of the greatest British painters, whose last catalogue raisonné was published over 100 years ago. In more than 1,800 entries, many supported by new photography, Kidson aims to solve longstanding issues of attribution, distinguishing genuine pictures by Romney from works whose traditional attribution to him can no longer be supported. The author’s insights are guided by rich primary source material on Romney—including account books, ledgers, and sketchbooks—as well as secondary sources such as prints after lost works, newspaper reports and reviews, and writings by Romney’s contemporaries.Published for the Paul Mellon Centre for Studies in British Art
£180.00
Yale University Press The Marble Index: Roubiliac and Sculptural Portraiture in Eighteenth-Century Britain
Providing the first thorough study of sculptural portraiture in 18th-century Britain, this important book challenges both the idea that portrait necessarily implies painting and the assumption that Enlightenment thought is manifest chiefly in French art. By considering the bust and the statue as genres, Malcolm Baker, a leading sculpture scholar, addresses the question of how these seemingly traditional images developed into ambitious forms of representation within a culture in which many core concepts of modernity were being formed. The leading sculptor at this time in Britain was Louis Francois Roubiliac (1702–1762), and his portraits of major figures of the day, including Alexander Pope, Isaac Newton, and George Frederic Handel, are examined here in detail. Remarkable for their technical virtuosity and visual power, these images show how sculpture was increasingly being made for close and attentive viewing. The Marble Index eloquently establishes that the heightened aesthetic ambition of the sculptural portrait was intimately linked with the way in which it could engage viewers familiar with Enlightenment notions of perception and selfhood.Published for the Paul Mellon Centre for Studies in British Art
£50.00
Yale University Press The People's Galleries: Art Museums and Exhibitions in Britain, 1800–1914
This innovative history of British art museums begins in the early 19th century. The National Gallery and the South Kensington Museum (now the Victoria and Albert Museum) in London may have been at the center of activity, but museums in cities such as Glasgow, Leeds, Liverpool, Manchester, and Nottingham were immensely popular and attracted enthusiastic audiences. The People’s Galleries traces the rise of art museums in Britain through World War I, focusing on the phenomenon of municipal galleries. This richly illustrated book argues that these regional museums represented a new type of institution: an art gallery for a working-class audience, appropriate for the rapidly expanding cities and shaped by liberal ideals. As their broad appeal weakened with the new century, they adapted and became more conventional. Using a wide range of sources, the book studies the patrons and the publics, the collecting policies, the temporary exhibitions, and the architecture of these institutions, as well as the complex range of reasons for their foundation.Published for the Paul Mellon Centre for Studies in British Art
£45.00
Yale University Press The Duchess's Shells: Natural History Collecting in the Age of Cook’s Voyages
Margaret Cavendish Bentinck, the 2nd Duchess of Portland (1715–1785), was one of the wealthiest women in eighteenth-century Britain. She collected fine and decorative arts (the Portland Vase was her most famous acquisition), but her great love was natural history, and shells in particular. Over the course of twenty years, she amassed the largest shell collection of her time, which was sold after her death in a spectacular auction. Beth Fowkes Tobin illuminates the interlocking issues surrounding the global circulation of natural resources, the commodification of nature, and the construction of scientific value through the lens of one woman’s marvelous collection. This unique study tells the story of the collection’s formation and dispersal—about the sailors and naturalists who ferried rare specimens across oceans and the dealers’ shops and connoisseurs’ cabinets on the other side of the world. Exquisitely illustrated, this book brings to life Enlightenment natural history and its cultures of collecting, scientific expeditions, and vibrant visual culture.Published for the Paul Mellon Centre for Studies in British Art
£30.00
Yale University Press Henry VIII and the Art of Majesty: Tapestries at the Tudor Court
Luxurious, beautiful, and portable, tapestry was the pre-eminent art form of the Tudor court. Henry VIII amassed an unrivaled collection over the course of his reign, and the author weaves the history of this magnificent collection into the life of its owner with an engaging narrative style. Now largely dispersed or destroyed, Henry’s extensive inventory is here reassembled and reveals how, through tapestry, Henry identified himself with historic, religious, and mythological figures, putting England in dialogue—and competition—with the leading courts of Early Modern Europe while promoting his own religious and political agendas at home. Campbell’s original account sheds new light on Tudor political and artistic culture and the court’s response to Renaissance aesthetic ideals. Sumptuously illustrated with newly commissioned photographs, this stunning re-creation of Europe’s greatest tapestry collection challenges the predominantly text-driven histories of the period and offers a fascinating new perspective on the life of Henry VIII.Published for the Paul Mellon Centre for Studies in British Art
£50.00
Yale University Press Gothic Wonder: Art, Artifice, and the Decorated Style, 1290–1350
In this wide-ranging, eloquent book, Paul Binski sheds new light on one of the greatest periods of English art and architecture, offering ground-breaking arguments about the role of invention and the powers of Gothic art. His richly documented study locates what became known as the Decorated Style within patterns of commissioning, designing, and imagining whose origins lay in pre-Gothic art. By examining notions of what was extraordinary, re-evaluating medieval ideas of authorship, and restoring economic considerations to the debate, Binski sets English visual art of the early 14th century in a broad European context and also within the aesthetic discourses of the medieval period. The author, stressing the continuum between art and architecture, challenges understandings about agency, modernity, hierarchy, and marginality. His book makes a powerful case for the restoration of the category of the aesthetic to the understanding of medieval art. Generously illustrated with hundreds of images, Gothic Wonder traces the impact of English art in Continental Europe, ending with the Black Death and the literary uses of the architectural in works by Geoffrey Chaucer and other writers.Published for the Paul Mellon Centre for Studies in British Art
£40.00
Yale University Press Picturing Animals in Britain: c. 1750-1850
From fine art paintings by such artists as Stubbs and Landseer to zoological illustrations and popular prints, a vast array of animal images was created in Britain during the century from 1750 to 1850. This highly original book investigates the rich meanings of these visual representations as well as the ways in which animals were actually used and abused. What Diana Donald discovers in this fascinating study is a deep and unresolved ambivalence that lies at the heart of human attitudes toward animals. The author brings to light dichotomies in human thinking about animals throughout this key period: awestruck with the beauty and spirit of wild animals, people nevertheless desired to capture and tame them; the belief that other species are inferior was firmly held, yet at the same time animals in stories and fables were given human attributes; though laws against animal cruelty were introduced, the overworking of horses and the allure of sport hunting persisted. Animals are central in cultural history, Donald concludes, and compelling questions about them—then and now—remain unanswered. Published for the Paul Mellon Centre for Studies in British Art
£40.00
Yale University Press Empire to Nation: Art, History and the Visualization of Maritime Britain, 1768-1829
Empire to Nation offers a new consideration of the image of the sea in British visual culture during a critical period for both the rise of the visual arts in Britain and the expansion of the nation's imperial power. It argues that maritime imagery was central to cultivating a sense of nationhood in relation to rapidly expanding geographical knowledge and burgeoning imperial ambition. At the same time, the growth of the maritime empire presented new opportunities for artistic enterprise. Taking as its starting point the year 1768, which marks the foundation of the Royal Academy and the launch of Captain Cook's first circumnavigation, it asserts that this was not just an interesting coincidence but symptomatic of the relationship between art and empire. This relationship was officially sanctioned in the establishment of the Naval Gallery at Greenwich Hospital and the installation there of J. M. W. Turner's great Battle of Trafalgar in 1829, the year that closes this study. Between these two poles, the book traces a changing historical discourse that informed visual representation of maritime subjectsPublished for the Paul Mellon Centre for Studies in British Art
£40.00
Yale University Press Pompeo Batoni: A Complete Catalogue of His Paintings
This meticulously researched catalogue presents an authoritative assessment of the works of Pompeo Batoni (1708–1787), one of the 18th century’s most celebrated painters. Born in Lucca, Batoni established himself in Rome and received commissions from popes, princes, and British aristocrats on the Grand Tour. Batoni was highly sought after for his theatrical yet incisive—and often flattering—portraits. Connoisseurs and cognoscenti also prized his learned and technically brilliant allegorical, religious, and mythological compositions. With entries on more than 480 paintings and 250 drawings, this magnificent two-volume set provides the most complete examination to date of Batoni’s entire oeuvre. Featuring beautiful, high-quality reproductions, the book provides thorough details on provenance and exhibition history as well as biographies of the portrait sitters. New analysis of the works, resulting from decades of research, reinterprets some of Batoni’s iconography, identifies new textual and visual sources of his imagery, and reveals insights gleaned from unpublished archival materials.Published for the Paul Mellon Centre for Studies in British Art in association with the Museum of Fine Arts, Houston
£195.00
Yale University Press Van Dyck: A Complete Catalogue of the Paintings
Sir Anthony Van Dyck (1599–1641) is among the greatest portrait painters of all time. The 1990s opened and closed with major exhibitions devoted to his work, and now the long-awaited catalogue raisonné of his painted oeuvre is complete.A native of Antwerp, Van Dyck also lived and worked for long periods in Italy and England, where his brief, productive life ended. He is best known for his work at the court of Charles I. His full-length portraits of aristocrats in the Caroline court and in Genoa, Antwerp, Brussels, and The Hague influenced the history of Western portraiture into the twentieth century in the work of John Singer Sargent. Handsomely designed and illustrated, the volume includes a reproduction of every known authentic painting by the artist as well as the provenance and the significant facts and literature on each. This catalogue raisonné is, fittingly, the collaborative work of an international team devoted to the study of this major international artist. Published for the Paul Mellon Centre for Studies in British Art
£125.00
Yale University Press The Pre-Raphaelites and Science
This revelatory book traces how the Pre-Raphaelite Brotherhood and their close associates put scientific principles into practice across their painting, poetry, sculpture, and architecture. In their manifesto, The Germ, the Pre-Raphaelites committed themselves to creating a new kind of art modeled on science, in which precise observation could lead to discoveries about nature and humanity. In Oxford and London, Victorian scientists and Pre-Raphaelite artists worked together to design and decorate natural history museums as temples to God’s creation. At the same time, journals like Nature and the Fortnightly Review combined natural science with Pre-Raphaelite art theory and poetry to find meaning and coherence within a worldview turned upside down by Darwin’s theory of evolution. Offering reinterpretations of well-known works by John Everett Millais, William Holman Hunt, Dante Gabriel Rossetti, Ford Madox Brown, and William Morris, this major revaluation of the popular Victorian movement also considers less-familiar artists who were no less central to the Pre-Raphaelite project. These include William Michael Rossetti, Walter Deverell, James Collinson, John and Rosa Brett, John Lucas Tupper, and the O’Shea brothers, along with the architects Benjamin Woodward and Alfred Waterhouse. Published in association with the Paul Mellon Centre for Studies in British Art
£35.12
Lund Humphries Publishers Ltd Eduardo Paolozzi
Artist Eduardo Paolozzi (1924-2005) was a unique cultural figure. His varied yet instantly recognisable work chronicles the significant changes in British art from the austere 1950s to the post-post-modern late 1990s. This highly illustrated and visually exciting book provides the first comprehensive overview of the career of a major, prolific and complex artist, exploring Paolozzi's work from all periods and across all media: collage, sculpture, printmaking, ceramics, tapestry and film.An Italian Scot, Paolozzi studied first at Edinburgh College of Art, before moving on to the Ruskin Drawing School and the Slade. He was a founding member of the Independent Group in the early 1950s but steadfastly resisted the 'Pop' label, preferring instead to see his pioneering interdisciplinarity as an extension and an expansion of radical Surrealism.Dedicating a chapter to each facet of Paolozzi's wide-ranging practice - including, in turn, his bronze, aluminium and public sculptures, as well as his early collages and his innovative screenprints - this book offers the definitive, illustrated, art-historical appraisal of an artist whose work continues to fascinate and inspire. Published with support from the Paul Mellon Centre for Studies in British Art.
£45.00
Yale University Press The New Painting of the 1860s: Between the Pre-Raphaelites and the Aesthetic Movement
This handsome volume is the first authoritative survey of one of the most intriguing periods of British art—the radically innovative decade of the 1860s. The book explores new developments in English painting of this period, focusing on the early work of Edward Burne-Jones, Frederic Leighton, Albert Moore, Edward Poynter, Simeon Solomon, and James McNeill Whistler, as well as on paintings by Frederick Sandys and the older G. F. Watts, and by Dante Gabriel Rossetti and his Pre-Raphaelite colleagues Holman Hunt and John Everett Millais. Allen Staley argues that engagement in the decorative arts, particularly by Burne-Jones, Moore, and Poynter at the outset of their careers, led to a transcending of traditional expectations of painting, making abstract formal qualities, or beauty for beauty's sake, the main goal. Rather than being about what it depicts, the painting itself becomes its own subject. The New Painting of the 1860s examines the interplay among the artists and the shared ambitions underlying their works, giving impetus to what would soon come to be known as the Aesthetic Movement.Published for the Paul Mellon Centre for Studies in British Art
£50.00
Yale University Press John Singer Sargent: Figures and Landscapes, 1914-1925: The Complete Paintings, Volume IX
The final volume in a full survey of the work of John Singer Sargent, covering his late watercolors, designs for the Boston murals, and work as an official War Artist The last in a series of books devoted to the work of John Singer Sargent (1856–1925), this volume covers the figure and landscape works that Sargent produced between 1914 and 1925. The story begins with the artist painting with friends on vacation in Austria in the summer of 1914, unaware that war was about to be declared. The following year, he began working in London on his ideas for the murals at the Boston Public Library and the Museum of Fine Arts, Boston, before spending two years in Boston and exploring other parts of America. While in Florida to paint a portrait of John D. Rockefeller, he produced a group of uniquely Floridian watercolors that are breathtaking arrangements of color, form, and light. In July 1918 he accepted an invitation from the British government to travel to the Somme battlefields as an official war artist. This experience led him to produce a remarkable group of works depicting troop movements, off-duty soldiers relaxing, and the studies for his epic canvas, Gassed. Sargent returned to Boston in 1921 and 1922 to complete his mural projects, and visits to Maine and New Hampshire yielded numerous watercolors. Chapters on Sargent’s materials and the framing of his pictures complete this remarkable project.Published for The Paul Mellon Centre for Studies in British Art
£60.00
Yale University Press Aubrey Beardsley: A Catalogue Raisonné
A comprehensive presentation of the provocative, modernist graphic works of Britain’s creator of Art Nouveau This is the first book to bring together the recorded works of the English artist Aubrey Beardsley. Despite his early death from tuberculosis in 1898, at the age of 25, these amount to nearly 1100 completed works of art (plus many related sketches) as well as more than 100 sketches in his letters and the books he owned, and this book includes over 50 that have never previously been published. In his brief career Beardsley made a defining contribution to Art Nouveau in Britain and abroad. He also influenced the early history of modern art, attracting the attention of the young Picasso, for example. His distinctive and innovatory graphic style, combined with highly provocative, often sexual subject matter, outraged critics and led to a period of intense notoriety. Beardsley's drawings span the grotesque, the delicately beautiful, the subtly erotic, and the frankly bawdy, and challenged the moral norms of Victorian society. They enthralled artists and art lovers the world over and continue to enthral today. Linda Gertner Zatlin's text presents Beardsley's drawings with a full record of their making, provenance, exhibition history and references in the art historical literature. This material record is accompanied by often extensive discussions of their themes, motifs and symbolism, as well as their critical reception. Unprecedented in its scope and thoroughness, this study presents Beardsley's work and explores its meanings more comprehensively than any previous work on him; it is likely to remain definitive. This superbly illustrated two volume catalogue, beautifully presented as a boxed set, is both an essential reference for specialists and an accessible and enchanting delight for Beardsley enthusiasts.Published for the Paul Mellon Centre for Studies in British Art
£175.00