Stunning artwork and illustrated essays illuminate the modernist home and studio of artists Vanessa Bell and Duncan Grant. Accompanying an exhibition at Philip Mould & Company in London, this lavish catalog tells the story of Vanessa Bell and Duncan Grant's enduring attachment to their home at Charleston Farmhouse in East Sussex through the work of the artists produced between the two world wars. Members of the Bloomsbury Group, Bell and Grant's family home functioned as the collective's country retreat and became a venue for progressive social self-expression. Their fondness for their Charleston Farmhouse, its idyllic surroundings, and its constant flow of visitors can be witnessed through their art. Beginning with radical modern works influenced by European trends--from painted furniture to depictions of food preparation in the kitchen, from the barns to the pond, from people to the household cat--this catalog tells a story of more than thirty years of astonishing artistic output. Focusing on Vanessa and Duncan's most productive creative years, this volume illustrates how Charleston fed their artistic impulses and inspired a glorious canon of art.
A ground-breaking presentation of 60 projects of 'anarchist' architecture.
Talks about a war that is quintessentially postmodern in it's decentred identity, globalized character and confused conflict of cultures. This book explores the various ways in which art can help articulate the zone of grey that lies behind the black and white term 'terrorism'. It also offers an international plurality of voices.
This bold catalogue brings together the work of two cultural icons for the very firsttime: Beryl Cook (1926-2008) and Tom of Finland (1920-1991). It was inspired by the2024 exhibition Beryl Cook / Tom of Finland at Studio Voltaire in London. Beryl Cook was a painter renowned for her exuberant style and descriptions of everydaylife. Her work captures the social milieu of the areas she lived in and visited, notablyPlymouth. Her most enduring images are of larger-than-life women carousing innightclubs, eating in cafés or enjoying ribald hen parties, rendered in graphic andcolourful forms. Cook's work came to prominence in the mid-1970s and she quicklybecame known as one of Britain's best-loved artists, highly recognised for her distinctiveworks, which are both celebratory and provocative. Tom of Finland's pioneering depictions of homosexual machismo in his images ofbikers, soldiers, cowboys, sailors and labourers broadly represent queer, leather andmuscle communities. A master draughtsman, he used his works to give form to animaginative universe that, in turn, helped fuel real-world liberation movements and hadsignificant influence on a wide range of cultural figures including the Village People,Freddie Mercury, Jean Paul Gaultier and Robert Mapplethorpe. Beryl Cook / Tom of Finland puts their work into conversation for the first time. Thepairing is perhaps unexpected, yet immediate and compelling relationships betweentheir practices are evident. Fundamentally, both artists employed a sustained andcoherent way of hyper-realising the body in images that celebrate pleasure and denyshame. Together, their works reveal interconnected ideas surrounding sexuality, gender,taste and class. Artist and writer Huw Lemmey has contributed an incisive new essay exploringthe queer contexts inherent to Tom of Finland's work, but that also finds latentresonance in Cook's paintings of gay bars and shapely women. He further considersthe commercial forms of distribution that made their complex bodies of works highlyaccessible. Spanning five decades of paintings, drawings and archival materials, this companioncatalogue contributes to new readings of the artists' practices and their enduring impacton popular culture.
This stunning catalogue of 15th and 16thcentury Italian drawings from Museum Boijmans Van Beuningen will showcase highlights from this outstanding but still relatively little known part of the collection.
Richly illustrated with colourful, quirky rag rugs (also known as hooked rugs), this delightful book examines Winifred Nicholson's relationship with the Cumbrian craft.
This handsome catalogue explores a remarkable collection of medieval and Renaissance art in various media. It features stunning new photography and original research, significantly broadening the scope of the existing scholarship on the subject.
A selection of magnificent works by the German British painter Frank Auerbach. Accompanying an exhibition at the Courtauld Gallery in London, this book presents a remarkable series of haunting drawings by Frank Auerbach. The catalog includes a new piece of writing on one of the drawings from critically acclaimed novelist Colm Tóibín, accounting for his experience and offering new insights into the work and the nature of self-portraiture. This catalog explores one of Frank Auerbach's most remarkable bodies of work--a series of large-scale portrait heads made in charcoal, produced during his early years as a young artist in postwar London. Auerbach spent months on each drawing, working and reworking them during numerous sessions with his sitters. His prolonged and vigorous process of creation is evident in the finished drawings, which are richly textured and layered. His heads thus emerge from the darkness of the charcoal with burning vitality, born of an artistic and physical struggle with the medium. The process of repeated creation and destruction, of which these images bear visible scars, speaks profoundly of their time, as people rebuilt their lives after the ruination and upending of the war. The exhibition marks the first time Auerbach's extraordinary drawings, made in the 1950s and early 1960s, have been brought together as a comprehensive group.
This illuminating exhibition catalogue interrogates the entanglement of the Islamic world with European visual culture during the medieval period and Renaissance, from the 9th century to the end of the 17th. It traces and reveals this interconnectedness through works of art that reflect the intense environment of contact, influence and exchange which developed over centuries between the two cultures. It also explores the reception of the image of â¿Islamâ¿ in Europe, as highlighted by an important painting of the Supper at Emmaus, painted in the so-called â¿Oriental Modeâ¿ by the Venetian artist Giovanni Mansueti (c. 1465â¿1527) in the last decade of the 15th century. Islam in Europe presents a survey of artistic production in the medieval Islamic world and the many ways it altered the trajectory of European visual culture. Opening with earlymedieval objects produced by Muslim artisans and known to have been exported in large numbers to medieval Europe, the catalogue explores the crosscurrents of visual culture at the nexus of Islam and Christendom which were already well developed by the 10th century. It continues with artworks produced under the aegis of the Umayyads (711â¿1031) and later Islamic dynasties which ruled large swathes of the Iberian Peninsula until 1492, and the influence of Islamic rule on the development of a distinctive visual culture in medieval Spain. A central group of objects traces the breathtaking force with which refined export wares from Mamluk Egypt and Syria, Central Asia and Anatolia flooded the Italian market during the 14th to 16th centuries, revolutionizing European aesthetics as well as the taste for (and very definition of) luxury goods. This section of the catalogue includes objects that chart the rise of European textiles, metalwork, ceramics and other arts specifically emulating Islamic designs. The catalogue concludes with a group of important early textiles spanning the 13th to 17th centuries. It explores how and why European artists started to incorporate lavish Ilkhanid silks into their imagery, and how Italian weavers began to imitate both these early imports, and later also Ottoman velvets flooding the market in the 15th century, with voracious appetite. One of the catalogueâ¿s key foci is an important group of rare Anatolian carpets woven between the 15th and 17th centuries and richly imitated both by European painters including Titian and Holbein, and by local weavers vying for control of the market in luxury furnishings. The catalogue presents 60 works of art, which have taken a decade to bring together and are presented in this way for the first time. Together the works elucidate the complete integration of Islamic art and artisanal technology into European visual culture during a period of extraordinary efflorescence. A brief introductory essay explores questions of entanglement in the medieval world and proposes a new lens through which to examine the artistic production of the period. The catalogue closes with a new essay by Michael Franses analyzing the importance of the only firmly dateable â¿Lottoâ¿ Arabesque carpet still in existence, acquired by The David Collection, Copenhagen, in 2022.
Art and essays that explore the complex world of the family. What is a family, and how is family experienced? These questions, explored through artists' eyes, are at the heart of Real Families: Stories of Change, a collaboration between the Fitzwilliam Museum and the University of Cambridge Centre for Family Research. This catalog presents the exhibition in four sections, containing twelve illuminating essays that discuss the concept of the family. It focuses on art produced in the past fifty years, a period of significant change in how families are created and structured, with historical works woven throughout to examine what is genuinely new and what has remained the same about the family. The catalog includes reproductions of paintings, photography, and sculptures that examine the wider social, cultural, and political influences on family relationships, from aging, fertility, divorce, LGBTQ+ perspectives, and adoption. Artists featured include Alice Neel, Chantal Joffe, Sunil Gupta, Donald Rodney, Nan Goldin, Paula Rego and Lucian Freud.
A fascinating biography on Helen Coombe that addresses her art, personal life, and struggles with mental illness. Helen Coombe was a woman admired not only for her artistic skill, but also for her intellect, personality, and wit. The first biography of Coombe, The Artist Helen Coombe reveals her family background and education, her place in the arts and crafts movement, and her outstanding artistic output. Coombe was married to Roger Fry, an artist who was to achieve most fame as an art critic, historian, and protagonist of the Bloomsbury Group. Soon after their marriage in 1896, she displayed symptoms of schizophrenia. After the first episode, she temporarily resumed her career and had two children with Fry, but for the last thirty years of her life, she was committed to an institution. This thoroughly researched investigation makes full use of archival material, including correspondence, diaries, and medical records, and illuminates late Victorian and Edwardian society and culture. It sheds new light on Fry and is a must for anyone interested in the Bloomsbury Group, art history, and the handling of mental illness in the late nineteenth century.
An introduction to the life and mind of one of England's most significant architects. John Carr of York (1723-1807) was one of the most prolific and significant architects of the eighteenth century, with an output of more than four hundred designs, which range from simple gateways to the grandest schemes. Highly successful in his day, he had a recognizable style that was sensitive to the latest fashions as they continued to change. His ability to create beautiful buildings and marry this with a practical approach to both the purpose of the building and the budget of his clients won him many commissions. Carr was born in Yorkshire in the North of England and remained there for the duration of his career. Because of this, he has often been overlooked as an architect, and his extensive output has defeated many attempts to write a complete study of his work. Although not a comprehensive review, John Carr of York seeks to situate Carr as an architect of national significance. It includes photographs and covers overarching themes such as landscape and color and some commissions in more detail.
Venetian Disegno: New Frontiers circa 1420 to 1620 offers a fresh perspective on the art of Venice and the Veneto. The volume brings together the contributions of scholars and curators specialist on a wide variety of artists and art forms including drawing, painting, printmaking, sculpture and architecture.Venetian Disegno: New Frontiers circa 1420 to 1620 takes disegno as its central theme, that in its plurality of meaning allows for a consideration of the conceptual role of design and the act of drawing. The relationship between disegno and RenaissanceVenetian art has historically been a problematic one, with emphasis instead being placed on the Venetian predilection for colore. This volume is reflective of an ongoing challenge to this perspective and draws attention to the importance of Venetian disegno and the study of drawings for understanding various art forms.The book commences with a critical study of what constitutes disegno in Venetian art. It does so through questioning the historiography of Venetian artistic scholarship and the restrictive framework and preconceptions that have emerged before setting out the merits of a broader, more inclusive approach. Disegno is applied in its multifaceted nature to address the physical act of drawing, the tangible drawn object and the role of design in artistic practice. The term 'Venetian' is taken to encompass both Venice and its mainland territories not least because of the mobility of artists across and beyond the region.Contributions are divided into five thematic sections. The first, entitled 'Peripheries', frames the art of Venice within a wider discourse on the movement of ideas across and beyond the Veneto in locations including Padua, Verona and Rome. A section on Media considers the origins and innovations that took place in the use of materials such as blue paper, oil and coloured chalks. In another, the theories that have developed on Venetian notions of disegno are brought under scrutiny, addressing topics such as the long upheld perspective that Venetian artists did not draw, the role of sculpture in Tintoretto's drawing practice and the interrelation between the written and drawn line in Palma Giovane's draftsmanship. The section on Invention reflects on the technical innovations that were facilitated through theuptake of printmaking and the intellectual freedom granted by humanist patrons. Finally, Function gets to the heart of the practical purpose of disegno. Contributions focus on the workshops of the Bellini family and Titian to consider the diverse ways they used drawing within their artistic practices with an emphasis on technical analysis. These sections are all preceded by introductions that provide an overviewon each theme while the volume is bookended by two reflections on the state of research into Venetian disegno and the potential for further progress.Sumptuously illustrated with over 100 images with a comprehensive bibliography, Venetian Disegno: New Frontiers circa 1420 to 1620 represents a significant contribution to scholarship on the art of Venice, Renaissance workshops and drawing studies.
The Wider Goldsmiths' Trade in Elizabethan and Stuart London is the first book to study all aspects of the Goldsmiths' trade. It considers allied trades such as refining, wiredrawing, and the making of small-swords and watches, as well as the development of the modern banking system.
This volume brings together over 25 scholarly essays, reviews and shorter contributions by Peter Hecht, preceded by an introduction on what he thinks his life in art history has taught him.
An analysis of island identities and culture in the ancient Mediterranean. Accompanying an exhibition at the Fitzwilliam Museum, Cambridge, this book explores island identities in the ancient Mediterranean, questioning how the "insularity" of being of an island affected and shaped art production and creativity, architectural evolution, and migrations. It extends beyond the ancient, incorporating current discourses on island versus mainland cultural identities, in contemporary Art and other disciplines. In this book, fifty unique archaeological objects--most never displayed before outside Cyprus, Crete, and Sardinia-- tell exceptional stories of insular identity over 4000 years. The movement of people and episodes of migration between islands and their surrounding mainlands is also explored, through architecture, material culture, crafts, and technologies present in the Mediterranean islands. Islanders brings together research findings from scientific fields within archaeology.
This book explores the concept of travel as inspiration for artists across history. Comprising over one hundred such works, Connecting Worlds: Artists & Travel is the first exhibition dedicated to artists' experiences of travel from the Renaissance to the nineteenth century. A collaboration between the Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden, and the Katrin Bellinger Collection, London, the exhibition includes works by major artists, lesser-known professionals, as well as amateurs, mostly from Northern Europe. Divided into three sections, the exhibition begins by exploring the work of artists on the road and what they regarded as important to record in their sketchbooks. The second section looks at Rome as one of the most important destinations for Northern travelers, and the journey ends in Dresden, a center of cultural exchange and glamorous festivities. This richly illustrated catalog features essays by an international panel of experts addressing such topics as the uses of artist sketchbooks across time, written and visual accounts of travel in books and prints, and encounters with the Ottoman world.
A study of theatrical portraiture through the work of William Hogarth and David Garrick. In 1770 Georg Christoph Lichtenberg remarked, 'What a work could be written on Shakespeare, Hogarth, and Garrick! There is something similar in the genius of all three.' Two-and-a-half centuries on, Robin Simon's highly original and illuminating book takes up the challenge. William Hogarth (1697-1764) and David Garrick (1717-79) closely associated themselves with Shakespeare, embodying a relationship between plays, painting, and performance that had been understood since Antiquity and which shaped the rules for history painting drawn up by the Académie royale in Paris in the seventeenth century. This book offers a fresh examination of theatrical portraits through a close analysis of the pictures and of the texts used in performance. It also examines the central role of the theatre in British culture, while highlighting the significance of Shakespeare, Hogarth, and Garrick in the European Enlightenment and the rise of Romanticism.
"This scholarly publication presents the work of the designer, painter and illustrator Claude Gillot (1673-1722). The first volume on the artist in English, it accompanies a major exhibition at the Morgan Library & Museum that explores Gillot's inventive and highly original draftsmanship and places his work in the context of artistic and intellectual activity in Paris circa 1700"--
"This publication accompanies a 2023 exhibition at the Morgan Library & Museum of the work of Giovanni Battista Piranesi (1720-1778). Authored by John Marciari, this comprehensive study offers a new perspective on his life and artistic creations, with insights on his print publications, his church of Santa Maria del Priorato, and his work as a designer and dealer"--
A celebration of an artist whose under-sung legacy testifies to the enduring power of originality, drive, and devotion. Accompanying an exhibition at Philip Mould & Company, Without Hands presents the art of Sarah Biffin. Biffin (1784-1850) was born with phocomelia, a condition described on her baptism record as "born without arms and legs." After learning to sew and write as a child, Biffin joined a traveling sideshow where she painted in front of an audience. Eventually, she rose to fame as a talented miniaturist, signing many of her works "without hands." Despite her prolific output, including commissions from royalty and exquisitely detailed self-portraits, Biffin's work has been overlooked by art historians. Beautifully illustrated and including original research, Without Hands celebrates Biffin as an artist who challenged contemporary attitudes to disability.
Lavish illustrations of the works of the Frick Collection's Eveillard Gift with comprehensive commentaries by noted scholars in their field. This beautiful publication presents for the first time the Eveillard Gift of drawings to the Frick Collection in New York, the most important gift of drawings and pastels in the museum's history. It accompanies an exhibition and includes a catalog of the works and commentaries by noted scholars. Twenty-six works of art promised to the Frick Collection by longtime supporters Elizabeth and Jean-Marie Eveillard dramatically advance the museum's commitment to the research and display of European drawings. Included in this transformative gift are exquisite drawings, pastels, and prints by François Boucher, Gustave Caillebotte, Edgar Degas, Eugène Delacroix, Jean-Honoré Fragonard, Thomas Lawrence, Francisco de Goya y Lucientes, John Singer Sargent, Elisabeth Vigée Le Brun, and Jean-Antoine Watteau, among others. The works include figurative sketches, independent studies, portraits, and landscape scenes, each either deepening the museum's celebrated holdings or bringing the work of an artist who is not--but should be--represented in the collection.
A catalog accompanying the first exhibition devoted to a fascinating group of drawings by one of eighteenth-century Europe's most idiosyncratic, original, and controversial artists. Best known for his notoriously provocative painting The Nightmare, Anglo-Swiss painter Henry Fuseli (1741-1825) cultivated a reputation for eccentricity, with vividly stylized images of supernatural creatures, muscle-bound heroes, and damsels in distress. While these convinced some viewers of the greatness of his genius, others dismissed him as a charlatan, or as completely mad. By bringing together more than fifty of his works, this volume offers unprecedented access to see one of the finest draftsmen of the Romantic period at his most innovative and exciting. Visitors to the show and readers of the lavishly illustrated catalog will further be invited to consider how Fuseli's drawings of women, as products of the turbulent aftermath of the American and French Revolutions, speak to concerns about gender and sexuality that have never been more relevant than they are today. The exhibition showcases drawings brought together from international collections, including the Kunsthaus Zürich, the Auckland Art Gallery in New Zealand, and other European and North American institutions.
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