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The first comprehensive guide to Constable's lesser-known but significant works inspired by the bustling Regency resort of Brighton. There was more to John Constable's art than the great rural landscapes for which he is famous. This lavishly illustrated book focuses on a largely overlooked element in his life - his close and artistically rewarding relationship with the boisterous resort of Brighton during the years 1824-28. He went in search of healthy air for his ailing wife Maria and the peace to help him clear a backlog of commissions, and became accustomed to painting on the beach or up by the windmills that dotted the Sussex Downs. More than 100 small, vivid studies from these walks exist, most dashed off outside in all weathers, some that are almost abstract responses to storms or the light on the sea. This book assembles the most complete collection of these Brighton sketches ever published, some of them only recently discovered. Regency Brighton - what was then the largest and most fashionable resort in Europe - is also explored through maps and prints, tracing the routes Constable took through the developing town. His great contemporary, Turner, was also active there in the mid-1820s, and a range of contrasting views by both artists is featured here. AUTHOR: Shan Lancaster is a writer, editor and researcher. As a freelance journalist she has written for most national newspaper titles and as a researcher she has collaborated on numerous book developments, and television and film scripts, including the BBC Four television documentary Constable: A Country Rebel, first aired in 2014. Her research originally identified the exact location of Constable's lodgings at 9 Sober's Gardens, now 11 Sillwood Road, Brighton, and marked with a Blue Plaque. SELLING POINTS: * Features the most comprehensive selection of Constable's Brighton studies ever assembled, including works from private collections never published before * Contains an exquisite bonus selection of Turner's marine studies of Brighton from the same period, alongside authoritative texts on both artists * A beautifully illustrated book written to accompany a major exhibition, Constable and Brighton, at Brighton Museum and Art Gallery in 2017 150 colour
Hannah Gluckstein (who called herself Gluck; 1895–1976) was a distinctive, original voice in the early evolution of modern art in Britain. This handsome book presents a major reassessment of Gluck's life and work, examining, among other things, the artist's numerous personal relationships and contemporary notions of gender and social history. Gluck's paintings comprise a full range of artistic genres—still life, landscape, portraiture—as well as images of popular entertainers. Financially independent and somewhat freed from social convention, Gluck highlighted her sexual identity, cutting her hair short and dressing as a man, and the artist is known for a powerful series of self-portraits that played with conventions of masculinity and femininity. Richly illustrated, this volume is a timely and significant contribution to gender studies and to the understanding of a complex and important modern painter.
Artists' books have emerged over the last 25 years as the quintessential contemporary art form, addressing subjects as diverse as poetry and politics, incorporating a full spectrum of artistic media and bookmaking methods, and taking every conceivable form. Female painters, sculptors, calligraphers, and printmakers, as well a growing community of hobbyists, have played a primary role in developing this new mode of artistic expression. The Book as Art presents more than 100 of the most engaging women's artist books created by major fine artists such as Meret Oppenheim, May Stevens, Kara Walker, and Renee Stout and distinguished book artists such as Susan King, Ruth Laxson, Claire Van Vliet, and Julie Chen. Culled from over 800 unique or limited-edition volumes held by the National Museum of Women in the Arts, these books explore the form as a container for ideas. Descriptions of the works are accompanied by colorful illustrations and reflections by their makers, along with essays by leading scholars and a lively introduction by the most famous book artist in our culture, best-selling author Audrey Niffenegger. The exquisitely crafted objects in the The Book as Art are sure to provoke unexpected and surprising conclusions about what constitutes a book. The Book as Art accompanies the exhibition of the same name at the Museum of Women in the Arts in Washington, D.C., beginning in October 2006.
An insight into the intricacies of contemporary fashion in four African cities. From couture to street style, from luxury to thrifting, this publication provides a shapshot of some of Africa's most exciting contemporary fashion scenes in Nairobi (Kenya), Casablanca (Morocco), Lagos (Nigeria) and Johannesburg (South Africa)
Walter Richard Sickert (1860-1942) was an artist of prodigious creativity. For sixty years, in his roles as painter, teacher, and polemicist, he was a source of inspiration and influence to successive generations of British painters. With his roots in the Victorian era, Sickert broke all taboos. He was uncompromisingly truthful, revealing beauty in the squalid as in the sublime: in cockney music halls, the crumbling streets of Dieppe, the grand sites of Venice, and the low-life of Camden Town. Decades before Warhol, he exploited the potential of photo-based imagery and of studio production lines to create iconic portraits of the grandees of theatrical, social, and political life. This catalogue is divided into two parts: essay chapters describe Sickert's chronology in terms of stylistic and technical development, and a fully illustrated catalogue presents more than 2800 drawings and paintings, many of which have never been published before.
In the late-nineteenth century, British travelers to the Andaman and Nicobar Islands compiled wide-ranging collections of material culture for scientific instruction and personal satisfaction. Colonial Collecting and Display follows the compelling history of a particular set of such objects, tracing their physical and conceptual transformation from objects of indigenous use to accessioned objects in a museum collection in the south of England. This first study dedicated to the historical collecting and display of the Islands' material cultures develops a new analysis of colonial discourse, using a material culture-led approach to reconceptualize imperial relationships between Andamanese, Nicobarese, and British communities, both in the Bay of Bengal and on British soil. It critiques established conceptions of the act of collecting, arguing for recognition of how indigenous makers and consumers impacted upon "British" collection practices, and querying the notion of a homogenous British approach to material culture from the Andaman and Nicobar Islands.
The Grove Encyclopedia of Decorative Arts covers thousands of years of decorative arts production throughout western and non-western culture. With over 1,000 entries, as well as hundreds drawn from the 34-volume Dictionary of Art, this topical collection is a valuable resource for those interested in the history, practice, and mechanics of the decorative arts. Accompanied by almost 100 color and more than 500 black and white illustrations, the 1,290 pages of this title include hundreds of entries on artists and craftsmen, the qualities and historic uses of materials, as well as concise definitions on art forms and style. Explore the works of Alvar Aalto, Charles and Ray Eames, and the Wiener Wekstatte, or delve into the history of Navajo blankets and wing chairs in thousands of entries on artists, craftsmen, designers, workshops, and decorative art forms.
Throughout his working life, Duncan Grant experimented with a variety of styles and techniques, from commercial interior decoration to ceramics, print-making and theatre work, as well as easel painting and murals. The overall achievement of Grant's career in all its diversity is presented here.
This publication brings together personal analyses of sixty CT scans of ancient Egyptian human mummies collected from many museums throughout the UK and continental Europe. The effect is that of performing 'virtual autopsies' ('virtopsies') allowing techniques of mummification to be examined.
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