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A long overdue reappraisal of an outstanding and pioneering female artist features over 35 of her finest works from across her long and prolific career.
A major survey of Dame Laura Knight, first female Royal Academician and popular British artist of the 20th century. Laura Knight (1877–1970) was one of the most famous and popular English artists of the twentieth century. She was the first woman to have a solo exhibition at the Royal Academy of Arts, in 1965. In the following decades her realist style of painting fell out of fashion and her work become largely overlooked. A new generation has rediscovered her work, finding a contemporary resonance in her depictions of women at work, of people from marginalized communities and her contributions as a war artist. This beautifully illustrated book, which accompanies a major exhibition at MK Gallery, provides an overview of Knight's illustrious career: from her training at Nottingham Art School at the age of 13 and her time in North Yorkshire and Cornwall, to her visits to traveller communities and a segregated American hospital. It also features her circus, ballet and theatre scenes, paintings of women during the war and her late paintings of nature. The selection of over 160 works combines celebrated paintings with less known graphic and design works, including ceramics, jewellery and costumes that reflect the artist's enduring interest in the everyday activities of people from all walks of life.
Laura Knight (1877-1970) was one of the most distinguished women artists of the early 20th century with an international reputation. This much-anticipated biography appears at a time of renewed interest in Dame Laura's extensive repertoire. Laura Knight: A Life probes beneath the myths and fictions that have and continue to be woven around the artist. This highly readable and objective biography covers her early years in Nottingham; relationship with her husband Harold; life in the artists colonies of Staithes on the North Yorkshire coast, Laren in Holland and Newlyn in Cornwall; Laura's subsequent immersion in the worlds of the ballet, the circus, the theatre and her travels in Europe and America; her work as a designer of theatrical costume, posters and ceramics; and her role as Official War Artist during World War 11 and recorder of the Nuremberg Trials in 1945-46. The author does more than merely draw the solid lines of Dame Laura's professional and public identity for the reader, she fills in the background, expresses the light and colour of Laura Knight's vibrant personality and, by also exploring the darker shades of her character, gives this portrait of the artist depth and perspective. If you read just one biography of Laura Knight it should be this one.
A dazzlingly original and ambitious book on the history of female self-portraiture by one of today's most well-respected art critics. Her story weaves in and out of time and place. She's Frida Kahlo, Loïs Mailou Jones and Amrita Sher-Gil en route to Mexico City, Paris or Bombay. She's Suzanne Valadon and Gwen John, craving city lights, the sea and solitude; she's Artemisia Gentileschi striding through the streets of Naples and Paula Modersohn-Becker in Worpswede. She's haunting museums in her paint-stained dress, scrutinising how El Greco or Titian or Van Dyck or Cézanne solved the problems that she too is facing. She's railing against her corsets, her chaperones, her husband and her brothers; she's hammering on doors, dreaming in her bedroom, working day and night in her studio. Despite the immense hurdles that have been placed in her way, she sits at her easel, picks up a mirror and paints a self-portrait because, as a subject, she is always available. Until the twentieth century, art history was, in the main, written by white men who tended to write about other white men. The idea that women in the West have always made art was rarely cited as a possibility. Yet they have - and, of course, continue to do so - often against tremendous odds, from laws and religion to the pressures of family and public disapproval. In The Mirror and the Palette, Jennifer Higgie introduces us to a cross-section of women artists who embody the fact that there is more than one way to understand our planet, more than one way to live in it and more than one way to make art about it. Spanning 500 years, biography and cultural history intertwine in a narrative packed with tales of rebellion, adventure, revolution, travel and tragedy enacted by women who turned their back on convention and lived lives of great resilience, creativity and bravery.
Dame Laura Knight (1877-1970) was one of Britain's most popular artists during the first half of the 20th century. Although she is known chiefly for her technically accomplished paintings of circus and ballet scenes, this book considers the full range of her graphic work - the drawings, linocuts, lithographs and etchings.
In 1861, the death penalty was abolished for sodomy in Britain; just over a century later, in 1967, homosexuality was finally decriminalised. Between these legal landmarks lies a century of seismic shifts in gender and sexuality for men and women. These found expression across the arts as British artists, collectors and consumers explored transgressive identities, experiences and desires. Some of these works were intensely personal, celebrating lovers or expressing private desires. Others addressed a wider public, helping to forge a sense of community at a time when the modern categories of gay, lesbian, bisexual and transgender were largely unrecognised. Ranging from the playful to the political, the explicit to the domestic, these works showcase the rich diversity of queer British art. This publication, the first to focus exclusively on British queer art, will feature sections on ambivalent sexualities and gender experimentation amongst the Pre-Raphaelites; the new science of sexology's impact on portraiture; queer domesticities in Bloomsbury and beyond; eroticism in the artist's studio and relationships between artists and models; gender play and sexuality in British surrealism; and love and lust in sixties Soho. 00Exhibition: Tate Britain, London, United Kingdom (05.04.2017-01.10.2017).
The Accrediting Council of Educators in Journalism and Mass Communications (ACEJMC) recently added sexual orientation to its revised diversity standards. This means that journalism schools seeking accreditation or re-accreditation must develop a curriculum that fosters an understanding of issues and perspectives that is inclusive in terms of gender, race, ethnicity - and sexual orientation. This volume, containing original material written for this text, is designed to satisfy the requirement by the ACEJMC that all journalism departments teach sexual diversity. Moving from description, to analysis, to application, the text includes the history of media coverage of gay, lesbian, bisexual, transgender, and intersex (GLBTI) issues; and coverage of important contemporary issues in the news, such as "Don′t Ask, Don′t Tell," the rise of GLBTI families, and AIDS.News and Sexuality: Media Portraits of Diversity is a practical teaching tool that will help educators meet these new accreditation standards by addressing these complex and often controversial issues, providing additional resources, discussion questions, suggested homework assignments, and a glossary of terms. Student journalists must be equipped to bring a general knowledge of sexual diversity issues to the table as part of their professional education repertoire. And any adult who consumes media messages, whether or not they work in media, also must be able to spot inaccurate or biased reportingKey Features: Moves from description, to analysis, to application, putting issues and episodes into context. All readings are original and written for this text. Contains student study guides within each chapter with resources, including Websites, books, and videos. Concludes each chapter with discussion questions, assignments, and activities that bring the issues to life for students. Chapter-opening photographs highlight key historical and contemporary events in news media coverage of sexual diversity. Includes a style guide prepared by the National Lesbian and Gay Journalists Association
Catalog of an exhibition held at Penlee House Gallery & Museum, Penzance, June 16-Sep. 8, 2012; at Djanogly Art Gallery, Nottingham, Sept. 22-Nov. 4, 2012; and at Worcester City Art Gallery, Nov. 17, 2012-Feb. 10, 2013.
100 Pioneering Women presents a selection of images of remarkable women, who have defied the expectations of their gender and made extraordinary contributions to British life over the past four centuries. An introduction from the Gallery's Senior Curator of Eighteenth Century Collections considers the representation of women in the Collection and the efforts being made to redress historical imbalances through the acquisition of portraits of notable women from the last four centuries. Extended captions provide context about each sitter's life and work and remind us of the impact of women in spheres as diverse as politics, science and medicine, the arts, engineering and law. This book features some of the National Portrait Gallery's most famous sitters - Elizabeth I, writer and women's rights advocate Mary Wollstonecraft, scientist Dorothy Hodgkin and architect and businesswoman Zaha Hadid - as well as paintings and photographs of lesser - known women whose influence is equally significant. A recently acquired portrait of anti-FGM campaigner and psychotherapist Leyla Hussein, a bromide cabinet card of Helena Normanton, the first woman to practise as a barrister in England, and a self-portrait by Angelica Kauffmann, one of the founding members of the Royal Academy, are also included in this highly illustrated publication.