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Phoebe Anna Traquair (1852-1936) was a unique figure in British culture. The first significant professional woman artist in Scotland, she was also a key figure in the Arts and Crafts movement. A free spirit, Traquair celebrated life through image, colour and texture, taking her inspiration from Renaissance painting, the art and poetry of Blake and the music of Wagner. She produced a huge body of work, from vast, breath-taking mural decorations and sensual embroideries to exquisite illuminated manuscripts and enamels. Her work is on prominent display at the National Museums of Scotland, and featured in the collection of the National Galleries of Scotland, a position accorded to no other woman artist in the country. Her spectacularly intricate and beautiful murals can be found in various locations including, in Edinburgh, the Mansfield Traquair Centre, the Royal Hospital for Sick Children and the Song School of St Mary's Episcopal Cathedral.Here, Elizabeth Cumming expands on her previous National Galleries of Scotland publication on Traquair and adds new research to bring further light to the fascinating life of this innovative, single-minded artist and her works, which have captured the imagination of a nation.
This title was first published in 2002. To date, studies explaining decorative practice in the early modernist period have largely overlooked the work of women artists. For the most part, studies have focused on the denigration of decorative work by leading male artists, frequently dismissed as fashionably feminine. With few exceptions, women have been cast as consumers rather than producers. The first book to examine the decorative strategies of late nineteenth- and early twentieth-century women artists, Women Artists and the Decorative Arts concentrates in particular on women artists who turned to fashion, interior design and artisanal production as ways of critically engaging various aspects of modernity. Women artists and designers played a vital role in developing a broad spectrum of modernist forms. In these essays new light is shed on the practice of such well-known women artists as May Morris, Clarice Cliff, Natacha Rambova, Eileen Gray and Florine Stettheimer, whose decorative practices are linked with a number of fascinating but lesser known figures such as Phoebe Traquair, Mary Watts, Gluck and Laura Nagy.
Named one of 2021’s Most Anticipated Historical Novels by Oprah Magazine ∙ Cosmopolitan ∙ and more! Nearly two hundred condemned women board a transport ship bound for Australia. One of them is a murderer. From debut author Hope Adams comes a thrilling novel based on the 1841 voyage of the convict ship Rajah, about confinement, hope, and the terrible things we do to survive. London, 1841. One hundred eighty Englishwomen file aboard the Rajah, embarking on a three-month voyage to the other side of the world. They're daughters, sisters, mothers—and convicts. Transported for petty crimes. Except one of them has a deadly secret, and will do anything to flee justice. As the Rajah sails farther from land, the women forge a tenuous kinship. Until, in the middle of the cold and unforgiving sea, a young mother is mortally wounded, and the hunt is on for the assailant before he or she strikes again. Each woman called in for question has something to fear: Will she be attacked next? Will she be believed? Because far from land, there is nowhere to flee, and how can you prove innocence when you’ve already been found guilty?
Arts and Crafts artist-designers changed the lives of Scots. Through the furnishing of public buildings, exhibitions, church craft and home design, they aimed to restore beauty to everyday experience. They worked in diverse fields such as furniture, textiles, jewellery and metalwork, glass, ceramics, mural decoration and architectural design and crafts. Theirs is a narrative of close networks of families and friends, men and women, designers and industrialists dedicated to the rights of the individual and to the proper place of art within modern society. It is a remarkable and often inspiring story of ideals, commitment - and imagination. Scottish Arts and Crafts brought together British design practice with the romance of tradition. This book for the first time provides a national context for the work of Margaret Macdonald and Charles Rennie Mackintosh, Robert Lorimer, Phoebe Anna Traquair, and many new names that emerge from the shadows.
On arts and crafts design movement.
Design, History and Time reflects on the nature of time in relation to design, in both past and contemporary contexts. In contrast to a traditional design historical approach which emphasizes schools and movements, this volume addresses time as a continuum and considers the importance of temporality for design practice and history. Contributors address how designers, design historians and design thinkers might respond to the global challenges of time, the rhythms of work, and the increasing speed of life and communication between different communities. They consider how the past informs the present and the future in terms of design, the importance of time-based design practices such as rapid prototyping and slow design, time in relation to memory and forgetting, and artefacts such as the archive for which time is key, and they also ponder the design of time itself. Showcasing the work of 15 design scholars from a range of international contexts, this book provides an essential text for thinking about changing attitudes to the temporal.
The Pre-Raphaelite Brotherhood was a group of nineteenth-century artists who challenged contemporary art with their commitment to realism and 'truth to nature'. Renowned as much for their social relationships as for their artistic ideals, the lives of the Pre-Raphaelites - Holman Hunt, Rossetti, Millais, Burne-Jones and Morris - illustrate the full range of human experience, from personal tragedy to triumph. Jan Marsh explores both the individual personalities and the artistic force which bound the circle together.
These churches are visually arresting, with often quaint, at times far-fetched and capricious exteriors. Internally, they often contain beautiful works of art, including reredoses, pulpits, lecterns, pews, doors, lighting, stained glass and altars. They also tell a fascinating story about religion as Britain entered the age of modernity. While the architects were often religiously sceptical, they were still committed to making beauty, despite their ambivalence about its higher purpose. Beginning with an introductory section in which author Alec Hamilton sets out the social and political context in which these churches were designed and constructed; on the Arts & Crafts more generally; and on the architects' and clients' beliefs, this book is then divided into regional sections: West Country; the South of England; the South East; London; the Home Counties; the Marches; the West Midlands; the East Midlands; the East of England; the North West; Yorkshire; the North of England; Wales; Scotland. Each section is headed by a short essay highlighting key architects and descriptions of notable churches within each region.
This comprehensive volume presents the biographies of 1,000 women who were active in the British decorative arts over the last few centuries. Some of these women are known today, some are not, yet all made valuable contributions in areas such as stained glass, metalwork, pottery, woodcarving, illustration, bookbinding and decoration, sculpture, decorative embroidery, decorative jewellery, and illumination. This volume is the largest of its kind to document the lives and careers of some British women artists and decorative artists, published in Britain to date, and helps to shed new light on a still-neglected area of British art and design history. It includes entries for well-known artists such as Barbara Hepworth, Mary Lowndes, and Alice Woodward, alongside influential but forgotten women such as Mary Symonds, Amy Singer, and Catherine Donaldson. Researched and written by Dr. Sara Gray over a period of eight years, this book is her third to be published. She completed a B.A. Hons Degree in 1992 at Bolton University, followed by a Ph.D. in 2002 awarded by Manchester University. She has a particular interest in the work of British women artists and in regional arts and crafts.