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This title was first published in 2003. Twenty-seven years after his death, Roger Hilton's reputation as a leading figure in British 'abstract expressionism' continues to rise. Following the major retrospective exhibition at the Hayward Gallery in 1993 and the drawings survey at the Tate St Ives in 1997, this lavishly illustrated account is the first to provide a comprehensive overview of the life and work of this important artist. Hilton's extraordinary career is discussed in all its phases, from the intriguing earliest explorations in paint to the inception of his first abstract pieces around 1950 and the complex and intriguing interchanges of imagery and form that mark his final works. Adrian Lewis explains the artist's mature works as both attracting the viewer and resisting easy reading, and discusses in detail the artist's debt to the Ecole de Paris and his relation to the notion of the 'act of painting' that pervaded post-war culture.
British artist Roger Hilton (1911-75) produced Night Letters during the final two years of his life. Confined to his bed, Hilton created upwards of 1,000 colorful gouaches and illustrated messages for his wife. With previously unseen works, this book includes 300 reproductions from the collection.
Abstract painter Roger Hilton (1911-75) is generally considered the best British post-war abstract expressionist. This book - the outcome of over four decades of research - focuses on his drawings and stakes a claim for Roger Hilton being the most inventive draughtsman whom Britain has produced since 1945. Looking at typical Hilton drawing and its qualities, the book includes chapters devoted to his childhood drawings and art college works. The author discusses Hilton's Slade days, the 1930s years in Paris and London and then covers the important resumption of drawing activity after his return from the war. The way in which he resumed figurative drawing in the late 1950s in the light of his abstract painting is explored, as is the promotion of artists' drawings by his dealer. This book presents for the first time the serial development of Hilton's images and their imaginative transformation, and notes what Hilton drew on from Matisse, Picasso and, briefly, Klee. It demonstrates his play between the abstract qualities of drawn mark and their figurative implications, and his personal existential investment in his drawing practice. His expression of sexual desire and his spontaneity of drawing practice are put into cultural context. The reputation of Hilton as a draughtsman can only grow as his work is revealed --
One girl, one painting a day...can she do it? Linda Patricia Cleary decided to challenge herself with a year long project starting on January 1, 2014. Choose an artist a day and create a piece in tribute to them. It was a fun, challenging, stressful and psychological experience. She learned about technique, art history, different materials and embracing failure. Here are all 365 pieces. Enjoy!
In this wide ranging critical re-evaluation, Adrian Lewis considers Hilton's identification with French nineteenth-century models of bohemianism and cultural resistance, his response to 'child art' and his desire to break down the distinctions between art-making and other forms of graphic communication.
Graham’s work was published by T. S. Eliot in the 1940s and 50s, but as a major post-war poet, his work has received astonishingly little critical attention given its prestige and influence. This collection of essays covers all aspects of Graham’s work – its critical reception, recent influence and its relations with other developments in the arts, in particular the work of the St Ives School of visual artists. It includes some biographical material (brief reminiscences by and interviews with those who knew him) and discussions of the material contained in several collections of manuscripts. Nothing so far published has paid attention to these manuscript collections or to the large number of uncollected poems published since his death. Neither has enough been written about Graham’s importance to poets of the 1980s and 1990s. "The ten essays in this book are all extremely competent studies of Graham’s work [...] constantly aware of the subtleties of Graham’s very individual attitudes to his art. The book will make an excellent companion for many readers and students."—PNReview
This comprehensive book collects a sizable selection of his early essays and reviews published in Artforum, Commentary, Arts Magazine, The New York Review of Books, and The Times, and thus constituted his first complete statement about art and the art world.The principal focus is on the artists and movements of the last hundred years: the Age of the Avant-Garde that begins in the nineteenth century with Realism and Impressionism. Most of the major artists of this rich period, from Monet and Degas to Jackson Pollock and Claes Oldenburg, are discussed and often drastically revaluated. A brilliant introductory essay traces the rise and fall of the avant-garde as a historical phenomenon, and examines some of the cultural problems which the collapse of the avant-garde poses for the future of art. In addition, there are chapters on art critics, museums, the relation of avant-garde art to radical politics, and on the growth of photography as a fine art.
Writer’s Letters is a collection of fascinating letters written by great writers, from Dickens to De Beauvoir