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"This is an expanded and revised edition of Orde Levinson's definitive catalogue raisonne of the prints of John Piper: an essential reference book for collectors, curators, prints specialists and art historians, and an invaluable visual resource for all those with an interest in Piper's prolific and varied printmaking output. John Piper (1903-92) was one of the most versatile and interesting British artists of the twentieth century and was at the cutting edge of many elements of the British art scene. Although best known for his paintings, Piper has achieved the highest respect for his works in stained glass and ceramics, his stage, set and costume designs, art-critical writings, and his large corpus of prints. The prints are innovative, lively and continuously challenge the medium.
A full account of his artistic life with supporting and textural images written by two leading experts on Piper.
Written in collaboration with his widow, this is the first book to explore and reproduce the magnificent stained glass of this renowned 20th century artist. The internationally renowned artist John Piper (1903-1992) was arguably the greatest 20th century designer in stained glass and this is the first book to explore and reproduce this magnificent work. It establishes Piper's standing as a hugely influential artist beyond the medium of paint. Over 100 examples of Piper's stained glass from around the world are reproduced, allowing the reader to appreciate for the first time the range of the work and providing an illustrated historical catalog. Also reproduced are many original sketches and plans as well as photographs of the artist at work.
This book re-examines the work of John Piper who, as well as being a prominent painter, printmaker and photographer, was an active figure in many cultural spheres during the 1940s when the foundations of his reputation were laid. It brings together work that was officially commissioned during the Second World War and contextualises it with work from the pre-war and post-war years. All aspects of Piper's work during the forties are examined.
Recording Britain was an artistic documentary project compiled as Britain was facing the potentially devastating impact of the Second World War. This book brings together highlights from the collection by artists such as John Piper, Michael Rothenstein, Barbara Jones and Stanley Badmin.
This book is about a shared journey made by John and Myfanwy Piper who early on settled down in a small hamlet on the edge of the Chilterns, whence they proceeded to produce work which placed them centre stage in the cultural landscape of the twentieth century. Here, too, they fed andentertained many visitors, among them Kenneth Clark, John Betjeman, Osbert Lancaster, Benjamin Britten, and the Queen Mother. Their creative partnership encompasses not only a long marriage and numerous private and professional vicissitudes, but also a genuine legacy of lasting achievements in thevisual arts, literature and music. Frances Spalding also sheds new light on the story of British art in the 1930s. In the middle of this decade John Piper and Myfanwy Evans (they did not marry until 1937) were at the forefront of avant-garde activities in England, Myfanwy editing the most advanced art magazine of the day and Johnworking alongside Ben Nicholson, Barbara Hepworth, Henry Moore, and others. But as the decade progressed and the political situation in Europe worsened, they changed their allegiances, John Piper investigating in his art a sense of place, belonging, history, memory, and the nature of nationalidentity, all issues that are very much to the fore in today's world. Myfanwy Piper is best known as "Golden Myfanwy", Betjeman's muse and for her work as librettist with Benjamin Britten. John Piper was an extraordinarily prolific artist in many media, his fertile career stretching over six decades and involving him in many changes of style. Having been an abstractpainter in the 1930s, he became best known for his landscapes and architectural scenes in a romantic style. This core interest, in the English and Welsh landscape and the built environment, developed in him a sensibility that took in almost everything, from gin palaces to painted quoins, from ruinedcottages to country houses, from Victorian shop fronts to what is nowadays called industrial archeology. His capacious and divided sensibility made him defender of many aspects of the English landscape and the built environment, while in his art he became an heir of that great tradition encompassingWordsworth and Blake, Turner, Ruskin, and Samuel Palmer. He was torn between the pleasures of an abstract language liberated from time and place and those embedded in the locale, in buildings, geography, and history. Today, this expansive contradictoriness seems quintessentially modern, his dividedresponse finding an echo in our own ambivalence towards modernity. Both Pipers created what seemed to many observers an ideal way of life, involving children, friendships, good food, humour, the pleasures of a garden, work, and creativity. Running through their lives is a fertile tension between a commitment to the new and a desire to reinvigorate certain nativetraditions. This tension produced work that is passionate and experimental. "Only those who live most vividly in the present", John Russell observed of John and Myfanwy Piper, "deserve to inherit the past".
Yn ystod yr Ail Ryfel Byd a'r blynyddoedd dilynol ymwelodd yr artist John Piper â Chymru droeon er mwyn darlunio'r mynyddoedd. Y dirwedd ddramatig a'i denodd, fel artistiaid eraill drwy'r oesau, ond roedd ganddo ddiddordeb brwd yn naeareg yr ardal hefyd. Mae pob un o'r delweddau grymus yma yn cyfleu perthynas ddwys Piper â mynyddoedd Cymru. -- Cyngor Llyfrau Cymru