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When the prolific master artist-craftsman Eric Gill turned his talents to inscriptional lettering, he created some of the most elegant monuments known. All 900 are catalogued here, from his first sonte inscription in 1901 to his design for his own gravestone in 1940.
A gorgeous new edition of Fiona MacCarthy's ground-breaking biography of the artist-craftsman, typographer, and lettercutter, master wood-engraver, and sculptor: Eric Gill. 'Fascinating on the work and fair to the man; a brilliant biography.' Independent 'Scrupulous and sensitive . . . A wise and foolish English eccentric in full glory.' Observer 'Full of insight and interest . . . A considerable addition to modern biography.' Times Eric Gill was the greatest English artist-craftsman of the twentieth century: a typographer and lettercutter of genius and a master in the art of sculpture and wood-engraving. He was a devoted family man and key figure in three Catholic art and craft communities: yet he also believed in complete sexual freedom. In her controversial, landmark biography, originally published in 1989, celebrated biographer Fiona MacCarthy delves into the complex, dark, and contradictory sides of the man and the artist for the first time - and the result is his definitive portrait.
This is a catalogue of the inscriptions of Eric Gill. Over 900 items are known and all are included in this book, ranging from his first inscription on stone in 1901 to his design for his own gravestone in 1940. David Peace has based his research on Gill's brother, Evan Gill's inventory. It now includes over 100 previously unrecorded inscriptions. The book complements Eric Gill- The Engravings.
A prolific engraver, sculptor, letter-cutter and typographer, Eric Gill (1882 - 1940) chose to be remembered on his grave simply as a stone carver. He carved his first figural sculpture in 1909, and his distinctive, serene figures, such as his famous Stations of the Cross carving in Westminster Cathedral, have since become familiar landmarks and also appear in public and private collections throughout the world. This beautifully illustrated book is the first ever complete survey of Eric Gill's figural sculpture. With an extensive essay on his works and 300 detailed catalog entries, it is a significant contribution to contemporary art history. The 350 accompanying photographs, many from the sculptor's own collection, reveal Eric Gill to be one of the major artists of the twentieth century and afford us a fascinating insight into the creativity of this eccentric genius.
Ralph Beyer (1921-2008), exiled at the age of sixteen from Nazi Germany, made his home and career in Britain. He was a carver of stone inscriptions, best known for his huge 'Tablets of the Word' in Basil Spence's Coventry Cathedral. These broke the mould of classical formality associated with British lettercarving after Eric Gill -- their irregularity and roughness offending conventional notions of 'correctness'. In fact, Beyer had spent a few formative months in Gill's workshop, but his own unique voice owed as much to his childhood in Weimar Germany and his father's wide interests, which ranged from Modernist architecture to 'primitive' art. In Britain, Beyer came to know Henry Moore and Nikolaus Pevsner, and was influenced by the artist and poet David Jones. He thus straddles both German and British traditions in lettering as well as the wider art world. This book, profusely illustrated, charts Beyer's increasing sensitivity to words and their realisation in stone. It places his inscriptions, and to a lesser extent his typeface design and sculpture, in context, in the process raising questions about hand lettering itself and what place the making of stone inscriptions may have.
A gorgeous new edition of Fiona MacCarthy's ground-breaking biography of the artist- craftsman, typographer, and lettercutter, master wood-engraver, and sculptor: Eric Gill. 'Fascinating on the work and fair to the man; a brilliant biography.' Independent 'Scrupulous and sensitive . . . A wise and foolish English eccentric in full glory.' Observer 'Full of insight and interest . . . A considerable addition to modern biography.' Times Eric Gill was the greatest English artist-craftsman of the twentieth century: a typographer and lettercutter of genius and a master in the art of sculpture and wood-engraving. He was a devoted family man and key figure in three Catholic art and craft communities: yet he also believed in complete sexual freedom. In her controversial, landmark biography, originally published in 1989, celebrated biographer Fiona MacCarthy delves into the complex, dark, and contradictory sides of the man and the artist for the first time - and the result is his definitive portrait.
Between 1890 and 1930, Arts and Crafts architecture proliferated within the Cotswolds. The range and quality of the buildings was exceptional as the region provided the perfect environment for the Movement's ideals and principles. Arts and Crafts architects relished the robust vernacular precedent as it channelled their ideas and stimulated their imaginations. Its rational basis and dependence on craft skills had lasting value, and it was no coincidence that the most influential aspect of their work was its emphasis on conservation. The Arts and Crafts Movement in the Cotswolds has attracted much interest in recent decades, the appeal of the simple life and of traditional values detached from the pressures of modern society having as much allure now as it did a century ago. Most of these studies have referred to the work of architects in the region, but the subject has not received the specialist attention it deserves. Until now. This book examines the impact of the Movement on the Cotswold landscape, on the survival of its building traditions and on modern attitudes to building conservation. After an introductory section which outlines the Movement's origins and beliefs and its architectural principles, the main part of the book provides a guide to the general characteristics associated with Arts and Crafts building in the Cotswolds. There are separate chapters on the various types of new commission that were undertaken, from small and large country houses and cottages to village halls and almshouses, not to mention the numerous repair and remodelling jobs on existing buildings that had become derelict following the social and economic upheavals of industrialisation. The final chapter looks at the late flowering of architectural work in the region during the interwar period and beyond, and the legacy of this important body of work at a local and national level.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Revealing the secret history of punctuation, this tour of two thousand years of the written word, from ancient Greece to the Internet, explores the parallel histories of language and typography throughout the world and across time.