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Examines the posthumous reception of Turner's work.
Wyndham Lewis (1882-1957), the self-styled 'Enemy', was arguably the most significant British artist-writer of the twentieth century. As well as creating a unique oeuvre of paintings and drawings, he wrote short stories, novels, essays and books on philosophy, literature, politics and cultural criticism. A draughtsman of exceptional skill and verve, he also pioneered cutting-edge modernism in Britain before the First World War, leading the Vorticist movement and editing its typographically startling journal Blast. Lewis, along wth figures including and sculptor Gaudier-Brzeska and poet Ezra Pound, turned London into an international 'vortex' of creative activity. His cultural revolution was brought to a halt by the First World War, in which he served as an artillery officer and as a major official war artist.
Contrary to the myth which divorces modernist painting from literature, this new interpretation of Whistler shows that his art was profoundly influenced by it. The book also examines the nature of Whistler's modernity, his relationship with English and French painting, and throws new light on the famous libel trial with Ruskin. Forms part of Tate Publishing's British Artists series.
Black artists of African and Caribbean descent and major contributions to the British art scene Black artists have been making major contributions to the global art scene since at least the middle of the 20th century. While some of these artists of African and Caribbean descent have been embraced at times by the art world, they have mostly been neglected or have not received the recognition they deserve. Taking its starting point as the Windrush-era Caribbean Artists Movement, and considering and contextualizing the political, cultural, and artistic climate from which it emerged, this concise introduction showcases the work of 70 Black-British artists from the 1930s to the present. Artwork in a range of media offer a lens through which to understand some of the events and issues confronted and explored, shedding light on the Black-British experience. Constructed around contemporary ideas on race, national identity, citizenship, gender, sexuality, and aesthetics in Britain, this book interrogates themes at the heart of Black-British art, revealing art in dialogue with a complex past and present. Featuring some of the most prominent and influential Black-British artists of recent decades, as well as less well-known artists, it also includes work from a new generation of artists on the cutting edge of contemporary art. At a time when visibility within the art world has taken on a renewed urgency, this is a timely and accessible introduction celebrating Black-British artists and their outstanding contribution to art history.
Gwen John (1876-1939) was an artist with a singular vision, one whose intense gaze produced some of the most beguiling and atmospheric paintings of the late 19th and early 20th centuries. This concise survey of her life and work places John--often unfairly thought of as a recluse--at the artistic heart of London and Paris. A seminal figure within these circles, her work is reappraised in that context and explored in terms of the alliances and differences John had with her contemporaries. Gwen John's representation of the female nude, her paintings of interiors, and the effect of her Catholic faith on her work are all discussed. The author also discusses the key relationship between John's position as a woman artist and her lifelong fascination with the portrayal of the female sitter.
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).
A lavishly illustrated, beautiful collection of highlights from the Tate collection over the past 500 years Tate Britain is the home of British art from 1500 to the present day. This guide to the collection provides an essential introduction to the extraordinary development of British art over the centuries. British art is notable for genres unique to itself: group portraits, known as "conversation pieces," focusing on social relations between friends, family, and allies; themes from British literature, particularly Shakespeare, Milton, and Tennyson; and topical subjects in the late 18th and early 19th centuries reflecting the wars with France and the scientific innovations of the Industrial Revolution. The art from Britain in Tate's collection is rich with imaginative invention and reinvention, and this panoramic book celebrates this aesthetic ingenuity as an ongoing story, revealing how 500 years of art can act as a fascinating lens through which to deepen our understanding of ourselves and society, past and present, in both Britain and in the rest of the world.
This title provides an accessible introduction to folk art, an established subject in many countries, but in Britain the genre remains elusive.
Christine Riding analyzes Millais' artistic career, his critics and his audience, exploring the broader issues which preoccupied Victorian Britain on the subject of art itself.