Beth Williamson – författare

Christian images have a long history within the Western art tradition from the narrative and devotional works of the Medieval and Renaissance periods, to the radical new interpretations of the twenty-first century. This fascinating new book explores the changing nature of the representation of key themes and subjects found in Christian art, covering the Eucharist, the crucifixion, the Virgin Mary, and the saints. Other sections deal with the changes to Christian art after the sixteenth-century Reformation, and with Christian art in the modern world. Within these themes, the book explores the work of major artists such as Memling, Holbein, El Greco and Rossetti, and well-known examples including the frescoes of St Francis at Assisi. Didactic and consciously devotional works are discussed alongside the controversial work of contemporary artists such as Andres Serrano and Chris Ofili. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

Christian images have a long history within the Western art tradition from the narrative and devotional works of the Medieval and Renaissance periods, to the radical new interpretations of the twenty-first century. This fascinating new book explores the changing nature of the representation of key themes and subjects found in Christian art, covering the Eucharist, the crucifixion, the Virgin Mary, and the saints. Other sections deal with the changes to Christian art after the sixteenth-century Reformation, and with Christian art in the modern world. Within these themes, the book explores the work of major artists such as Memling, Holbein, El Greco and Rossetti, and well-known examples including the frescoes of St Francis at Assisi. Didactic and consciously devotional works are discussed alongside the controversial work of contemporary artists such as Andres Serrano and Chris Ofili. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

Christian images have a long history within the Western art tradition from the narrative and devotional works of the Medieval and Renaissance periods, to the radical new interpretations of the twenty-first century. This fascinating new book explores the changing nature of the representation of key themes and subjects found in Christian art, covering the Eucharist, the crucifixion, the Virgin Mary, and the saints. Other sections deal with the changes to Christian art after the sixteenth-century Reformation, and with Christian art in the modern world.Within these themes, the book explores the work of major artists such as Memling, Holbein, El Greco and Rossetti, and well-known examples including the frescoes of St Francis at Assisi. Didactic and consciously devotional works are discussed alongside the controversial work of contemporary artists such as Andres Serrano and Chris Ofili.ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

The work of mid-twentieth century art theorist Anton Ehrenzweig is explored in this original and timely study. An analysis of the dynamic and invigorating intellectual influences, institutional framework and legacy of his work, Between Art Practice and Psychoanalysis reveals the context within which Ehrenzweig worked, how that influenced him and those artists with whom he worked closely. Beth Williamson looks to the writing of Melanie Klein, Marion Milner, Adrian Stokes and others to elaborate Ehrenzweig’s theory of art, a theory that extends beyond the visual arts to music. In this first full-length study on his work, including an inventory of his library, previously unexamined archival material and unseen artworks sit at the heart of a book that examines Ehrenzweig’s working relationships with important British artists such as Bridget Riley, Eduardo Paolozzi and other members of the Independent Group in London in the 1950s and 1960s. In Ehrenzweig’s second book The Hidden Order of Art (1967) his thinking on Jackson Pollock is important too. It was this book that inspired American artists Robert Smithson and Robert Morris when they deployed his concept of ’dedifferentiation’. Here Williamson offers new readings of process art c. 1970 showing how Ehrenzweig’s aesthetic retains relevance beyond the immediate post-war era.

There's one sure way for a person to get what they want in this world... Alex Finley knows the hard life. Her father abandoned her and her dying mother, only to reclaim the family's Wyoming ranch with a new wife. Alex's rage drove her away to Los Angeles to live with a man who could never satisfy her. Ten years later she comes home and hits the town with a vengeance, unleashing her pent-up lust on cowpoke Connor Matthews. She's shocked to learn that her family ranch is now a resort, and that bucking bronco Connor is running the place. Now Alex is torn between accepting a lover who can give her everything she needs-or selling out to a smooth-talking neighbor and leaving the past behind her...

There''s one sure way for a person to get what they want in this world... Alex Finley knows the hard life. Her father abandoned her and her dying mother, only to reclaim the family''s Wyoming ranch with a new wife. Alex''s rage drove her away to Los Angeles to live with a man who could never satisfy her. Ten years later she comes home and hits the town with a vengeance, unleashing her pent-up lust on cowpoke Connor Matthews. She''s shocked to learn that her family ranch is now a resort, and that bucking bronco Connor is running the place. Now Alex is torn between accepting a lover who can give her everything she needs-or selling out to a smooth-talking neighbor and leaving the past behind her...

This was first published in 2000:  Introduced by Joanna Cannon, this volume of essays by postgraduate students at the Courtauld Institute, University of London, explores some of the ways in which art was used to express, to celebrate, and to promote the political and religious aims and aspirations of those in power in the city states of central Italy in the thirteenth and fourteenth centuries. The contributions focus on four centres: Siena, Arezzo, Pisa and Orvieto, and range over a number of media: fresco, panel painting, sculpture, metalwork, and translucent enamel. Employing a variety of methods and approaches, these stimulating essays offer a fresh look at some of the key artistic projects of the period. The dates cited in the title, 1261 and 1352, refer to two well-known works, Coppo di Marcovaldo’s Madonna del Bordone and the Guidoriccio Fresco in the Palazzo Pubblico of Siena, here newly assigned to this date. By concentrating on individual cases such as these, the essays provide rewardingly sustained consideration, at the same time raising crucial issues concerning the role of art in the public life of the period. These generously-illustrated studies introduce new material and advance new arguments, and are all based on original research. Clear and lively presentation ensures that they are also accessible to students and scholars from other disciplines. Art, Politics and Civic Religion in Central Italy, 1261-1352 is the first volume in the new series Courtauld Institute Research Papers. The series makes available original recently researched material on western art history from classical antiquity to the present day.

This was first published in 2000:  Introduced by Joanna Cannon, this volume of essays by postgraduate students at the Courtauld Institute, University of London, explores some of the ways in which art was used to express, to celebrate, and to promote the political and religious aims and aspirations of those in power in the city states of central Italy in the thirteenth and fourteenth centuries. The contributions focus on four centres: Siena, Arezzo, Pisa and Orvieto, and range over a number of media: fresco, panel painting, sculpture, metalwork, and translucent enamel. Employing a variety of methods and approaches, these stimulating essays offer a fresh look at some of the key artistic projects of the period. The dates cited in the title, 1261 and 1352, refer to two well-known works, Coppo di Marcovaldo’s Madonna del Bordone and the Guidoriccio Fresco in the Palazzo Pubblico of Siena, here newly assigned to this date. By concentrating on individual cases such as these, the essays provide rewardingly sustained consideration, at the same time raising crucial issues concerning the role of art in the public life of the period. These generously-illustrated studies introduce new material and advance new arguments, and are all based on original research. Clear and lively presentation ensures that they are also accessible to students and scholars from other disciplines. Art, Politics and Civic Religion in Central Italy, 1261-1352 is the first volume in the new series Courtauld Institute Research Papers. The series makes available original recently researched material on western art history from classical antiquity to the present day.

Scottish artist William Johnstone (1897–1981) has been significantly overlooked in the histories of British modernism, yet his role as the progressive Principal of Camberwell School of Arts and Crafts and subsequently the Central School of Arts and Crafts in London helped shape the the work and careers of artists such as Richard Hamilton, Victor Pasmore, Nigel Henderson, Alan Davie and Eduardo Paolozzi.Drawing directly on Johnstone’s personal archive as well as a range of newly researched primary sources, Beth Williamson studies Johnstone’s ideas and his artworks within the context of his working relationships with other important British artists of the period. His dialogues with significant thinkers in the wider cultural field serve to illuminate these intellectual debates in a lively way.Williamson considers these important relationships against the background of Johnstone’s thinking and theirs, examining key texts, artworks, and moments in British art and art education in an international context, revealing Johnstone’s intellectual formation considering its significance then and now.

The work of mid-twentieth century art theorist Anton Ehrenzweig is explored in this original and timely study. An analysis of the dynamic and invigorating intellectual influences, institutional framework and legacy of his work, Between Art Practice and Psychoanalysis reveals the context within which Ehrenzweig worked, how that influenced him and those artists with whom he worked closely. Beth Williamson looks to the writing of Melanie Klein, Marion Milner, Adrian Stokes and others to elaborate Ehrenzweig’s theory of art, a theory that extends beyond the visual arts to music. In this first full-length study on his work, including an inventory of his library, previously unexamined archival material and unseen artworks sit at the heart of a book that examines Ehrenzweig’s working relationships with important British artists such as Bridget Riley, Eduardo Paolozzi and other members of the Independent Group in London in the 1950s and 1960s. In Ehrenzweig’s second book The Hidden Order of Art (1967) his thinking on Jackson Pollock is important too. It was this book that inspired American artists Robert Smithson and Robert Morris when they deployed his concept of ’dedifferentiation’. Here Williamson offers new readings of process art c. 1970 showing how Ehrenzweig’s aesthetic retains relevance beyond the immediate post-war era.

Joanna Cannon's scholarship and teaching have helped shape the historical study of thirteenth- and fourteenth-century Italian art; this essay collection by her former students is a tribute to her work.The essays collected here form a tribute to Joanna Cannon, whose scholarship and teaching have done so much to shape the historical study of thirteenth- and fourteenth-century Italian art. Her teaching lies at the heart of this book, as its chapters are all written by those who gained their doctorates under her supervision. The reach of her interests and expertise is also reflected in its range of subjects. The book is unified by its concentration on Italian art, history, and material culture, spanning the thirteenth to the fifteenth centuries; but within that scope the individual essays focus on an impressive variety of subjects, across many media, including panel painting, wall painting, architecture, sculpture, metalwork, manuscripts, and gilded glass. Ranging across Italy, from Bologna, to Siena, to Assisi, to Florence, they address key themes in the field, such as artistic patronage, sainthood and sanctity, the visual culture of the mendicant orders, devotional practice, and civic religion. Some essays bring fresh approaches to familiar material (Ambrogio Lorenzetti's Saint Nicholas panels, the frescoes in Siena's Palazzo Pubblico, Simone Martini's Holy Family), while others illuminate objects and images that are less well known (the central panel of the Santa Chiara triptych in Trieste, and the statue of Saint Francis in San Francesco in Siena). As a collection they combine to make an important contribution to the study of Early Italian art, seeking thereby to echo the extraordinary contribution of Joanna Cannon's own work to that field.

Ground-breaking study of the enigmatic and unique tabernacles from fourteenth-century Italy, which for the first time combined relics and images.Images and relics were central tools in the process of devotional practice in medieval Europe. The reliquary tabernacles that emerged in the 1340s, in the area of Central Italy surrounding the city of Siena, combined images and relics, presented visibly together, within painted and decorated wooden frames. In these tabernacles the various media and materials worked together to create a powerful and captivating ensemble, usable in several contexts, both in procession and static, as the centre of focussed, prayerful attention. This book looks at Siena and Central Italy as environments of artistic invention, and at Sienese painters in particular as experts in experimentation whose ingenuity encouraged the development of this new form of devotional technology. It is the first full-length study to focus in depth on the materiality of these tabernacles, investigating the connotations and effects of the materials from which they were made. It examines especially the effect of bringing relics and images together, and considers how the impressions of variety and abundance created by the multiplication of materials give birth to meaning and encourage certain kinds of action or thought.

Detailed analysis of an iconographic motif of huge significance in European art.The image of the `Madonna of Humility', the Virgin and Child seated on the ground, is widespread in European art, yet it remains mysterious. This book provides a detailed and accessible investigation and explication of the theme'smultiple significances, and of other associated images (including the Virgin suckling the Child, the Woman of the Apocalypse and the Virgin Annunciate). It takes issue with the orthodox view of the origins of the image lying in the work of Simone Martini at Avignon, suggesting a longer process of development, with a key role for manuscript illumination in Metz. Subsequent chapters pursue the assimilation, appropriation, and adjustment of the image in a number of regions across Europe, challenging the simplistic idea of unequivocal iconographic meaning determined solely by the context of the image's genesis. The book argues for an essential fluidity and negotiability of meaning inthe visual arts, challenging the very idea of unitary and unequivocal iconographic readings; and its examination of the multi-layered functions of the image in different contexts and different regions provides not just an iconographical case-study, but a cultural history of a devotional resource with Europe-wide implicationsDr BETH WILLIAMSON teaches in the Department of Art History, University of Bristol.