This is the first comprehensive overview of the career to date of British-born Jamaican artist Hurvin Anderson (b. 1965). Anderson is known for painting lush and loosely rendered observations of scenes and spaces loaded with personal meaning.Turner Prize-nominated artist Hurvin Anderson is best known for his brightly painted, densely detailed landscapes and interior scenes—particularly those relating to his upbringing in the Afro-Caribbean community in the Midlands of England, as well as more recent trips to the Caribbean. Anderson’s luscious paintings have hybridity at their heart. A tug-of-war plays out between abstraction and figuration, nature versus the manmade, beauty and menace, and his British and Jamaican heritage.Born in the United Kingdom as a member of the Jamaican diaspora, Anderson relates to the Caribbean as both insider and outsider, aware of the mythmaking that the idea of lost or future paradise generates. This book, Anderson’s first major monograph, has been carefully curated by the artist himself and includes paintings, sketches, source material and ephemera, and studio shots. The volume also features a foreword by Courtney J. Martin, an in-depth and deeply considered essay by art historian Catherine Lampert, poems by Roger Robinson, and an illustrated chronology.

British artist Euan Uglow (1932–2000) maintained a lower profile than others of his generation, yet his beautiful, intelligent, humane, and often witty landscapes, still lifes, and figure studies are today gaining the recognition they so clearly deserve. Many critics and admirers now consider Uglow one of Britain’s greatest post-war artists. This is the first book devoted to Uglow and his oeuvre. Richard Kendall’s essay explores Uglow’s fundamental attitudes, beliefs, and processes in the years 1950 to 1970, and Catherine Lampert looks at the content and personal nature of the artist’s paintings over a lifetime, emphasizing his growing attention to color and light. The volume reproduces every known oil painting by Uglow—a total of more than 400 works--some 80 of which are here reproduced for the first time. In addition to a chronology, bibliography, and exhibition history for each work, the catalogue entries provide many other details and illuminating notes, including the artist’s own observations.Exhibition Schedule:Marlborough Gallery, London (opens May 2007)

Born in Berlin in 1931 to Jewish parents, the eight-year-old Auerbach was sent to England in 1939 to escape the Nazi regime. His parents stayed behind and died in a concentration camp in 1943. Now in his eighties, Auerbach is still producing his distinctly sculptural paintings of friends, family and surroundings in north London, where he has made his home since the war. The art historian and curator Catherine Lampert has had unique access to the artist since 1978 when she first became one of his sitters. With an emphasis on Auerbach’s own words, culled from her conversations with him and archival interviews, she provides a rare insight into his professional life, working methods and philosophy. Auerbach also reflects on the places, people and inspirations that have shaped his life. These include his experiences as a refugee child, finding his way in the London art world of the 1950s and 1960s, his friendships with Lucian Freud, Francis Bacon and Leon Kossoff, among many others, and his approaches to looking and painting throughout his career. For anyone interested in how an artist approaches his craft or his method of capturing reality this is essential reading.

A long-overdue evaluation of John Walker’s work from the last half century. John Walker’s prolific painting career spans over sixty years. His practice is inspired by a range of visual references, notably the work of Goya, Matisse, the Abstract Expressionists and the art of Oceania, as well as by shapes and pattern motifs evoking history, time and place; however, his work cannot readily be defined as abstract or figurative, and his guiding thought is to have a conversation with the art of the past to embrace feeling and touch, and as Goya put it, to be aware of the sound of the brush. His desire to ‘own’ a subject is present in his engagement with the bay at Seal Point, Maine, near where he has lived for many years: ‘It’s about capturing something no one else has seen’. Walker’s works are in major museums and private collections internationally, and he has exhibited in museums in the UK, US, Australia, New Zealand and China. Despite winning the John Moores Painting Prize in 1976, and being nominated for 1985’s Turner Prize, he has exercised a resistance to reputation-building, and visualizes his studio practice as a slow, evolving process. His uncompromising judgments infuse the work, and are one reason he remains an artist respected and closely watched by many other artists, increasingly by younger admirers. Including essays by Catherine Lampert and Alex Bacon, this immersive new monograph is a long-overdue evaluation of Walker’s work from the past half century, connecting key works with new perspectives and historical influences, and examining the role of form, colour and presence in his masterly paintings.

The first extended study of Frank Auerbach's remarkable portrait drawings reveals their complexity and ambition as works of graphic artThis book offers an original approach to one of Britain’s leading artists: Frank Auerbach (b. 1931). It looks in detail at his portrait drawings, which Auerbach has been making since the 1950s, and which he has always considered important, freestanding works of art. By turns eerie, shocking, enigmatic, and hauntingly tender, they demand fresh interpretation and investigation. Reproducing more than 130 examples of these portraits, some for the first time, and featuring new essays by curators, scholars, and critics, this book provides an unprecedented opportunity to explore and reassess these striking and sometimes unsettling works of graphic art. Frank Auerbach: Drawings of People includes texts by both the editors and the artist himself, and new essays by Kate Aspinall, James Finch, Alex Massouras, David Mellor, and Barnaby Wright.  Distributed for the Paul Mellon Centre for Studies in British Art

This is the first comprehensive overview of the career to date of British-born Jamaican artist Hurvin Anderson (b. 1965). Anderson is known for painting lush and loosely rendered observations of scenes and spaces loaded with personal meaning.Turner Prize-nominated artist Hurvin Anderson is best known for his brightly painted, densely detailed landscapes and interior scenes—particularly those relating to his upbringing in the Afro-Caribbean community in the Midlands of England, as well as more recent trips to the Caribbean. Anderson’s luscious paintings have hybridity at their heart. A tug-of-war plays out between abstraction and figuration, nature versus the manmade, beauty and menace, and his British and Jamaican heritage.Born in the United Kingdom as a member of the Jamaican diaspora, Anderson relates to the Caribbean as both insider and outsider, aware of the mythmaking that the idea of lost or future paradise generates. This book, Anderson’s first major monograph, has been carefully curated by the artist himself and includes paintings, sketches, source material and ephemera, and studio shots. The volume also features a foreword by Courtney J. Martin, an in-depth and deeply considered essay by art historian Catherine Lampert, poems by Roger Robinson, and an illustrated chronology.

British artist Euan Uglow (1932–2000) maintained a lower profile than others of his generation, yet his beautiful, intelligent, humane, and often witty landscapes, still lifes, and figure studies are today gaining the recognition they so clearly deserve. Many critics and admirers now consider Uglow one of Britain’s greatest post-war artists. This is the first book devoted to Uglow and his oeuvre. Richard Kendall’s essay explores Uglow’s fundamental attitudes, beliefs, and processes in the years 1950 to 1970, and Catherine Lampert looks at the content and personal nature of the artist’s paintings over a lifetime, emphasizing his growing attention to color and light. The volume reproduces every known oil painting by Uglow—a total of more than 400 works--some 80 of which are here reproduced for the first time. In addition to a chronology, bibliography, and exhibition history for each work, the catalogue entries provide many other details and illuminating notes, including the artist’s own observations.Exhibition Schedule:Marlborough Gallery, London (opens May 2007)

Born in Berlin in 1931 to Jewish parents, the eight-year-old Auerbach was sent to England in 1939 to escape the Nazi regime. His parents stayed behind and died in a concentration camp in 1943. Now in his eighties, Auerbach is still producing his distinctly sculptural paintings of friends, family and surroundings in north London, where he has made his home since the war. The art historian and curator Catherine Lampert has had unique access to the artist since 1978 when she first became one of his sitters. With an emphasis on Auerbach’s own words, culled from her conversations with him and archival interviews, she provides a rare insight into his professional life, working methods and philosophy. Auerbach also reflects on the places, people and inspirations that have shaped his life. These include his experiences as a refugee child, finding his way in the London art world of the 1950s and 1960s, his friendships with Lucian Freud, Francis Bacon and Leon Kossoff, among many others, and his approaches to looking and painting throughout his career. For anyone interested in how an artist approaches his craft or his method of capturing reality this is essential reading.

A long-overdue evaluation of John Walker’s work from the last half century. John Walker’s prolific painting career spans over sixty years. His practice is inspired by a range of visual references, notably the work of Goya, Matisse, the Abstract Expressionists and the art of Oceania, as well as by shapes and pattern motifs evoking history, time and place; however, his work cannot readily be defined as abstract or figurative, and his guiding thought is to have a conversation with the art of the past to embrace feeling and touch, and as Goya put it, to be aware of the sound of the brush. His desire to ‘own’ a subject is present in his engagement with the bay at Seal Point, Maine, near where he has lived for many years: ‘It’s about capturing something no one else has seen’. Walker’s works are in major museums and private collections internationally, and he has exhibited in museums in the UK, US, Australia, New Zealand and China. Despite winning the John Moores Painting Prize in 1976, and being nominated for 1985’s Turner Prize, he has exercised a resistance to reputation-building, and visualizes his studio practice as a slow, evolving process. His uncompromising judgments infuse the work, and are one reason he remains an artist respected and closely watched by many other artists, increasingly by younger admirers. Including essays by Catherine Lampert and Alex Bacon, this immersive new monograph is a long-overdue evaluation of Walker’s work from the past half century, connecting key works with new perspectives and historical influences, and examining the role of form, colour and presence in his masterly paintings.

The first extended study of Frank Auerbach's remarkable portrait drawings reveals their complexity and ambition as works of graphic artThis book offers an original approach to one of Britain’s leading artists: Frank Auerbach (b. 1931). It looks in detail at his portrait drawings, which Auerbach has been making since the 1950s, and which he has always considered important, freestanding works of art. By turns eerie, shocking, enigmatic, and hauntingly tender, they demand fresh interpretation and investigation. Reproducing more than 130 examples of these portraits, some for the first time, and featuring new essays by curators, scholars, and critics, this book provides an unprecedented opportunity to explore and reassess these striking and sometimes unsettling works of graphic art. Frank Auerbach: Drawings of People includes texts by both the editors and the artist himself, and new essays by Kate Aspinall, James Finch, Alex Massouras, David Mellor, and Barnaby Wright.  Distributed for the Paul Mellon Centre for Studies in British Art