Jane Munro – författare

A beautiful celebration of six decades of work by Edgar Degas, published in the centennial year of the artist’s deathEdgar Degas’s (1834–1917) relentless experimentation with technical procedures is a hallmark of his lifelong desire to learn. The numerous iterations of compositions and poses suggest an intense self-discipline, as well as a refusal to accept any creative solution as definitive or finite. Published in the centenary year of the artist’s death, this book presents an exceptional array of Degas’s work, including paintings, drawings, pastels, etchings, monotypes, counter proofs, and sculpture, with approximately sixty key works from private and public collections in Europe and the United States, some of them published here for the first time. Shown together, the impressive works represent well over half a century of innovation and artistic production.  Essays by leading Degas scholars and conservation scientists explore his practice and recurring themes of the human figure and landscape. The book opens with a study of Degas’s debt to the Old Masters, and it concludes with a consideration of his artistic legacy and his influence on leading artists of the 20th and 21st centuries, including Francis Bacon, Frank Auerbach, Ryan Gander, David Hockney, Howard Hodgkin, R. B. Kitaj, Pablo Picasso, and Walter Sickert.Published in association with the Fitzwilliam Museum, CambridgeExhibition Schedule:The Fitzwilliam Museum, Cambridge(10/3/17–1/14/18)Denver Art Museum(02/18/18–05/20/18)

Evidence based practice is now widely accepted as a fundamental tenet of midwifery. The importance of evidence in defining midwifery policy and practice in the UK health system, and others, is acknowledged and enduring. While the development and evaluation of research in midwifery is well charted, the question of how such evidence is incorporated into practice has, to date, received less attention and discussion in the midwifery profession. Answering this need, Evidence Based Midwifery focuses on the dissemination and use of evidence for midwifery practice, and explores midwives’ experiences in using the evidence base to inform policy and enhance clinical practice.

Written by a highly-regarded and diverse group from the UK and international midwifery community, Evidence Based Midwifery addresses issues of relevance to all midwives whether clinical practitioners or educators, students or supervisors, researchers or managers. Issues that influence evidence based midwifery are discussed, and topics covered include problem based learning, implementation of evidence based guidelines and the involvement of service users.

Edited by founder members of the Evidence Based Midwifery Network International collaboration with contributions from the UK, Greece, Canada and the Netherlands Primary focus on the incorporation of evidence into midwifery practice Real-life examples throughout

Point No Point’s title comes from a landform — an actual point on the west coast of Vancouver Island, which seems, when approached from the other side, to be no point at all — and it alerts us to the fact that Jane Munro’s poems are situated in a deep sense. They live in situ in the way they inhabit their native place, intimate with its mists, its mosses and lichens, with the salmonberry and false lily-of-the-valley of their ecosystem. They are also situated temporally, evoking sharply etched memories, visions, and dreams: a real-time visit to her father’s boatyard, a dream visit with her mother from a time before the poet was conceived, a flashback to the sixties rendered in extreme close-up. By their musical attunement and the acuity of the focus, they demonstrate how such deep situation may come about, how we might bring language to the task of living in a way which is fully present. In the long culminating poem, “Moving to a Colder Climate,” Munro brings all these elements into play, summoning her father’s bold obstreperous ghost to be present as a new house is built — situated — in this language. Her gifts as a poet — acuity, candour, musicality — make Point No Point a work of unforgettable witness.From the Trade Paperback edition.

Rarely exhibited and in superb condition, the watercolor collection in the Fitzwilliam Museum, Cambridge is one of the finest in the world. This book contains the gems of that collection—approximately 150, all of them reproduced large and in color, mostly for the first time. The most famous artists of this, the 'Golden Age' of British watercolor art, are all represented (Turner, Cotman, DeWint, Cox, Cozens, Girtin, Palmer, Constable, Ruskin, Sandby, Towne, Varley) together with some less well known, or better known for work in other media—Wilson, Wright of Derby, Romney, Gainsborough, Holland, for example. But the collection is most remarkable for the outstanding quality of the individual paintings, and Jane Munro (Senior Assistant Keeper at the Museum) emphasizes this in a text that closely examines each particular work and locates it in the artist's career.

Touch is our first sense. Through touch we make art, stake a claim to what we own and those we love, and express our faith, beliefs, and anger. Touch is how we leave our mark and find our place in the world; touch is how we connect. Drawing on artworks spanning four thousand years and stretching across the globe, this book offers new ways of looking at the fundamental role of touch in the human experience. In a series of essays, the authors explore anatomy and skin; the relationship between the brain, hand, and creativity; touch, desire, and possession; ideological touch; and reverence and iconoclasm. Nearly two hundred lavish illustrations accompany the text, including drawings, paintings, prints, and sculpture by Raphael, Michelangelo, Rembrandt, Carracci, Hogarth, Turner, Rodin, Degas, and Kollwitz, along with work by contemporary artists Judy Chicago, Frank Auerbach, Richard Long, the Chapman Brothers, and Richard Rawlins. The events of 2020 have made us newly alive to the preciousness and the dangers of touch, making this a particularly timely exploration of our most fundamental sense.

Throughout his long career, David Hockney has insistently explored diverse ways of depicting the visible world. He has scrutinised the methods of the old masters, and explored radical departures from their cherished assumptions. The exhibitions accompanied by this volume are the first to focus on this central theme in his art. 'Western art' from the Renaissance until at least the late 19th century has been dominated by the depiction of nature. Was this to be accomplished by direct looking (called “eyeballing” by Hockney) or with the assistance of optical theory and devices, such as cameras? Hockney has experimented with the full range of existing strategies, overtly using perspective in some of his classic pictures and rigorously investigating optical aids for the imitation of nature, including the camera obscura and camera lucida. Yet he has come to reject the photograph as the definitive image of what we see. Along the way, he has identified a 'camera culture' in European painting from 1400, arguing very controversially that the supreme naturalism of painters like Jan van Eyck are the product of optical devices. His book, Secret Knowledge (2001), with its majestic panorama of paintings over the course of five centuries, claims that art historians have missed the central aspect of painters’ practice. The 'Hockney thesis' has been received more favourably outside the professional world of art history than in it. His own artistic practice has been in vigorous dialogue with his radical thesis, and he has progressively demonstrated new and dynamic ways of characterising the visual world without perspective and other conventional techniques. This quest results a series of joyous challenges to our ways of seeing in the major exhibition in Cambridge at the Fitzwilliam Museum and in the Heong Gallery (Downing College). It will look at the whole span of Hockney’s varied career and at the nature of the optical devices he has tested. His vision will be explored in the setting of traditional masterpieces of naturalistic observation, and in the context of modern sciences and technologies of seeing. The first section of the book looks at his thrilling experiments in seeing and representing in broad historical and contemporary contexts. This is followed by discussions of pre-photographic devices for capturing the appearances of things by optical means. The third section includes essays on Hockney’s experiments from the perspectives of neuroscience and computer vision. In short, it reveals in a new way the working of Hockney’s unique eye.

The articulated human figure made of wax or wood has been a common tool in artistic practice since the 16th century. Its mobile limbs enable the artist to study anatomical proportion, fix a pose at will, and perfect the depiction of drapery and clothing. Over the course of the 19th century, the mannequin gradually emerged from the studio to become the artist’s subject, at first humorously, then in more complicated ways, playing on the unnerving psychological presence of a figure that was realistic, yet unreal—lifelike, yet lifeless. Silent Partners locates the artist’s mannequin within the context of an expanding universe of effigies, avatars, dolls, and shop window dummies. Generously illustrated, this book features works by such artists as Poussin, Gainsborough, Degas, Courbet, Cézanne, Kokoschka, Dalí, Man Ray, and others; the astute, perceptive text examines their range of responses to the uncanny and highly suggestive potential of the mannequin.Published in association with the Fitzwilliam MuseumExhibition Schedule:Musée Bourdelle, Paris(03/15/15–05/15/15)Fitzwilliam Museum(10/14/14–01/15/15)