Louise Campbell – författare

This book is a volume in the Penn Press Anniversary Collection. To mark its 125th anniversary in 2015, the University of Pennsylvania Press rereleased more than 1,100 titles from Penn Press's distinguished backlist from 1899-1999 that had fallen out of print. Spanning an entire century, the Anniversary Collection offers peer-reviewed scholarship in a wide range of subject areas.

This book is a volume in the Penn Press Anniversary Collection. To mark its 125th anniversary in 2015, the University of Pennsylvania Press rereleased more than 1,100 titles from Penn Press''s distinguished backlist from 1899-1999 that had fallen out of print. Spanning an entire century, the Anniversary Collection offers peer-reviewed scholarship in a wide range of subject areas.

I was born through the sin of my mother and father. I was continually reminded of this through my tender years as a child. When your own dad tells you that you're the worthless product of a male hooker, that you're not pretty or smart enough to be of his blood, you hang your head in shame. I was humiliated by the piercing stares I got from those he informed of this. I was exposed to witchcraft. My mother was an alcoholic, and my dad had extramarital affairs with numerous women. As a child, I was also the victim of sexual assault. At the age of ten, my life took a turn for the better. My mother bore twin babies. Because she rejected the boy child, I was taught how to care for him. For the first time in my life someone showed me love, and I loved him back. I had never felt love before then. If my mom and dad did love me, they never showed it. My baby brother was two when he died. I watched as my mother murdered him. His life had given me joy, and now he was gone. I stopped communicating. Between this, my deformities, and my learning disability, I became a victim to all who knew me. I was commonly called retarded by teachers, students, and my own father. Even strangers on the street would call me names. This led me to become an unstable adult. As a woman, my life was a mess. I had no idea how to show love, or even what it felt like. Therefore, I damaged every relationship I had. Then I met Jesus. He taught me agape love. I learned to love like Jesus does. The Holy Ghost set me free of over a thousand demons. In every way, He set me free. I am living proof that our God reigns, that He can take the most corrupted mess and create something of beauty. In my soul, I was an ugly duckling, but Jesus made me into a beautiful swan. What the Lord has done for me, He can do for you.

By examining the studios and studio-houses used by British artists between 1900 and 1940, this book reveals the ways in which artists used architecture – occupying and adapting Victorian studios and commissioning new ones. In doing so, it shows them coming to terms with the past, and inventing different modes of being modern, collaborating with architects and shaping their work. In its scrutiny of the physical surroundings of artistic life during this period, the book sheds insight into how the studio environment articulated personal values, artistic affinities and professional aspirations. Not only does it consider the studio in terms of architectural design, but also in the light of the artist’s work and life in the studio, and the market for contemporary art. By showing how artists navigated the volatile market for contemporary art during a troubled time, the book provides a new perspective on British art.

An intimate look at Ben Nicholson's everyday inspirationsThroughout his career, Ben Nicholson (1894–1982) transformed everyday homewares into extraordinary experiments in abstract art. Nicholson’s studio was filled with objects that inspired him. From patterned mocha-ware jugs and cut glass goblets to spanners, hammers and chisels, these ordinary personal possessions were a source of almost endless inspiration to the artist. This book brings together for the first time Nicholson’s paintings, reliefs, prints and drawings alongside his rarely seen personal possessions and studio tools. It traces how the artist’s style developed, from his early traditional tabletop still lifes to his later abstract works. Still life was at the heart of Nicholson’s artistic practice. Through these humble items, he began to experiment with form and color. His early works in particular owed inspiration to his father, the painter William Nicholson. The book traces the artistic and personal influences on Nicholson’s evolutionary still life style from the 1920s to the 1970s. It explores his time with Winifred Nicholson and Barbara Hepworth, as well as his encounters with other Modernist greats, Pablo Picasso and Piet Mondrian. Distributed for Pallant House Gallery