Martin Postle – författare

The 18th-century painter Johan Zoffany (1733–1810) was an astute observer of the many social circles in which he functioned as an artist over the course of his long career. This catalogue investigates his sharp wit, shrewd political appraisal, and perceptive social commentary (including subtle allusions to illicit relationships)—all achieved while presenting his subjects as delightful and sophisticated members of polite society.  A skilled networker, Zoffany established himself at the court of George III and Queen Charlotte soon after his arrival in England from his native Germany. At the same time, he befriended the leading actor David Garrick and through him became the foremost portrayer of Georgian theater. His brilliant effects and deft style were well suited to theatricality of all sorts, enabling him to secure patronage in England and on the continent. Following a prolonged visit to Italy he travelled to India, where he quickly became a popular and established member within the circle of Warren Hastings, the governor-general. Zoffany's Indian paintings are among his most spectacular and allowed him to return to England enriched and warmly welcomed. This volume provides a sparkling overview of his finest works.Published for the Yale Center for British Art and the Royal AcademyExhibition Schedule:Yale Center for British Art(10/27/11-02/12/12)Royal Academy(03/10/12-06/10/12)

Published to coincide with two major loan exhibitions at Compton Verney Art Gallery & Park, Warwickshire: Painting Childhood: From Holbein to Freud and Childhood Now (both 16 March – 16 June 2019), this publication will address key works and themes from both exhibitions, exploring the subject of children in art through a series of essays written by the exhibition curators and external academics. It will include a complete list of works in both shows. Children have always fascinated artists and Painting Childhood will explore some of the most iconic paintings of children produced over the past 500 years. Featuring stunning portraits, amusing genre scenes and touching ‘fancy pictures’, the book will examine both the creative process and the specific challenges posed by painting children: from how to capture the fleeting moments of youth to how to encourage young subjects to sit still. Accompanying the exhibitions Painting Childhood: From Holbein to Freud and Childhood Now, the book will discuss a wealth of masterpieces from British collections by artists including Hans Holbein the Younger, Anthony van Dyck, Jan Steen, Bartolomé Esteban Murillo, William Hogarth, Joshua Reynolds, Thomas Gainsborough, Johan Zoffany and John Everett Millais. These iconic paintings will be considered alongside the preparatory sketches that were made for them and the works that were made after them in an exploration of the creative process and the artistic ‘conversations’ that occurred throughout the centuries. Painting Childhood will also explore ‘intimate portraits’ – artist’s portrayals of their own children. Paintings, sketches and sculptures by Stanley Spencer, Louise Bourgeois, Jacob Epstein and Lucian Freud, among others, present highly personal insights into the place of family within an artist’s life, and the ongoing dialogue between biography and creativity. This theme extends to the present day, and the work of three contemporary figurative painters - Chantal Joffe, Mark Fairnington and Matthew Krishanu. Drawn to children as subjects, each of these London-based artists depict childhood in very different ways. Together, they provide fresh perspectives on what constitutes childhood today and reaffirm the place of painting as a diverse and powerful artistic practice.

George Stubbs: ‘all done from Nature’ presents the first significant overview of Stubbs’s work in Britain for more than 30 years and brings together 80 paintings, drawings and publications from the National Gallery’s Whistlejacket to pieces never previously seen in public.    Stubbs produced exceptional images of animals and people throughout his career. These were a product of his keen scientific eye and uncommon sense of compassion. Rather than trust to history and the untested example of his precursors, he championed doing as a way of thinking and deployed picture-making in pursuit of reality.   On the title page of The Anatomy of the Horse, his groundbreaking publication that rewrote our understanding of equine biology, Stubbs confirmed that everything that followed was ‘all done from Nature’ – meaning that it all derived from his own painstaking analysis of the subject in front of him.   George Stubbs: ‘all done from Nature’ accompanies the major exhibition at MK Gallery in Milton Keynes and the Mauritshuis in The Hague and includes new writing on the artist by Nicholas Clee, Martin Myrone, Martin Postle, Roger Robinson, Jenny Uglow and Alison E. Wright.