Richard Johns – författare

This book, published to coincide with a major exhibition at the National Maritime Museum, explores and celebrates Turner’s lifelong fascination with the sea. It also sets his work within the context of marine painting in the 19th century. Each chapter has an introductory text followed by discussion of specific paintings. Four of the chapters conclude with a feature essay on a specific topic.

Ten Transformative Drama Games explores in depth ten drama games that can positively impact wellbeing, creativity, agility and focus.Contextualised within a storytelling structure, the author uses his thirty-five years of theatre, education and workshop facilitator experience to share ten games with a fresh perspective. Each chapter explores true stories and anecdotes about the impact of these games in environments ranging from groups of sceptical 15-year-olds to actors performing with complex, traumatic material. The book offers a methodology for how to play each game, along with supporting notes on how to best facilitate learning, and explores the learning outcomes and ways in which to effectively debrief. Above all, the book is about why these games matter.This book’s unique insight into the impact of drama games provides essential reading for Applied Theatre practitioners and educationalists. It will be of interest to those on applied theatre and theatre education courses, those interested in the intersect between theatre and mental health, and anyone looking to use Drama to create a better world.

Ten Transformative Drama Games explores in depth ten drama games that can positively impact wellbeing, creativity, agility and focus.Contextualised within a storytelling structure, the author uses his thirty-five years of theatre, education and workshop facilitator experience to share ten games with a fresh perspective. Each chapter explores true stories and anecdotes about the impact of these games in environments ranging from groups of sceptical 15-year-olds to actors performing with complex, traumatic material. The book offers a methodology for how to play each game, along with supporting notes on how to best facilitate learning, and explores the learning outcomes and ways in which to effectively debrief. Above all, the book is about why these games matter.This book’s unique insight into the impact of drama games provides essential reading for Applied Theatre practitioners and educationalists. It will be of interest to those on applied theatre and theatre education courses, those interested in the intersect between theatre and mental health, and anyone looking to use Drama to create a better world.

Published to mark the reopening of the spectacular baroque interior of the Old Royal Naval College in Greenwich after a landmark conservation project, The Painted Hall is a wonderful celebration of what has been called `the Sistine Chapel of the UK’. The ceiling and wall decorations of the Painted Hall were conceived and executed by the artist Sir James Thornhill between 1707 and 1726 – years that witnessed the Act of Union during the reign of Queen Anne and Great Britain’s rise to become a dominant Protestant power in a predominantly Catholic Europe. The accessions to the throne of William III and Mary II in 1688 and George I in 1714 form the central narrative of a scheme that also honours Britain’s maritime successes and mercantile prosperity. The artist drew on a cast of around 200 figures – a mixture of historical, contemporary, allegorical and mythological characters – to tell a story of political change, scientific and cultural achievements, naval endeavours, and commercial enterprise against a series of magnificent backdrops. In the first part of the book, Dr Anya Lucas describes the history and architecture of the building and the background to Thornhill’s commission. The grandeur of his composition, which covers 40,000 square feet, reflects the importance of the space that the paintings adorn: the hall of the new Royal Hospital for Seamen. The Hospital was established in 1694 at Queen Mary’s instigation for men invalided out of the Navy, and was designed by Sir Christopher Wren and Nicholas Hawksmoor. The Painted Hall was originally intended as a grand dining room, but it soon became a ceremonial space open to paying visitors and reserved for special functions. The last naval pensioners left the site in 1869, when it became home to the Royal Naval College, an officers’ training academy.The passage of nineteen years from the start of the commission to its completion, and the need to navigate contemporary political events, meant that Thornhill was required to rethink the design of his paintings several times. His preparatory sketches for the Painted Hall reveal how carefully he experimented with and planned the content. When he had finished his work, Thornhill wrote An Explanation of the paintings, which was published by the Hospital directors and sold to visitors. This guide is the subject of the second part of our book, by Dr Richard Johns. Johns also explores image and meaning in Thornhill’s decorative scheme, which stretches across three distinct but connected spaces: the domed Vestibule, the long Lower Hall, and the Upper Hall, together presenting a vivid and compelling picture of Britain’s place in the world according to those who governed it at the start of the 18th century.During the last 300 years, smoke and dirt built up on the fragile painted surfaces of the Hall, and varnish layers fractured under the effects of heat and humidity. In the final part of the book, the specialist conservators Sophie Stewart and Stephen Paine consider historic restorations of the Painted Hall from the 18th century to the Ministry of Works campaign of the late 1950s. The spring of 2019 sees the completion of a ground-breaking conservation programme that has reversed decades of decay and ensured the long-term preservation of the paintings. Now that every inch of decorated surface has been lovingly cleaned and conserved, new photography brings the colour, clarity and vibrancy of Thornhill’s masterpiece to life.

Air Chief Marshal Sir Richard Johns was commissioned at the Royal Air Force College Cranwell in 1959 after completing flying training on Piston Provost and Meteor aircraft. For the next nine years, apart from a short intermission as an ADC, he served as an operational fast-jet pilot which included tours on Javelin night fighters and then fighter recce Hunters operating from Aden and Oman. Thereafter he qualified as a flying instructor, initially on the Gnat, and then the Jet Provost as a squadron commander at Cranwell. In his last year as a flying instructor he taught The Prince of Wales to wings standard.During the 1990s, Sir Richard held a succession of senior national and NATO appointments.  During the first Gulf War, he was the Director of Operations in the National Joint Headquarters for all British Forces deployed to the Middle East. At the end of the conflict he led the British Recce Team to Turkey and north Iraq which resulted in the deployment of British land and air forces to the coalition that guaranteed the security of the Kurdish population in Iraq.  Later, as a NATO C-in-C he was responsible for training and bringing to full operational capability the new Regional Command of Allied Forces, North West Europe.  During this three-year tour, he acted as a supporting commander for joint operations in the Balkans while developing partnership for peace exercises with former Warsaw Pact countries. He returned to national duty in 1997 on his appointment as Chief of the Air Staff, responsible for the operational efficiency and morale of the Royal Air Force. During his last three years of service, the Air Chief Marshal was fully involved in the decision-making process of the Strategic Defence Review, the commitment of RAF aircraft to operations over and within Kosovo and continuing air operations over north and south Iraq.His illustrious career gave him the privilege of a rare, if not singular, perspective of the RAF, our sister services and national defence matters, witnessing a steady decline in the combat power of the UK’s armed forces as financial management took precedence over identifying strategic priorities and maintaining the vital skill-set of service personnel.His views are forensic and forthright, balanced and thought-provoking and this autobiography should be essential reading for anyone interested in the development of Allied air power over the last fifty years.

Air Chief Marshal Sir Richard Johns was commissioned at the Royal Air Force College Cranwell in 1959 after completing flying training on Piston Provost and Meteor aircraft. For the next nine years, apart from a short intermission as an ADC, he served as an operational fast-jet pilot which included tours on Javelin night fighters and then fighter recce Hunters operating from Aden and Oman. Thereafter he qualified as a flying instructor, initially on the Gnat, and then the Jet Provost as a squadron commander at Cranwell. In his last year as a flying instructor he taught The Prince of Wales to wings standard.During the 1990s, Sir Richard held a succession of senior national and NATO appointments. During the first Gulf War, he was the Director of Operations in the National Joint Headquarters for all British Forces deployed to the Middle East. At the end of the conflict he led the British Recce Team to Turkey and north Iraq which resulted in the deployment of British land and air forces to the coalition that guaranteed the security of the Kurdish population in Iraq. Later, as a NATO C-in-C he was responsible for training and bringing to full operational capability the new Regional Command of Allied Forces, North West Europe. During this three-year tour, he acted as a supporting commander for joint operations in the Balkans while developing partnership for peace exercises with former Warsaw Pact countries. He returned to national duty in 1997 on his appointment as Chief of the Air Staff, responsible for the operational efficiency and morale of the Royal Air Force. During his last three years of service, the Air Chief Marshal was fully involved in the decision-making process of the Strategic Defence Review, the commitment of RAF aircraft to operations over and within Kosovo and continuing air operations over north and south Iraq.His illustrious career gave him the privilege of a rare, if not singular, perspective of the RAF, our sister services and national defence matters, witnessing a steady decline in the combat power of the UK's armed forces as financial management took precedence over identifying strategic priorities and maintaining the vital skill-set of service personnel.His views are forensic and forthright, balanced and thought-provoking and this autobiography should be essential reading for anyone interested in the development of Allied air power over the last fifty years.

A collection of thought-provoking new writing explores the far-reaching creative legacy of the sculptor, designer and illustrator John Flaxman (1755-1826). This collection of thought-provoking new writing explores the far-reaching creative legacy of the sculptor, designer and illustrator John Flaxman (1755-1826). Timed to coincide with the bicentenary of Flaxman’s death in 1826, this beautifully illustrated publication accompanies a major exhibition at York Art Gallery, developed in collaboration with the University of York.Flaxman found his subjects in the epic myths of ancient Greece and on the streets of modern Rome, in the drama of a game of chess and in the global events that unfolded in his lifetime. His work has, in turn, inspired generations of artists and makers. For the first time in more than 40 years, Turner, Wedgwood and Beyond: Inspired by Flaxman explores the full range and impact of the artist’s work across different media. Twelve insightful responses by leading curators, artists, art historians and literary critics introduce Flaxman for a new audience, as an artist whose work in ceramic, marble, silver and gold, and on paper continues to resonate in compelling ways. Exhibition Schedule:York Art Gallery 18 September 2026 – 17 January 2027