Susan Owens – författare

A Radio 4 Book of the Week 'A marvellous book' Ali Smith Shaped by the cycle of the natural world, a fresh look at the life and work of John Constable to celebrate the 250th anniversary of his birth in 2026. As exhilarating as a lungful of oxygen: that’s how some of his contemporaries felt about John Constable’s paintings. Others, though, were baffled by his uncompromisingly fresh and realistic treatment of the natural world. Susan Owens follows Constable through the seasons, tracing the rhythms and resonances of the artist’s year to offer a vivid, unconventional perspective on this beloved figure. Whether in London in May, preparing pictures for exhibition and longing for the Suffolk spring, or painting boat-builders and waiting to be married in a particularly gloomy September, Constable’s life and work were unusually shaped by the yearly cycles of weather and agriculture, as well as by the often competing demands of the art world. Raised in Suffolk and trained to manage his father's land, his rural background had an enduring impact on his painting. His was the approach of one who knew the laneways, ploughs and millponds he painted intimately, and who understood the countryside as a place of both labour and natural phenomena. Though today he is often considered a traditional artist, in truth John Constable was a radical. His sketchbooks and paintings reject second-hand, slip-shod versions of nature, instead subjecting the land, its people and industry to intense scrutiny; developing a new kind of painting to fit the landscape he saw with his farmer’s eye and felt beneath the soles of his boots.

This book presents a fascinating analysis of expertise and policy formation, based on an in-depth study of the UK Royal Commission on Environmental Pollution. The Commission provided expert advice to governments from 1970 to 2011. Often portrayed as a scientific body, it was in fact an interesting hybrid, which embodied wide-ranging expertise. It delivered thirty-three reports, leaving a significant mark on British environmental policy, and having influence within Europe and beyond. Drawing upon an extensive literature and a wide range of sources, Knowledge, Policy, and Expertise provides the only full account of this important advisory body, covering a period in which the policy landscape was profoundly transformed. It offers a rich and detailed analysis of authority, autonomy, and trust; of the diverse roles that advisors can play and the networks within which they operate; and of the circumstances of influence in which expert advice comes to be accepted gratefully, used strategically, absorbed in diffuse ways, or ignored. Above all, this book demonstrates the complexity and contingency of knowledge-policy relations, contributing substantially to a theory of expertise, and drawing out important implications for the future of good advice.

A gorgeously illustrated volume devoted to the natural history drawings and watercolors of Leonardo da Vinci and other outstanding artists of the Age of DiscoveryFrom the fifteenth century onwards, as European explorers sailed forth on grand voyages of discovery, their encounters with exotic plants and animals fanned intense scientific interest. Scholars began to examine nature with fresh eyes, and pioneering artists transformed the way nature was seen and understood. In Amazing Rare Things, renowned naturalist and documentary-maker David Attenborough joins with expert colleagues to explore how artists portrayed the natural world during this era of burgeoning scientific interest. The book focuses on an exquisite selection of natural history drawings and watercolors by Leonardo da Vinci, Alexander Marshal, Maria Sibylla Merian, and Mark Catesby, and from the collection of Cassiano dal Pozzo—works all held in the Royal Library at Windsor Castle. Attenborough and his coauthors offer lucid commentary on topics ranging from the 30,000-year history of human drawings of the natural world, to Leonardo’s fascination with natural processes, to Catesby’s groundbreaking studies that introduced Europeans to the plants and animals of North America. With 160 full color illustrations, this beautiful book will appeal to readers with interests that extend from art and science to history and nature.

The first art book to explore Rossetti's art and poetry together, including her own artworks, illustrations to her writing, and art inspired by herChristina Rossetti (1830–1894) is among the greatest of English Victorian poets. The intensity of her vision, her colloquial style, and the lyrical quality of her verse still speak powerfully to us today, while her striking imagery has always inspired artists. Rossetti lived in an exceptionally visual environment: her brother, Dante Gabriel Rossetti, was the leading member of the avant-garde Pre-Raphaelite Brotherhood, and she became a favorite model for the group. She sat for the face of Christ in William Holman Hunt’s The Light of the World, while both John Everett Millais and Frederick Sandys illustrated her poetry. Later on, the pioneering photographer Julia Margaret Cameron and the great Belgian Symbolist Fernand Khnopff were inspired by Rossetti’s enigmatic verses. This engaging book explores the full artistic context of Rossetti’s life and poetry: her own complicated attitude to pictures; the many portraits of her by artists, including her brother, John Brett, and Lewis Carroll; her own intriguing and virtually unknown drawings; and the wealth of visual images inspired by her words.Published in association with Watts GalleryExhibition Schedule:Watts Gallery, Guildford, Surrey(11/13/18–03/17/19)

Winner of the Apollo Book of the Year Award 2024Drawing is at the heart of human creativity. The most democratic form of art-making, it requires nothing more than a plain surface and a stub of pencil, a piece of chalk or an inky brush. Our prehistoric ancestors drew with natural pigments on the walls of caves, and every subsequent culture has practised drawing—whether on papyrus, parchment, or paper. Artists throughout history have used drawing as part of the creative process.  While painting and sculpture have been shaped heavily by money and influence, drawing has always offered extraordinary creative latitude. Here we see the artist at his or her most unguarded. Susan Owens offers a glimpse over artists’ shoulders—from Michelangelo, Rembrandt, and Hokusai to Van Gogh, Käthe Kollwitz, and Yayoi Kusama—as they work, think, and innovate, as they scrutinise the world around them or escape into imagination.  The Story of Drawing loops around the established history of art, sometimes staying close, at other times diving into exhilarating and altogether less familiar territory.

In a new and critical analysis, this book explores the impact of an influential idea - sustainable development - on the institutions and practices governing use of land. It examines the paradox that in spite of increasing attention to sustainability, land use conflict is as ubiquitous and intense as ever.

The first edition of this seminal book was written at a time of rapidly growing interest in the potential for land use planning to deliver sustainable development, and explored the connections between the two and implications for public policy. In the decade since the book was first conceived, environmental imperatives have risen still further up the policial agenda and land use conflicts have intensified, lending even greater importance to the authors' research.In a rigorous discussion of concepts, policy instruments and contemporary planning dilemmas, the authors challenge prevailing assumptions about planning for sustainability. After charting the remarkable growth in expectations of planning, they show how attempts to interpret sustainability must lead to fundamental moral and political choices.

Imagining England’s Past takes a long look at the country’s invented histories, from the glamorous to the disturbing, from the eighth century to the present day. England has long built its sense of self on visions of its past. What does it mean for medieval writers to summon King Arthur from the post-Roman fog; for William Morris to resurrect the skills of the medieval workshop and Julia Margaret Cameron to portray the Arthurian court with her Victorian camera; or for Yinka Shonibare in the final years of the twentieth century to visualize a Black Victorian dandy? By exploring the imaginations of successive generations, this book reveals how diverse notions of the past have inspired literature, art, music, architecture and fashion. It shines a light on subjects from myths to mock-Tudor houses, Stonehenge to steampunk, and asks how – and why – the past continues so powerfully to shape the present. Not a history of England, but a history of those who have written, painted and dreamed it into being, Imagining England's Past offers a lively, erudite account of the making and manipulation of the days of old.Praise for Imagining England's Past'Susan Owens conjures our imagined past with such vivacity and lyricism that I can see the dawn mist rising over fabled fields and hear the tread of fictional histories on the worn stairs of yesteryear. Packed full of myths, stories, poems and paintings I found this book impossible to put down!'Charlotte Mullins, broadcaster, art critic and author of A Little History of Art

The first edition of this seminal book was written at a time of rapidly growing interest in the potential for land use planning to deliver sustainable development, and explored the connections between the two and implications for public policy. In the decade since the book was first conceived, environmental imperatives have risen still further up the policial agenda and land use conflicts have intensified, lending even greater importance to the authors' research.In a rigorous discussion of concepts, policy instruments and contemporary planning dilemmas, the authors challenge prevailing assumptions about planning for sustainability. After charting the remarkable growth in expectations of planning, they show how attempts to interpret sustainability must lead to fundamental moral and political choices.

In a new and critical analysis, this book explores the impact of an influential idea - sustainable development - on the institutions and practices governing use of land. It examines the paradox that in spite of increasing attention to sustainability, land use conflict is as ubiquitous and intense as ever.

A revelatory cultural history revealing what spirits, ghosts and apparitions can tell us about our culture, and about ourselves. Ghosts are woven into the very fabric of life. In Britain, every town, village, and great house has a spectral resident, and their enduring popularity in literature, art, folklore, and film attests to their continuing power to fascinate, terrify, and inspire. Our conceptions of ghosts – the fears they provoke, the forms they take – are connected to the conventions and beliefs of each particular era, from the marauding undead of the Middle Ages to the psychologically charged presences of our own age. The ghost is no less than the mirror of the times. This dazzling new cultural history explores the ghost through the work of an extraordinary range of artists and writers, including William Hogarth, William Blake, Henry Fuseli, Dante Gabriel Rossetti, John Everett Millais, Susan Hiller and Jeremy Deller; John Donne, William Shakespeare, Samuel Pepys, Daniel Defoe, Percy and Mary Shelley, Emily Bronte, Charles Dickens, Wilkie Collins, Henry James, Thomas Hardy, Muriel Spark, Hilary Mantel, and Sarah Waters.

Jonathan Richardson (1667–1745) was one of 18th-century England’s most significant cultural figures. A leading portrait painter and influential art theorist, he also amassed one of the period’s greatest collections of drawings. But there was another, highly unusual dimension to his pursuits. In 1728, at the age of 61 and shortly before his retirement from professional life, Richardson began to create a remarkable series of self-portrait drawings. Not intended for public display, these works were unguarded explorations of his own character. In one of the most astonishing projects of self-examination ever undertaken by an artist, for over a decade Richardson repeatedly drew his own face. His self-portrait drawings are usually dated precisely, and they document, from month to month, his changing state of mind as much as his appearance. Many were drawn in chalks on large sheets of blue paper, from his reflection in the mirror. Some of these are bold and psychologically penetrating, while others, in which he regards his aging features with gentle but unflinching scrutiny, are deeply touching. A further group of self-portraits is drawn with graphite on small sheets of fine vellum, and in these Richardson often presents himself in inventive and humorous ways, such as in profile, all’antica, as though on the face of a coin or medal; or crowned with bays, like a celebrated poet. Sometimes, too, he copies his image from oil paintings made decades earlier, in order to recall his appearance as a younger man. In this extraordinary series of self-portraits, Richardson offers a candid insight into his mind and personality. Together, these drawings create nothing less than a unique and compelling visual autobiography. This publication – which accompanies the first ever exhibition devoted to Richardson’s self-portrait drawings, held in the new Gilbert and Ildiko Butler Drawings Gallery at the Courtauld – tells the story of these remarkable works and puts them into the context of his other activities at this period of his life – in particular the self-searching poems he wrote during the same years and often on the same days as he made the drawings. An introductory essay is followed by focused discussions of each work in the exhibition. This part of the book explores the materials and techniques Richardson used, whether working in chalks on a large scale or creating exquisitely refined drawings on vellum. It will also reveal how Richardson modeled some of his portraits on old master prints and drawings, including works in his own collection by Rembrandt and Bernini. The publication brings together the Courtauld Gallery’s fine collection of Richardson’s drawings with key works in the British Museum, the National Portrait Gallery and the Fitzwilliam Museum.