Selected criticism, essays and lectures by Sir Alan Bowness, critic, art historian and former director of the Tate Gallery. With a foreword by Dawn AdesThis book comprises the selected writings of the eminent art historian, critic and museum director, Sir Alan Bowness (1928-2021). In the 1950s and early 1960s he was a regular and acute critic of contemporary art for Art News and Review, The Observer, The Spectator, Times Literary Review and the New York-based magazine Arts, among others. His reviews were often among the first substantial articles on the post-war generation of British artists, many of whom became his friends, and the first significant writings published in Britain on leading contemporary European and American artists. Many of these important but long out of print articles and essays are re-published here, as are others on the subject Bowness taught at the Courtauld Institute of Art from 1957 to 1980: nineteenth century French painting.Bowness left the Courtauld in 1980 to take up the post of director of the Tate Gallery. Under his leadership, the museum expanded its collection, deepened its commitment to scholarship, established itself as a major patron of contemporary art, not least through the Turner Prize which he initiated, and embarked on an expansion programme that led to the opening of Tate Liverpool, Tate St Ives and a new wing of what is now Tate Britain. His writings on museums (he also set up the Barbara Hepworth Museum, St Ives, and was involved with The Hepworth, Wakefield) and his reflections on criticism and reputation, also published here, remain especially relevant for the present era of mega-museums and art hype.

A record of every print Freud made, from early linocuts of the 1930s to his last etching published in 2007This first volume of the Lucian Freud catalogue raisonné focuses on the artist’s prints. The only complete volume of Freud’s prints, the book builds upon the work of earlier cataloguers and adds much new material which has come to light since the artist’s death. The volume records every print Freud made, from the early linocuts of the 1930s to his last etching published in 2007. Each work—including uneditioned etchings and unique proofs—is reproduced and fully catalogued by Toby Treves. Treves’s remarks include clear, precise technical detail for specialists and are informed by his knowledge of the wider oeuvre. An essay by the critic and Freud specialist Sebastian Smee, and an account of working with Freud by his main printmaker, Marc Balakjian, provide further insights into this part of the artist’s oeuvre.Distributed for Modern Art Press

The second part of the Lucian Freud catalogue raisonné, recording all of the artist’s oil paintings in four volumes, with detailed entries, new photography, and essays  This publication is the first attempt to comprehensively catalogue the oil paintings of the artist Lucian Freud (1922–2011). Over 500 works are presented and fully catalogued by Catherine Lampert and Toby Treves, with separate entries on each work providing essential information, provenance, and history of exhibition and literature, followed by individual remarks. Lampert and Treves provide new analysis of the paintings, informed by their collaborative research and collective knowledge of Freud’s oeuvre. Almost every work is reproduced in colour, including many for the first time.  The catalogue contains several essays by contributors, including the critic and Freud specialist Sebastian Smee, National Portrait Gallery research fellow Jacob Simon, and curator and art historian Colin Wiggins. A chronology of Freud’s life and work, comprehensive lists of solo and group exhibitions, and a bibliography provide a full overview of Freud’s career and critical responses to it, making the volumes indispensable for research.

Selected criticism, essays and lectures by Sir Alan Bowness, critic, art historian and former director of the Tate Gallery. With a foreword by Dawn AdesThis book comprises the selected writings of the eminent art historian, critic and museum director, Sir Alan Bowness (1928-2021). In the 1950s and early 1960s he was a regular and acute critic of contemporary art for Art News and Review, The Observer, The Spectator, Times Literary Review and the New York-based magazine Arts, among others. His reviews were often among the first substantial articles on the post-war generation of British artists, many of whom became his friends, and the first significant writings published in Britain on leading contemporary European and American artists. Many of these important but long out of print articles and essays are re-published here, as are others on the subject Bowness taught at the Courtauld Institute of Art from 1957 to 1980: nineteenth century French painting.Bowness left the Courtauld in 1980 to take up the post of director of the Tate Gallery. Under his leadership, the museum expanded its collection, deepened its commitment to scholarship, established itself as a major patron of contemporary art, not least through the Turner Prize which he initiated, and embarked on an expansion programme that led to the opening of Tate Liverpool, Tate St Ives and a new wing of what is now Tate Britain. His writings on museums (he also set up the Barbara Hepworth Museum, St Ives, and was involved with The Hepworth, Wakefield) and his reflections on criticism and reputation, also published here, remain especially relevant for the present era of mega-museums and art hype.

A record of every print Freud made, from early linocuts of the 1930s to his last etching published in 2007This first volume of the Lucian Freud catalogue raisonné focuses on the artist’s prints. The only complete volume of Freud’s prints, the book builds upon the work of earlier cataloguers and adds much new material which has come to light since the artist’s death. The volume records every print Freud made, from the early linocuts of the 1930s to his last etching published in 2007. Each work—including uneditioned etchings and unique proofs—is reproduced and fully catalogued by Toby Treves. Treves’s remarks include clear, precise technical detail for specialists and are informed by his knowledge of the wider oeuvre. An essay by the critic and Freud specialist Sebastian Smee, and an account of working with Freud by his main printmaker, Marc Balakjian, provide further insights into this part of the artist’s oeuvre.Distributed for Modern Art Press

The second part of the Lucian Freud catalogue raisonné, recording all of the artist’s oil paintings in four volumes, with detailed entries, new photography, and essays  This publication is the first attempt to comprehensively catalogue the oil paintings of the artist Lucian Freud (1922–2011). Over 500 works are presented and fully catalogued by Catherine Lampert and Toby Treves, with separate entries on each work providing essential information, provenance, and history of exhibition and literature, followed by individual remarks. Lampert and Treves provide new analysis of the paintings, informed by their collaborative research and collective knowledge of Freud’s oeuvre. Almost every work is reproduced in colour, including many for the first time.  The catalogue contains several essays by contributors, including the critic and Freud specialist Sebastian Smee, National Portrait Gallery research fellow Jacob Simon, and curator and art historian Colin Wiggins. A chronology of Freud’s life and work, comprehensive lists of solo and group exhibitions, and a bibliography provide a full overview of Freud’s career and critical responses to it, making the volumes indispensable for research.