Modern Art Press – förlag

Traces the evolution of Matisse's work on paper, from experimental beginnings to the artist's instantly recognizable mature styleAn internationally recognized expert in the European tradition of draughtsmanship, Christopher Lloyd offers rare insights about the technical qualities of Matisse's drawings. This book traces the evolution of Matisse's large and varied body of drawings and works on paper-including graphic work, the celebrated cut-outs and the famous decoration of the Chapel of the Rosary at Vence, France. The artist's drawings are contextualized within his own biography and times, from vibrant early twentieth-century Paris to later periods in luxurious Nice. Lively prose and a wealth of reproductions illustrate Matisse's versatility in different media and his innovative, expansive concept of drawing. Despite the variety of his output, the work always reflects the artist's constant desire to express pure emotion in visual terms. Since 2014, Christopher Lloyd has published four highly successful books on the drawings of modern artists. This book follows his most recent publication, Picasso and the Art of Drawing. With over 150 illustrations, including archival photographs of Matisse's studio and the artist at work, this volume concisely covers Matisse's entire graphic oeuvre.

Peter Lanyon (1918–1964) was one of the foremost British landscape painters of the twentieth century. Born in St Ives, where he lived for most of his life, he strongly identified with Cornwall, the place that inspired much of his early and mid-career work. In the later 1950s, as other subjects came to predominate, particularly the weather, air and glider flight, he made a series of works that have been compared in their originality and importance for the landscape genre to those of Constable and Turner. This authoritative publication, which is the first catalogue raisonné of Lanyon’s oil paintings and three-dimensional works, reveals the full extent of his oeuvre. Toby Treves fully catalogues each of the 613 works, the great majority of which are sumptuously illustrated in colour. The book also includes three essays: an introduction by the author to Lanyon’s work, an essay by Professor Sam Smiles placing Lanyon in an historical context, and an essay by Mary Bustin (former Tate paintings conservator) and Toby Treves about the artist’s painting technique. In addition, there is a fully illustrated chronology, a comprehensive history of solo and group exhibitions and a selected bibliography.

Thomas Gainsborough's (1727-88) London years, from 1774 to 1788, were the pinnacle and conclusion of his career. They coincided with the establishment of the Royal Academy, of which Gainsborough was a founding member, and the city's ascendance as a center for the arts. This is a meticulously researched and readable account of how Gainsborough designed his home and studio and maintained a growing schedule of influential patrons, making a place for himself in the art world of late-18th-century London. New material about Gainsborough's technique is based on examinations of his pictures and firsthand accounts by studio visitors. His fractious relationship with the Royal Academy and its exhibition culture is reexamined through the works he sent to its annual shows. The full range of Gainsborough's art, from fashionable portraits to landscapes and fancy pictures, is addressed in this major contribution, not just to the study of a great artist, but to 18th-century studies in general.

A beautiful, lively tour through the portraits of one of the most celebrated painters of 17th century EuropeIn this sumptuously illustrated volume, eminent art historian Sir Christopher White places the portraiture of renowned Flemish painter Anthony Van Dyck (1599-1641) in context among the work of his contemporaries working in and around the courts of seventeenth-century Europe. Van Dyck's artistic development is charted through his travels, beginning in his native Antwerp, then to England, Italy, Brussels, the Hague, and back again. Combining historical insights with a discerning appreciation of the work, White brings Van Dyck's paintings to life, showing how the virtuoso not only admired his artistic predecessors and rivals but refashioned what he learned from them into new kind of portraiture. Beautifully produced and a pleasure to read, this book is an important contribution to the literature on a celebrated painter.

A celebration of London’s vast and varied garden legacy, but with an unexpected focus on those gardens that have either vanished or changed beyond recognition over the centuries  Lost Gardens of London pays tribute to the evanescence of London’s vast and varied garden legacy. Todd Longstaffe-Gowan explores gardens that range in date from the sixteenth to the twenty-first century, and from the capital’s humble allotments and gardens behind terraced houses to defunct squares, amateur botanical gardens and aviaries, princely pleasure grounds, royal-palace gardens, artists’ gardens and private menageries—gardens that either no longer exist or are unrecognisable today.  Our fascination with lost gardens is often fuelled by our interest in reconstructing worlds that supply us with a powerful means of making sense of the past, and a way of reading history. In this beautiful and evocative book, illustrated with a variety of images including watercolours, coloured engravings, and photographs, Longstaffe-Gowan reminds us of what a precious asset gardened green space is, and how it has contributed over the centuries to the quality of life and well-being of generations of inhabitants of the Metropolis.  Distributed for Modern Art Press  Exhibition Schedule:  Garden Museum, London(23 October 2024–2 March 2025)

This four-volume publication marks the completion of one of the most ambitious stages in the long-term task of cataloguing sculpture in the Royal Collection.The scope of the catalogue – covering sculpture in all materials from the fifteenth to the late twentieth century – is unprecedented. Incorporating countless new attributions and identifications and the results of conservation and scientific examination, the catalogue will be an indispensable work of reference for all students of post-medieval sculpture, impressive not only in the quality of its scholarship but also for the extent and depth of the documentation. Highlights include an exceptional group of bronze busts from the Italian and Northern Renaissance, the first bronze casts of ancient sculpture to be made in Britain, the best ensemble of French seventeenth- and eighteenth-century bronzes outside France, unrivalled examples of English portrait sculpture from the seventeenth century onwards and the most complete surviving collection of Victorian sculpture.With an introductory survey covering the relationships between British monarchs and sculptors since the seventeenth century and the impact of sculpture in the interiors of the royal palaces over the same period, the admirably clear and engaging text is essential reading for students of royal collecting. It is accompanied by almost 2,000 illustrations, most of which have been commissioned for this book.

A celebration of the life and work of the innovative British artist Euan UglowEuan Uglow (1932–2000) was one of the finest painters of his generation. For a long time appreciated only by fellow artists and a relatively small band of devoted collectors, his work is now reaching a wider audience, and its innovative nature is finally being recognised and properly understood. He belongs with the best of twentieth-century British artists: Michael Andrews, Frank Auerbach, Francis Bacon, Lucian Freud, and Leon Kossoff. As a radical modern master, he is not out of place with Ben Nicholson and Bridget Riley.The Uglow Papers is a celebration of Uglow’s art, life, and teaching, recounted by those who knew him as friend, colleague, or mentor. The book brings together anecdotes and opinions relating to the various decades of his life, from his years as a student in the late 1940s and early 1950s to his development and maturity as an artist and to his tragically early death. His life was a full one, devoted primarily to painting and drawing but also to teaching (mainly at the Slade School of Art) and to spending time with an unexpectedly wide circle of friends.This is the first major monograph on Uglow. Profusely illustrated, it contains much new material about the artist, his teaching, and his friendships. Initiated and edited by Andrew Lambirth, who knew the artist well for the last decade of his life, and with contributions from Frank Auerbach, Sir Paul Smith, and Cherie Blair among others, this book sheds new light on Euan Uglow’s life and work and will be an invaluable source of reference for all those interested in modern art.

Michael Andrews (1928–1995) is probably one of the least known but one of the most important British artists of the twentieth century and his aptitude for painting only masterpieces has been noted on more than one occasion Andrews friendship from early in his career with Francis Bacon, Lucian Freud, Frank Auerbach and Leon Kossoff led to his identification as an artist belonging to the ‘School of London’. However, his work also demanded close attention as he addressed fundamental issues that are imbued with a universal relevance. His early figurative paintings, dating from the 1950s and 1960s, were directly inspired by the political and social changes associated with post-imperial Britain. From the 1970s, Andrews pursued a wider range of themes arising from his growing interest in philosophy and psychology, as revealed in his two-great series of works, Lights I–VII (1970–74) and School I–IV (1977–8). Inspired by his home county of Norfolk, he was increasingly engaged with landscape painting, often on a large scale. His comparatively small output concluded with three depictions of the River Thames begun in 1992, just before he was diagnosed with cancer; as such, these works have the profundity of an allegory of life.Distributed for Modern Art Press

A celebration of King Charles III, initiative to support and encourage artists by restarting the tradition of travelling with an official tour artist.In 1985, King Charles III, then Prince of Wales, asked the painter John Ward to accompany him on an official tour to Italy to make an artistic record of the visit. In so doing, he began an inspiring tradition that celebrates its fortieth anniversary in 2025, with forty-two different artists having accompanied the King on sixty-nine official tours to ninety-five different countries worldwide.  This book relates the extraordinary stories of these visits and celebrates the work of the tour artists. Their recollections are revealed in a series of individual interviews, and their anecdotes, personal reflections and glimpses behind the scenes provide a fascinating insight into the unique essence of life on a royal tour.  The book is both a celebration of the King’s initiative to support and encourage artists and a unique and compelling account of this very special royal tradition. Sumptuously illustrated with some of the many hundreds of works produced by artists who were inspired by the King’s generosity and his unswerving commitment to the arts, the book honours the power of an artist to record what a photograph never can, in the incomparable setting of a royal tour.  Published in association with Royal Collection Trust

In this trailblazing study, Margaret Garlake complicates traditional histories of British landscape art in the post-war period. Drawing together work from painters and photographers-many of them women-Garlake expands the conventional view of the genre to include both rural and urban subjects. In doing so, she brilliantly places the work within the context of physical changes wrought by postwar society, as the British countryside reverted to civilian use, cities were built, and artists adjusted to the landscape as a site of both tradition and modernity. Carefully researched and subtly argued, this book will deepen our understanding of a fascinating period in British art history.

In the second half of the twentieth century, Leon Kossoff was at the forefront of figurative painting in Britain. His pictures of family and friends and of London are among the period’s greatest portraits of people and of urban life. Full of feeling, his paintings of people capture the vitality and soul of his sitters, and those of London, the immense, relentless energy of the city in which he was born and lived his entire life. Like most of his contemporaries, his art was deeply indebted to the European tradition; a tradition he studied with the eye of a painter and then modernised. Classical bathers were replaced by the riotous life of public swimming pools; Piranesi’s fantastical prisons by ticket halls; portraits of the powerful by those of his own circle of humble acquaintances; and perhaps most memorably, the idealised or romantic landscape by an urban one of trains, cars, buildings and pedestrians, all invested with an astonishing visual vibrancy by expressive distortion and the thick, glittering surfaces of his paintings.Drawing on an unprecedented level of access to Kossoff, his archive and his studios, this catalogue raisonné brings together all of Kossoff’s oil paintings and sets them out in chronological order with accompanying commentaries bring new insight to the works, as well as quoting significant published criticism. Beyond these entries, the book comprises an introduction by Andrea Rose, an essay on Kossoff’s relationship with the Old Masters by Dr Barnaby Wright (Deputy Head of the Courtauld Gallery), an extensive chronology and a further short essay by Rose on Kossoff’s materials and his extraordinary technique. The backmatter includes a list of works in public collections, a comprehensive list of solo and group exhibitions, an extensive selected bibliography, an appendix of destroyed works, an index of titles and a general index.

A fully illustrated, comprehensive, and scholarly catalogue of the paintings in the Ashmolean Museum’s collection by French artists born between 1775 and 1875The only complete catalogue of French paintings of the period in the Ashmolean Museum, this comprehensive and scholarly study explores their rich collection of nineteenth-century French art. Continuing a convention set by earlier Ashmolean catalogues that mirrors the concept of the long nineteenth century, the book defines nineteenth-century French artists as those born between 1775 and 1875. Stretching into the twentieth century, it covers a fascinating range of paintings including works by Louis-Léopold Boilly, Camille, Lucien, and Félix Pissarro, Henri Fantin-Latour, Édouard Manet, Pierre-Auguste Renoir, Paul Cézanne, Claude Monet, and Henri Matisse.  The catalogue was compiled by the late distinguished art historian Jon Whiteley. In each entry, Whiteley draws upon his encyclopaedic knowledge of French art and the Ashmolean holdings. Provenance, literature, and exhibition history are recorded as well as extensive technical notes and information on frames. The entries on each work are accompanied by new, high-quality photography and comparative images, resulting in a complete and thorough documentation of this important part of the Ashmolean collection of Western art, providing an informative contribution to existing scholarship.  Distributed for Modern Art Press

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.