Visar resultat för..."Lund Humphries Publishers Ltd"

This book remains the definitive survey of the life and work of Surrealist artist Leonora Carrington (1917-2011). Carrington burst onto the Surrealist scene in 1936, when, as a precocious nineteen-year-old debutante, she escaped the stultifying demands of her wealthy English family by running away to Paris with her lover Max Ernst. She was immediately championed by Andre Breton, who responded enthusiastically to her fantastical, dark and satirical writing style and her interest in fairy tales and the occult. Her stories were included in Surrealist publications, and her paintings in the Surrealists' exhibitions. After the dramas and tragic separations of the Second World War, Carrington ended up in the 1940s as part of the circle of Surrealist European emigres living in Mexico City. Close friends with Luis Bunuel, Benjamin Peret, Octavio Paz and a host of both expatriate Surrealists and Mexican modernists, Carrington was at the centre of Mexican cultural life, while still maintaining her European connections. Leonora Carrington: Surrealism, Alchemy and Art provides a fascinating overview of this intriguing artist's rich body of work. The author considers Carrington's preoccupation with alchemy and the occult, and explores the influence of indigenous Mexican culture and beliefs on her production.

The singular paintings of British artist Gillian Carnegie (b.1971) have been exhibited and discussed extensively for nearly two decades but this is the first substantial publication on her work.Carnegie’s work is explicitly analytical, systematic yet oblique in its reexamination of traditional painting genres such as still life, landscape, portraits, and the nude – all of them 'genres without a subject', as they have sometimes been called. Yet she makes clear that her impulse to resuscitate these categories is not simply an exercise in formalism, historicism, academic reverence, postmodern pastiche, or nostalgia. And far from being without a subject, far from having no story to tell, Carnegie’s paintings insistently suggest that there is a subject, that there is a story, but that the painting exists not to communicate it but to conceal it, to hold it incommunicado. In contemporary painting Gillian Carnegie's work stands apart, quietly, calmly and insistently uncanny, with an emotional tenor unlike anything else in art today.

This book assesses the paintings of Tal R (b. 1967), an Israeli-born Danish artist whose enigmatic work offers intersections of personal experience and wider history through a visual jigsaw, finely balanced between representation and abstraction, of what the artist has termed 'Kolbojnik', a Hebrew term for leftovers.Tal R's paintings are exceptionally idiosyncratic yet informed by an expansive view of the history of painting, with a diverse range of references including Fauvism, Symbolism and folk art. To the casual observer, his works depict amalgams of people, places and things. But deeper scrutiny reveals them as complex conceptual playgrounds where these seemingly simple categories are exploded and examined as 'construction' sites of both literal material (including collage, photography and sculpture) and meaning.For all students and lovers of painting, Tal R's works, like those of Chris Ofili or Laura Owens, have cleared a pathway for painting to continue after modernism and post-modernism without apology, beyond the worn-out 'death of painting' mantra. Martin Herbert's fascinating text offers an authoritative account of the twists and turns that path has taken so far.

This is the first comprehensive overview of the career to date of British artist Hurvin Anderson (b.1965). Anderson is known for painting loosely rendered ‘observations’ of scenes and spaces loaded with personal or communal meaning.Anderson’s painting style is notable for the ease with which he slips between figuration and abstraction, playing with the tropes of earlier landscape traditions and 20th-century abstraction. His paintings of barbershop interiors, country tennis clubs and tropical roadsides teem with rich brushwork and multitudes of decorative patterns or architectural features, at once obscuring and adding to underlying ruminations on identity and place.Drawing on interviews with the artist, Michael J. Prokopow offers a critical assessment of Hurvin Anderson’s painting practice to date that will be enlightening for all students, dealers and collectors of contemporary painting.

A Circumpolar Landscape demonstrates that Canadian and Scandinavian landscape painting reaches far beyond national identity and a preoccupation with Eurocentrism. This study brings together the work of Emily Carr, the Canadian Group of Seven, Anna Boberg, and Gustaf Fjaestad among others, with each chapter highlighting the high level of interactivity between artists and the environment. Simultaneously, this book highlights the lack of awareness of the respective ecosystems in which many of these works were produced. Working around northern hemispheric latitudinal lines, this book considers how a similar ecology and topography - orientated around the themes of forests, wilderness, lakes, mountains, aurorae, and ice – was depicted and is shared across these northern landscapes.This powerful and timely book takes these respective art histories in the direction of the environmental humanities and an ecocritical art history, recognising the broader transnational and ecological framework of the Circumpolar North.

Covering key aspects of provenance research for the international art market, this accessible publication, co-published with the International Foundation for Art Research (IFAR), explores a range of themes including challenges and best practice to considerations specific to Nazi looted art and the trade in illicit antiquities.Provenance research is a crucial component of any art-market transaction. Without a provenance it is often difficult to establish a work’s authenticity, its true value or who has legal title. Whether buying, selling or simply maintaining an artwork in either a private or a public collection, the days when a blind eye could be turned to the history (or the lack of a known history) of a work have long gone. Proper, thorough and effective provenance research is the minimum required and demanded in today’s art world – a world that is increasingly recognising the need for greater and more effective self-regulation in the face of fakes, forgeries and challenges to ownership or authenticity that are now commonplace.Provenance Research Today is essential reading for a broad audience, from those studying to become part of the art world or professionals starting a career in provenance research, to collectors or would-be collectors, dealers, galleries, auction houses, police and art lawyers.

Sir John Vanbrugh was one of Britain’s greatest architects and the designer of some of the most important and best beloved English country houses, including Castle Howard and Blenheim Palace. This beautifully illustrated biography draws on close study of Vanbrugh's letters to bring to life his ideas, beliefs, friendships and buildings, as well as providing insight into his professional practice and working relationships. Vanbrugh was, by the standards of architects of the time, a worldly figure, friend and ally of the great, with a strong sense of the imaginative characteristics of architecture, its power of evocation, and the emotional impact of a building’s massing, particularly when compared to the more disciplined and scholarly work of his contemporaries Sir Christopher Wren and Nicholas Hawksmoor.Charles Saumarez Smith paints a fascinating portrait of a man whose architecture was shaped by his personality. The book also explores Vanbrugh's activities as a playwright and theatre manager, his circle of friends, his place in 18th-century society, and, in a final section, his influence on later architects from Robert Adam to Robert Venturi and Denise Scott Brown.

The first full-length publication in English on influential modernist landscape designer Mien Ruys, this book offers rich insight into her character and the timeless lessons which can still be learnt from her work.From 1923 until 1980, Mien Ruys created over 3,000 gardens and landscapes. While most of these are in her native Netherlands, the influence of her designs and approaches spread far wider: many of us will have a little bit of Mien in our gardens, be it a railway sleeper, a diagonal line, a Phlomis russeliana or a water ball. Her work was extraordinary in combining two exceptional elements. Firstly, Mien was one of the leading proponents of modernist design: having trained and collaborated with architects such as Ben Merkelbach, Charles Karsten, Aldo van Eyck, Jan Piet Kloos, Hein Salomonson and Gerrit Rietveld, she introduced clean lines, geometric shapes and innovative materials into garden and landscape design. One of the few women members of CIAM, she was also one of the first to call for architects and landscape architects to collaborate fully from initial design onwards. She did so regularly, often on much needed social housing schemes, but also on schools, hospitals and nursing homes. All her projects shared a desire to offer users a better quality of life. One of her most well-known collaborations was with Gerrit Rietveld in Bergeijk on the Ploeg factory and Park, which has since been listed as a historic monument.Uniquely, Mien Ruys combined this modernist design approach with an extensive knowledge of plants and planting, which she learnt from a very early age in her father’s Royal Moerheim Nursery in Dedemsvaart. Her father had close links with international gardeners, such as Gertrude Jekyll, who greatly influenced Mien as she developed her own loose, natural style of planting. Her book on perennials, published in 1950, was internationally influential and, in seeking deeper understanding about plants and planting, Mien created more than 20 experimental gardens at Dedemsvaart, many of which are now also historic monuments.

This book serves to establish Clara Peeters, one of the most talented and creative among the early practitioners of still-life painting in Europe in the early 17th century, as a leader in her field. The book not only discusses the artist’s biography but also examines the historical and cultural context of Peeters’ art, her artistry and the material culture reflected in her paintings. Part of the first generation of European artists to specialise in still-life painting, Peeters was in fact the only Flemish woman known to have focussed on this genre of painting in the early 17th century. She was also one of the few women to dedicate her professional life to painting in early modern Europe.This timely book sheds light on the limitations that Clara Peeters encountered because of her gender and how she responded to them in her art, while also assessing her importance as a painter of still-life.

Mary Fedden (1915-2012) is one of Britain's most popular artists. The focus of this acclaimed book is the artist's creative process in various different media - oil, gouache, pencil and collage.While Fedden is often considered almost exclusively a still-life painter, still life was far from being her only preoccupation, as this book shows. Fantasy and imagination always also played a strong part, as is particularly evident in her small gouaches. A quietly surreal, enigmatic streak runs through much of her work.Fedden's collages are a witty and affectionate homage to the work of her husband, Julian Trevelyan. They lived, worked and travelled together from 1949 to 1988. The book re-emphasises her debt to him, but also her independence, even during their early life together when he stimulated her move into Modernism.In an engaging text, which draws on numerous conversations with the artist during her final years, Christopher Andreae considers why Fedden has always had such a popular following, looks at the English quality of her work, and talks about the commercialisation of her art and her attitudes to the art market. Fedden is shown to be an original, serious and prolific artist, a draftsman of unusual sensitivity and prowess, and a colourist of power and subtlety.Profusely illustrated with works from private and public collections, this is a book for Mary Fedden's existing devotees as well as newcomers to her work.

On New Year's Day 1986, encouraged by her dealer Andras Kalman, artist Mary Newcomb, then aged 64, began to keep a diary. She wrote in its opening pages: 'I wanted … to remind ourselves that – in our haste – in this century – we may not give time to pause and look – and may pass on our way unheeding'. This beautiful new book, compiled by the artist's daughter and grandson, reveals Mary Newcomb as an acute observer of her surroundings, reproducing her copious sketches alongside more finished paintings and short diary extracts to draw out the many themes which preoccupied her throughout her career as an artist.Mary Newcomb's world was rural East Anglia, where she managed a small mixed farm with her husband Godfrey Newcomb. The working life of the countryside engrossed her quite as much as the cycle of Nature: she noticed and relished everything, with as keen an eye for the colour of the bridesmaids' dresses at a wedding as for the yellow and brown of a dragonfly’s body.Mary's daughter Tessa Newcomb, also an artist, introduces the key themes of the book with short texts which provide fascinating insight into her mother's world. A reflective introductory essay by art critic William Packer considers Mary Newcomb's written diary observations alongside the poetic language of her art.

Radical Women tells an original story of British modernism from the perspective of Jessica Dismorr's career, along with the women artists - some famous, some lesser-known - she worked and exhibited with.The work of Jessica Dismorr (1885-1939) has been described as encapsulating 'the stylistic developments of twentieth-century British Art', and her oeuvre certainly encompasses some of its most exciting moments - from Rhythm in the early 1910s, through Vorticism, towards post-war modernist figuration and finally into the abstraction she shared with radical political artists groups in the 1930s. Within this period of intense creativity, which extended beyond art to literary and design accomplishments too, Dismorr was privileged to work and exhibit alongside some of the most exciting female artists of the time, including Barbara Hepworth and Winifred Nicholson, to lesser-known figures such as Dorothy Shakespear, Anne Estelle Rice and Helen Saunders. Bringing a web of fascinating connections to light for the first time, this publication provides a fresh interpretation of a pioneering period and the role women played within it.

This book offers the first critical account of Studio Aalto’s religious modern architecture. Aalto’s ecclesiastical oeuvre is viewed as an evocative subgenre of the practice's portfolio, but its relationship to religion has eluded enquiry. Where previously discussed, the longstanding collaboration between Aalto and the Church has been put down to reciprocal expediency, and the buildings perceived as spatially and structurally stirring experiments, yet devoid of religious meanings or implications. The idiosyncratic plasticity of the Church of the Three Crosses (1955–58) in Imatra, Finland—the most famous and architecturally impressive of Aalto’s churches—is cited as ultimate evidence of Aalto’s exploitation of the religious brief for the creation of a 'sculptural irrationality'.This book challenges the assumed autonomy of Studio Aalto’s ecclesiastical oeuvre from religion. Analysing designs for churches, parish centres, funerary chapels and cemeteries in Finland, Denmark, Germany and Italy, the book shows that Aalto’s engagement with religion transcended artistic opportunism. The book addresses Aalto’s sacred oeuvre in its entirety, yet pays particular attention to the Church of the Three Crosses, broadly considered the apotheosis of Aalto’s sacred career. Through a detailed analysis of the religious actors and factors that shaped the design and construction of Aalto’s sacred works—from local parish building committees to bishops, and from liturgical reform movements to post-war debates on sacred art—this book shows that religious influences were neither extrinsic nor peripheral to Aalto’s modernism, but intrinsic and intimately related to it. The study of previously uncovered primary archival materials establishes that Aalto’s engagement with the Church was a consciously and productively symbiotic partnership which drew from shared interests and values, yet which also encompassed compromise and conflict. The resultant buildings neither glorify nor deny institutional religion — instead, this book argues, they challenge rigid dogmatism in religion as much as in modern architecture.

As a subject, Waterloo Bridge fascinated writers and artists such as Dickens, Constable, Monet and Derain. This book tells the story of a bridge’s place in the city – its history in use, its inextricable connection with the great river which it crosses, and the character and activities of the two shores which it joins together. While focusing on Waterloo Bridge, the book also explores the evolution of the surrounding districts and the character of the Thames as it flows through Central London: tidal, wide, difficult to navigate and bridge, and intensely busy during its heyday. It sets Waterloo Bridge alongside the other London river bridges, revealing the complex politics and economics of bridge building.Full of fabulous characters and stories, the book takes us from the geology and ancient history to the history of the docks and on to the great bridge built in the 18th and 19th centuries. It reveals the complex politics and economics behind these bridges, who designed them and how they were constructed. The book explores how the surrounding districts evolved, the creation of the Thames embankments, and Waterloo bridge’s notoriety as a site for suicides – a subject that fascinated Dickens, Watts and Millais. It also reveals why it became a focus for artists such as Constable, Monet and Derain. It concludes with a poetic and honest description of the contemporary city.

Examined through the lens of cutting-edge scholarship, Artemisia Gentileschi clears a pathway for non-specialist audiences to appreciate the artist's pictorial intelligence, as well as her achievement of a remarkably lucrative and high-profile career. Bringing to light recent archival discoveries and newly attributed paintings, this book highlights Gentileschi's enterprising and original engagement with emerging feminist notions of the value and dignity of womanhood. Beautifully illustrated throughout, Artemisia Gentileschi brings to life the extraordinary story of this Italian artist, placing her within a socio-historical context. Sheila Barker weaves the story with in-depth discussions of key artworks, examining them in terms of their iconographies and technical characteristics in order to portray the developments in Gentileschi’s approach to her craft and the gradual evolution of her expressive goals and techniques.

This book lifts the lid on some of the excesses that the 21st-century explosion of the contemporary art market brought in its wake, notably at its very top end. The buying of art as an investment, temptations to forgery, tax evasion, money laundering and pressure to produce more and more art all form part of this story, as do issues over authentication and the impact of the enhanced use of financial instruments on art transactions.Drawing on a series of revealing interviews with artists, lawyers, dealers, law-enforcement agents, tax specialists and collectors, the author charts the voracious commodification of artists and art objects, and art's position in the clandestine puzzle of the highest echelons of global capital. Adam's revelations appear even timelier in the wake of the Panama Papers disclosures, for example incorporating examples of the way tax havens have been used to stash art transactions – and ownership – away from public scrutiny.With the same captivating style of her bestselling Big Bucks: The Explosion of the Art Market in the 21st Century, Georgina Adam casts her judicious glance over a section of the art market whose controversies and intrigues will be of eye-opening interest to both art-world players and observers.

The private collector’s museum has become a phenomenon of the 21st century. There are some 400 of them around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or ‘tombs for trophies’, the picture is far more complex and nuanced, as art-market journalist Georgina Adam (author of best-selling Big Bucks and Dark Side of the Boom) shows in her compelling new book.Georgina Adam’s investigation into this extraordinary proliferation, based on her recent visits to over 50 private spaces across the US, Europe, China and elsewhere, delves into the reasons behind this boom, the different motivations of collectors to display their art in public, and the various ways in which the institutions are financed. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Should private museums step in to fill a gap left by declining public investment in culture, and what are the implications for society and the arts? At a time of crisis in the museums sector, this book is an essential and thought-provoking read.

This book is about the architecture and design of broadcasting in the 1920s and 1930s, examining the buildings which the BBC occupied in its founding decades, with a particular focus on Broadcasting House in London. It argues that these environments were as constitutive of the Corporation’s identity as the programmes and people that they housed. Borrowing from the architectural writer Christopher Hussey’s characterisation of Broadcasting House as a ‘palace of the ether’ Elizabeth Darling asks how the immaterial medium of the broadcast was given material and spatial form by the BBC, and the engineers, architects and designers whom they commissioned.The book traces the development of the BBC both technologically and organisationally, and the changing demands it had of the spaces which accommodated it. It shows how associational networks and personal affiliations affected who was commissioned to work on what became Broadcasting House and offers a detailed account of the work of Val Myer, who designed the exterior and shell of the new building, and the team of architects who designed the studio interiors (Serge Chermayeff, Wells Coates, Edward Maufe, Raymond McGrath and Dorothy Warren). In documenting the design of Broadcasting House, and the responses to it, Palace of the Ether offers new insights into British architectural culture at a pivotal moment in the profession’s history.

This is the first book to survey the work of painter and printmaker Tom Hammick (b.1963). It sets Hammick's art within the context of contemporary debates about painting while relating it to the two-centuries-old Romantic tradition. Julian Bell explores in depth the artist's working processes, imagery and career to date, arguing that Hammick's work constitutes one of the richest imaginative achievements in late 20th- and early 21st-century British art. Many of Hammick's pictures respond to the landscape of South-East England, where he has spent much of his life. Others are inspired by his encounter with the wilderness of Canada's remote maritime provinces, a regularly revisited imaginative resource that has given his work much of its distinctive flavour. Hammick has spent three periods in Canada: as both a student and later visiting lecturer in Painting and Printmaking at Nova Scotia College of Art and Design, Halifax between 1989 and 2002, and in 2005 after being awarded a residency at the Art Gallery of Newfoundland and Labrador, now called the Rooms.Informed by the author's sustained contact with Hammick over many years, illustrated with over 120 carefully selected images, and produced in close collaboration with the artist, Tom Hammick: Wall, Window, World will appeal to the artist's collectors and wide popular audience, as well as students, art-world professionals and painting enthusiasts. It is available also in a special edition incorporating the three-part colour etching Fallout, created by the artist specially for this publication in an edition of 60.

Mackay Hugh Baillie Scott (1865-1945) was a leading and influential architect and designer of the Arts and Crafts movement in Britain, who adhered to the philosophy that good design should be made available to everyone. Based on Diane Haigh’s much praised and successful Baillie Scott: the Artistic House, which featured a charming and vivid portrait of the architect in the context of his time and his contemporaries by John Betjeman, this book is not only updated with new information, but it is now illustrated with full colour photography and architectural drawings. While Baillie Scott was mainly an architect of country houses and gardens, he also explored the grouping of houses and contributed to Hampstead Garden Suburb, as well as designing distinctive furniture and a great diversity of decorative details, including joinery, stained glass and embroidery. He was innovative in his spatial planning and was one of the first architects to develop open-plan living arrangements, in common with his American contemporary Frank Lloyd Wright (1867-1959). These aspects of his work are covered in a clear, engaging and insightful way. The book also includes a large new section on Baillie Scott’s own writings, including extracts from his highly influential book Houses and Gardens (1906). Other extracts discuss the influence of William Morris, Baillie Scott’s views on Modernism, asides on designing for servants and heights of windowsills, as well as two sets of correspondence – the first with the German critic Hermann Muthesius, and the second with a client who built an English country house in Switzerland. Throughout, Baillie Scott writes with good sense, careful thought and humour, and these pieces are still extremely relevant. Each of the extracts include William Fawcett’s informative commentary.

This book is the valuable Key to A New Arabic Grammar, the bestselling introduction to the Arabic language for over thirty years. Although A New Arabic Grammar is intended primarily as a teaching grammar not as a 'teach yourself' work, it has become clear that it is being used as a means of learning Arabic by many who have no teacher, and it is principally for their benefit that this key has been prepared. The Key contains translations of the English and Arabic exercises, and of the supplementary reading pieces in Arabic. Several generations of students have found the Key a most useful tool for their studies.

This is the definitive study of US artist Dorothea Tanning (1910-2012), positioning her as one of the most fascinating and significant creative forces to emerge during the 20th century. It provides a framework within which to consider the range and depth of Tanning's work, well beyond the better-known early Surrealist works of the 1940s, and makes connections between her life experiences and thematic preoccupations. Extensively illustrated and featuring unpublished material from interviews which the author conducted with the artist between 2000 and 2009, this book will appeal to the general museum-going public as well as academics, students, curators and collectors.

This is a revised second edition of A New Arabic Grammar of the Written Language first published in 1962. It is based on and replaces Thatcher's Arabic Grammar and has a vocabulary of over 4,000 words, almost twice as many as in the old Thatcher, while the number of chapters has been increased from forty-nine to fifty-two. The Supplement contains a number of new features. Apart from selections from the Qur'an, fables, stories, newspaper extracts, advertisements and letters, additional material in the form of extracts from classical and modern Arabic writings and proverbs is included. Appendix A provides a useful introduction to the main colloquial Arabic dialects, Appendix B, a useful reading guide, and Appendix C, further grammatical information not supplied in the first edition. This book will serve as a basis for a further and deeper study of the classical language and literature and at the same time form a good foundation for those who wish to concentrate on the modern written language of literature and the daily press. The authors have been careful to indicate which usages are current in modern Arabic, and which are antique or antiquated.The vocabulary also is both classical and modern. This is above all a practical grammar, not an advanced reference grammar like Wright's. It is meant for the beginner who is not familiar with the peculiarities of Semitic languages. Nevertheless it is comprehensive enough, the authors believe, for most students' needs in the first two or three years of their study.

Since the rediscovery of British Surrealism at the Children of Alice exhibition at Marcel Fleiss's Galerie 1900-2000 in Paris in 1982, there has been a major revival of interest in Surrealism outside France. Surrealism in Britain is the first comprehensive study of the British Surrealist movement and its achievements. Lavishly illustrated, the book provides a year-by-year narrative of the development of Surrealism among artists, writers, critics and theorists in Britain, from the 1936 International Surrealist Exhibition in London right through to the present day. Michel Remy has conducted personal interviews with many of the artists involved and the book includes an examination of the work of, among others, Paul Nash, Henry Moore, Eileen Agar, Len Lye, Humphrey Jennings, David Gascoyne, Grace Pailthorpe and Reuben Mednikoff, Roland Penrose, F. E. McWilliam, Conroy Maddox, Emmy Bridgwater, Edith Rimmington, Desmond Morris, Lee Miller, Julian Trevelyan and John Tunnard. Poetry, prose, painting, sculpture, photography and artists' texts all have their place in this fascinating and attractive book.

The Prints of Wilhelmina Barns-Graham: A Complete Catalogue is the first book to provide a complete account of the printmaking career of British artist Wilhelmina Barns-Graham (1912-2004), with particular reference to the technical innovations that she pioneered while working in association with master printers.Barns-Graham experimented with a variety of printmaking techniques, finally discovering her ideal means of expression in screenprinting. Through partnerships with innovative printmakers, she experimented with new techniques and materials that allowed her to create prints which, in their intensity of colour and precision of design, have the quality almost of paintings.Based on new research, and drawing on information contained in her numerous diaries, The Prints of Wilhelmina Barns-Graham incorporates a complete illustrated catalogue of all of the artist's known work in etching, linocut, lithography, screenprinting and monotype, from 1946 to 2007. It considers her work in relation to that of other British artists, especially those connected with the St Ives school, and examines her prints in relation to her works in other media, in particular her paintings. This book will prove an invaluable resource for museum curators, students of British art and twentieth-century abstraction, and all those seeking to learn more about this aspect of the career of one of Britain's most important artists of the late 20th-century.

This final volume in the British Sculptors and Sculpture series addresses the work of the important but neglected British sculptor Francis Derwent Wood RA (1871-1926). A student of Edouard Lanteri at the Royal College of Art, Derwent Wood's early artistic career was distinguished. His reputation grew rapidly and a period as Director of Modelling at the Glasgow School of Art saw him working on public commissions with many of the city's most important architects. Simultaneously, he built his London practice, perfecting the art of the rapidly executed, observationally astute portrait bust, and becoming a well-connected member of the Chelsea set. He exhibited at the Royal Academy every year from 1895 until his death in 1926, becoming a full Academician in 1920. During the First World War he carried out pioneering work in the field of facial prosthetics. He was appointed Professor of Sculpture at the Royal College of Art in 1918, where Henry Moore was amongst his many pupils. Derwent Wood's Machine Gun Corps memorial at Hyde Park Corner in London, completed in the year of his death, is amongst the best-known and most consistently reviled sculptures in Britain. Matthew Withey offers readers a subtle and layered interpretation of the career that led up to this iconic and misunderstood work, together with a comprehensive catalogue of Derwent Wood's diverse body of work.

The paintings of Paul Feiler (1918–2013), the focus of this first survey of the artist's life and career, were inspired by the English landscape, particularly the cliffs and inlets of the coast of south-west Cornwall. For his friend Peter Lanyon, Feiler's early works provided him with a sense of 'calm and I mean a sense of pause...To achieve that repose in the landscape I know one has to suffer the opposite.'Feiler's vision was based on the understanding that 'you stand vertically and you look horizontally'; through this he aimed to fulfil Cézanne's requirement that 'a picture should give us...an abyss in which the eye is lost.' He moved from painterly abstraction to an exploration of the elusive nature of space through the effects of narrow bands of colour, silver and gold in a pattern of square and circle, which he varied and developed over more than forty years. Based on full access to the artist's archive of letters,catalogues and photographs, Michael Raeburn describes how Feiler overcame many painful early experiences to achieve the meditative serenity of his deeply spiritual work. For all those interested in the history of modern British painting, this is a much-needed resource.