Royal Academy of Arts – serie

In recent years David Hockney has returned to England to paint the landscape of his childhood in East Yorkshire. Although his passionate interest in new technologies has led him to develop a virtuoso drawing technique on an iPad, he has also been accompanied outdoors by the traditional sketchbook, an invaluable tool as he works quickly to capture the changing light and fleeting effects of the weather. Executed in watercolour and ink, these panoramic scenes have the spatial complexity of finished paintings - the broad sweep of sky or road, the patchwork tapestry of land - yet convey the immediacy of Hockney's impressions. And as in the views down village streets and across kitchen tables that appear alongside them, his rooted and fond knowledge of the area around the East Yorkshire Wolds is always clear. If you know the region, the location of the sketches is unmistakable; if you don't, its features will come to life in these pages.

Rose Wylie OBE RA (b. 1934) lives and works in Kent. She paints from memory, frequently taking her imagery from mass media. Her large works on unstretched, unprimed canvas appear simple at first glance, but close inspection reveals them to be subtle meditations on the nature of visual representation. She regularly brings together apparently disparate images, creating visual rhymes and resonances that coalesce into unified compositions.This new book, the catalogue of a large-scale exhibition at the Royal Academy, brings together leading authorities on Wylie’s work and a host of her unmistakable imagery.

At the beginning of 2020, just as global Covid-19 restrictions were coming into force, the artist David Hockney was at his house, studio and garden in Normandy. From there, he witnessed the arrival of spring, and recorded the blossoming of the surrounding landscape on his iPad, a medium he has been using for over a decade. Working outdoors was an antidote to the anxiety of the moment for Hockney – 'We need art, and I do think it can relieve stress,' he says. This uplifting publication – produced to accompany a major exhibition at the Royal Academy of Arts – includes 116 of his new iPad paintings and shows to full effect Hockney's singular skill in capturing the exuberance of nature.

Pablo Picasso's artistic output is astonishing in its ambition and variety. This handsome publication examines a particular aspect of his legendary capacity for invention: his imaginative and original use of paper. He used it as a support for autonomous works, including etchings, prints and drawings, as well as for his papier-collé experiments of the 1910s and his revolutionary three-dimensional 'constructions', made of cardboard, paper and string. Sometimes, his use of paper was simply determined by circumstance: in occupied Paris, where art supplies were hard to come by, he ripped up paper tablecloths to make works of art. And, of course, his works on paper comprise the preparatory stages of some of his very greatest paintings, among them Les Demoiselles d'Avignon (1907) and Guernica (1937). With reproductions of more than 300 works of art and additional texts by Violette Andres, Stephen Coppel, Emmanuelle Hincelin, Christopher Lloyd, Johan Popelard and Claustre Rafart Planas, this sumptuous study reveals the myriad ways in which Picasso's genius seized the potential of paper at different stages throughout his career.

The fairy tales of the Brothers Grimm according to David Hockney are like no other version you will have read before. Although inspired by earlier illustrators of the tales, from Arthur Rackham to Edmund Dulac, Hockney's extraordinary etchings re-imagine these strange and supernatural stories for a modern audience, capturing their distinctive atmosphere in a style that is recognisably the artist's own. Reprinted for the first time since its original publication in 1969, Hockney's book brings together some well-known tales - Rapunzel, Rumpelstiltskin - with others that are less familiar. Informed by great art of the past, attuned to idiosyncrasies of character and incident, and fresh in execution and content, his illustrations invite us to read each one as if for the first time.

The first publication devoted to the work of Sydney Lee RA (18661949), this fully illustrated and annotated catalogue raisonne of his prints offers a long overdue appraisal of his contribution to British art. Primarily a painter, Lee was widely acclaimed during his lifetime for his virtuosic prints of landscapes, town scenes and historic buildings, executed in a remarkable variety of sizes and media. From the Colosseum in Rome to the summit of Snowdon and the windmills of Kent, he travelled throughout Britain and Europe in search of subjects both epic and picturesque. A leading authority on printmaking and a committed collector of Lees prints, Robert Meyrick here identifies the precise locations of these subjects, and for the first time establishes an accurate chronology of Lees printed oeuvre. In an accompanying essay Meyrick examines the artists reputation, while placing his work in the context of artistic practice in Britain and beyond.

Considered one of the most important religious structures of the twentieth century, the Chapel of the Rosary in Vence was regarded by Matisse himself as his greatest masterpiece. He dedicated four years to the creation of this convent chapel on the French Riviera, and the result is one of the most remarkable and comprehensive ensemble pieces of twentieth-century art. Every element of the chapel bears the artist's touch, from the vivid Mediterranean hues of the stained glass windows to the starkly powerful murals; even the vestments and altar were designed by Matisse. This beautifully illustrated volume captures the chapel in exquisite detail, allowing an unparalleled view of this iconic sacred space. With stunning new photography that captures the dramatic effects of the changing light in the building throughout the day, this book is the first to present the experience of being within the chapel exactly as Matisse himself envisaged it. Marie-Thérèse Pulvenis de Seligny's authoritative and insightful text explores the extraordinary story of the chapel's creation, and the challenges faced by the 77-year-old artist in realising his incredible vision.

In 1964 Lucian Freud set his students at the Norwich College of Art an assignment: to paint naked self-portraits and to make them 'revealing, telling, believable... really shameless'. It was advice that the artist was often to follow himself. Visceral, unflinching and often nude, Freud's self-portraits give us an insight into the development of his style as a painter. The works provide the viewer with a constant reminder of the artist's overwhelming presence, whether he is confronting the viewer directly or only present as a shadow or in a reflection.Essays by leading authorities - including those who knew him well - explore Freud's life and work, and analyse the importance of self-portraiture in his practice and the intensity that he maintained when studying his own.

Accompanying catalogue for the Marina Abramović exhibition at the Royal Academy from 23 September – 1 January 2024.Over the past half century, Marina Abramović has earned worldwide acclaim as a pioneer of performance art. This handsome new book records the first UK exhibition to include works from her entire career. Re-performances of some of her best-known and most radical pieces appear alongside new and recent work. An augmented-reality app for iOS and Android enables readers to watch films of Abramović’s original performances while reading the book.An essential purchase for all followers of Abramović’s extraordinary 55-year career, this important publication brings expert voices into the debate that her groundbreaking art engenders. How far should an artist push herself in pursuit of her work? What role does the audience play in creating a performance? How can performance art outlive the moment in which it takes place?

The Japanese artist Kawanabe Kyōsai (1831–1889) was celebrated for his exciting impromptu performances at calligraphy and painting parties. Dynamic, playful and provocative, Kyōsai delighted his audience with spontaneous and speedy paintings of demons, skeletons, deities and Buddhist saints. These were often satirical, reflecting a time of political and cultural change in Japan. Among his most charming and inventive works are his brilliant depictions of animals, which humorously play the roles of protagonists of modern life. Kyōsai’s important place in Japanese art is here explored in depth by Sadamura Koto, a leading authority on the artist, in this catalogue of the exceptionally rich holdings of the Israel Goldman Collection.

The Franco-Swiss photographer Hélène Binet (b. 1959) is renowned for making images that express an intimate experience of architecture. Using a combination of analogue and digital techniques, her photographs are both a representation and a discovery of her subjects, all of them buildings that break the mould, pushing daringly at the boundaries of their time. In this selection of some ninety of her photographs – ranging from the baroque London churches of Nicholas Hawksmoor and the Jantar Mantar Observatory in Jaipur through to buildings of contemporary architects Le Corbusier, Peter Zumthor, John Hejduk, Daniel Libeskind and Zaha Hadid – her work is revealed in all its subtlety and quiet sensitivity.

The Lammermuir Hills have been an important trade route between Scotland and England for generations, as well as an effective barrier when necessary.Drawn by the long history of south-eastern Scotland and the many conflicting elements in play in its natural environment – among them wind farms, pylons, forestry plantations, grouse moors and sheep – the distinguished Scottish painter and printmaker Barbara Rae CBE RA has made numerous studies of these wild expanses.This handsome volume reproduces a wide selection of her intensely colourful images with accompanying photographs and maps, and texts by the art critic Duncan Macmillan, Emeritus Professor of the History of Scottish Art at the University of Edinburgh, and Maureen Barrie, who worked for many years at National Museums Scotland.

David Remfry MBE RA has long been fascinated by the relationships that develop between dogs and their owners. In this charming new book, his deft portraits in watercolour and gouache reveal the mutual understanding and sympathy of these partnerships. Many of his portraits are accompanied by sketches from the artist's many notebooks alongside brief accounts by his sitters of how dog and owner came to find each other. Remfry's lively watercolours and sketches illustrate such celebrities as Ethan Hawke (and Nina), Susan Sarandon (and Penny and Rigby) and Alan Cumming (and Honey). Some of the sitters were Remfry’s neighbours at the iconic Chelsea Hotel in New York.

Internationally renowned, highly educated and very well connected, Angelica Kauffman (1741–1807) led a brilliant career as a pioneering history painter, an innovative portraitist and one of only two women among the founding membership of the Royal Academy of Arts in 1768. ‘The whole World is angelicamad’ – thus a Danish diplomat described the effect of her art and personality during her lifetime. Kauffman was admired by Goethe and Herder, and her clients included queens and emperors from across the continent. Her extraordinary life and work are beautifully presented in this handsome volume, which contains her finest paintings and drawings.

Born in 1942 in Worthing, David Remfry RA studied at Hull College of Art. His first solo show in London in 1973 has been followed by more than 50 international solo exhibitions. He is well known both for his large-scale watercolours of dancers, and for his drawings and watercolours of his neighbours and friends at the Hotel Chelsea in New York, where he lived from 1995 to 2016.Remfry’s skill in capturing dancers in movement in spontaneous watercolour is shown to particularly good effect in these pocket-sized sketches of tango aficionados. Characteristically, he shows us neither their heads nor their feet, instead concentrating entirely on their midriffs in this charming celebration of the most seductive and passionate of dances.

Sir Michael Craig-Martin CBE RA (b. 1941) is an important figure in British conceptual art, and among the most influential artists and teachers of his generation. Since his rise to prominence in the late 1960s he has moved between sculpture, installation, painting, drawing and print, creating works that fuse elements of pop, minimalism and conceptual art. His work transforms everyday objects – from buckets and ladders to trainers, mobile phones and laptops – with bold colours and simple, uninflected lines. Renowned as an art educator, he has inspired generations of artists, including the YBAs. This handsome book, the catalogue of the largest exhibition of Craig-Martin’s work to have been mounted in the UK, contains thought-provoking texts by the critics Michael Bracewell and Richard Cork, and an illuminating conversation between the artist and the writer Carolina Grau.

Kerry James Marshall: The Histories is the most extensive publication on the artist to date, celebrating half a century of his work. It reveals the complex ways in which he has transformed histories of Western painting, centering Black bodies in ambitious compositions set in barber shops, public housing projects, parks, and beauty salons. It charts his use of portraiture to memorialise individuals such as Nat Turner, Harriet Tubman, and Olaudah Equiano. A new series, illustrated here for the first time, looks at under-acknowledged aspects of the history of Africa. With lavish illustrations of all the works in the accompanying exhibition, it also includes chapters on Marshall’s Rythm Mastr project and his various public commissions including his stained glass windows for the cathedral in Washington D.C.. A survey by Mark Godfrey is accompanied by shorter essays by Aria Dean, Darby English, Madeleine Grynsztejn, Cathérine Hug, Nikita Sena Quarshie, Rebecca Zorach, and an interview between Kerry James Marshall and Benjamin H.D. Buchloh.

Richard Dadd (1817–1886) constructed fairytale worlds and other highly original works of art. After making his name as an exceptional student at the Royal Academy in the late 1830s, he travelled to the Eastern Mediterranean, where he developed a psychotic illness that led to the killing of his father. Dadd spent the rest of his life in London’s Bethlem Royal Hospital and then Broadmoor Hospital in Berkshire, in both of which he was encouraged to paint.Dadd’s output encompasses much more than the fairy paintings for which he is renowned. There are also highly detailed sketches evocative of his Eastern Mediterranean travels, remarkable characterisations of the human passions, and perceptive portraits of his doctors. Profusely illustrated throughout, this new account of his life and art by Nicholas Tromans and other leading scholars re-examines the legacy of one of the most fascinating figures in the visual arts of the Victorian era.

"…it should be noted that the outstanding quality of Wautier's paintings is well served not only by the exhibition itself but also by the design of the catalogue, in particular the superb quality of its numerous colour illustrations and the many well-chosen details." — Burlington MagazineMichaelina Wautier (1604–1689) is a name unfamiliar even to connoisseurs of Old Master painting. This handsome book seeks to correct that, by exploring the surviving portraits, history paintings, genre scenes and still-lifes that can be identified as hers. Born at Mons, Wautier pursued a successful career in Brussels, which was then ruled by Archduke Leopold Wilhelm, Governor of the Habsburg Netherlands, whose collection ended up at the Kunsthistorisches Museum, Vienna. This handsome book, produced by the Kunsthistorisches Museum in collaboration with the Royal Academy, brings together all the latest scholarship on the artist, alongside several exciting new attributions.

Ian McKeever RA (b. 1946) began painting in 1969. His early work grew out of a conceptual interest in landscape, painting and photography, reflecting his journeys to Greenland, Papua New Guinea and Siberia. In the mid-1980s his art became more abstract, revealing his interest in the human body and architectural structures. McKeever has published many texts concerning his travels and the nature of painting, and this selection – ranging from Piero della Francesca to Joan Mitchell – brings these together in one volume for the first time.

A perpetual diary celebrating the four-legged sitters of such artists as Edwin Landseer, David Hockney, and David Remfry. The Royal Academy's covetable compendium of canines contains a perpetual calendar useful for birthdays and recurring reminders as well as appointments. Each week faces an image by an artist associated with the Royal Academy, among them Edwin Landseer, David Hockney, Mary Fedden, David Remfry and Kyffin Williams. Their four-legged sitters encompass a multitude of breeds, from collie to cockapoo, greyhound to Great Dane, Pekingese to poodle, mastiff to plain old mutt. As W. H. Auden observed, 'In times of joy, all of us wished we possessed a tail we could wag.' SELLING POINTS: . A perpetual diary celebrating the four-legged sitters of such artists as Edwin Landseer, David Hockney, and David Remfry 52 colour illustrations

William Blake’s engraved illustrations of the Book of Job are masterpieces of intaglio art. Dated 1825 in the plate and published the following year, they were based on his watercolours of the same subject from 1806 (Morgan Library, New York) and 1821 (Fogg Museum of Art, Harvard). Unlike the watercolours, the prints have complex marginal decorations that comment upon the biblical text. They are among the most inspired and sublime artistic achievements of this visionary artist and poet of the British Romantic period. This handsome volume reproduces the Royal Academy’s copy of John Linnell’s 1874 printing, which comprised 100 copies on India paper laid on unmarked heavy paper. Katharine Dell, Professor of Old Testament Literature and Theology at the University of Cambridge, introduces the biblical text, and Joseph Viscomi, Professor at the University of North Carolina at Chapel Hill and co-editor of the Blake Archive, gives an account of the creation of Blake’s engravings. The 22 illustrations are reproduced at actual size from new photographs especially taken for this publication and are accompanied by a series of magnificent details of the prints.

The renowned Scottish artist Dame Barbara Rae DBE RA has long been fascinated by the polar regions. Published to accompany an exhibition at the Royal Scottish Academy, Edinburgh, in its bicentenary year, this sumptuous volume reproduces a host of new works made on Rae’s recent voyages to Antarctica. There she traced the journeys of the explorer Sir Ernest Shackleton during the ill-fated Imperial Trans-Antarctic Expedition (1914–17), visiting such remote locations as South Georgia and Elephant Island.

With an eclectic practice embracing urban planning, public sculpture and industrial design, Ian Ritchie CBE RA is one of Britains most visionary architects. Published here for the first time, his poems, aphorisms and etchings witness a profound engagement with the built environment. Ritchie writes poetry in order to better understand a project, using words to investigate the particularities or challenges of a site, and the process of composition to bring ideas into focus. His calligraphic etchings imagine the shape or spirit of commissions in simple but powerful strokes. Variably pragmatic and philosophical, often witty, his aphorisms on work and life from the importance of light to the nature and possibility of progress reveal a modernists belief in the potential of architecture to improve society. These are lines of thought, committed to paper before any designing begins. They demonstrate that, for Ritchie, being an architect is many more things besides. Ian Ritchie CBE RA is an internationally acclaimed architect. His built designs include the Leipzig Glass Hall, the Spire of Dublin, the elevator shafts for the Centro de Arte Reina Sofia, Madrid, and the RSC Courtyard Theatre, Stratford-upon-Avon, winner of the RIBA National Award in 2007.

Chris Orr MBE RA is one of Britain's foremost printmakers. In this definitive book he and Robert Hewison explore his remarkable printmaking career, from his early experiments as a student in the 1960s, when he first discovered how etching could enhance his drawing, to his later innovations in lithography, silkscreen and digital printing, and his ingenious use of long-forgotten processes. Hewison also considers the significant contribution that Orr has made to printmaking as a teacher, first at Cardiff College of Art and then in London at Central St Martins and the Royal College of Art, where he was Professor of Printmaking from 1998 to 2008. Illustrated with over 150 of Orr's theatrical, witty and wilfully allusive prints, this book looks for the first time in depth at the gloriously original output of a ceaseless inventor.

Le Corbusiers Chapel of Notre Dame du Haut in Ronchamp, eastern France, is one of the most unique and surprising religious buildings of the twentieth century. Replacing an earlier church that had been destroyed in the Second World War, a church that itself had been built on the site of a fourth-century Christian chapel, Le Corbusier transformed an ancient pilgrimage site into a dramatic work of modern art. In this insightful and beautifully illustrated volume, Maria Antonietta Crippa and Francoise Causse explore the particular set of circumstances that led one of the last centurys most famous exponents of urbanism to create an ethereal space of worship on a remote hill in the French countryside. As well as putting the chapel into its historical context and exploring the controversies and arguments that have surrounded it, the book, part of a series which began with Matisse: The Chapel at Vence (RA Publications, 2013), features stunning new photographs that capture the genius of Le Corbusiers design.

Maggie's Cancer Caring Centres are quietly extraordinary spaces, inspired by a belief in the healing powers of architecture. It was while suffering from advanced cancer that Maggie Keswick Jencks conceived the idea of a beautifully designed space offering support to those affected by the disease and, following her death in 1995, the first centre opened in Edinburgh in 1996. There are now 17 centres around the UK. In September 2011 Timothy Hyman was asked to be artist in residence at the Maggie's Centre at the Charing Cross Hospital in London, and this book records his drawings, paintings and reflections.

Anthony Green's idiosyncratic art is anchored in one central theme: family. It forms the core of his immediately recognisable work, revealing an intrinsic connection between his personal and artistic lives. The pictures in Green's mind have no edges, so his paintings are not contained within a traditional shape. They have irregularly shaped supports, reflecting the unpredictable range of situations and emotions that characterise family life. Green has exhibited across the globe, and was shortlisted for the Jerwood Painting Prize in 1996. A distinguished and long-serving Royal Academician, Green has exhibited at every Summer Exhibition for the last five decades. He was elected ARA in 1971 and RA in 1977, after winning that year's Summer Exhibit of the Year. He served for some years as Chairman of the RA's Exhibitions Committee. He lives and works in Cambridgeshire.

Each year between 1819 and 1825, John Constable submitted a monumental canvas to the Royal Academy of Arts in London for display in the annual Exhibition. These so-called 'six-footers' vividly captured the life of the River Stour in Suffolk, where Constable grew up and where he returned to paint each year. The Leaping Horse, the last of these, is now a major work in the Academy's collection, and is the subject of this fascinating new book, the latest in the Royal Academy's studies of its masterworks. The art historian Richard Humphreys explores Constable's often avant-garde working methods, as well as his struggle to gain full acceptance within the art establishment of the early nineteenth century. With reproductions of the artist's full-scale preliminary sketches as well as brand new photography of the painting itself, this book is the ideal companion for art lovers who seek a deeper appreciation of Constable's iconic depictions of the English countryside.