This stunning catalogue presents for the first time an outstanding group of modern drawings by European and American masters, assembled by the late Howard Karshan and his wife, Linda, who recently presented the works to The Courtauld. Accompanying their exhibition at The Courtauld Gallery, the catalogue features drawings by renowned artists including Paul Cezanne, Wassily Kandinsky, Paul Klee, Willem de Kooning, Philip Guston, Sam Francis, Cy Twombly, Gerhard Richter and Georg Baselitz. The Karshan gift is a significant addition to The Courtauld's collection. The works demonstrate Howard and Linda Karshan's sensibility for the expressive power and rich variety of drawing as an art form. The drawings are characterised by innovative mark-making and distinctive use of line. Examples range from radical watercolours by Cezanne and highly expressive finger drawings in ink by Louis Soutter, to abstract compositions made by Henri Michaux whilst experimenting with Mescalin to explore the subconscious, and on to works by Twombly that further broadened the possibilities of draughtsmanship. The 25 drawings of the Karshan gift will be shown at The Courtauld Gallery when it reopens in late 2021, following a major transformation project. This catalogue will include an interview with Linda Karshan, two essays and a fully illustrated catalogue with detailed entries on each work.

"Jason C. Kuo's in-depth study of the paintings of Gao Xingjian significantly enriches our understanding of a major cultural polymath. This lavishly illustrated book enables us to make important connections between painting and writing, a type of synthesis often downplayed by western post-Enlightenment tendencies toward cultural specialization but very much at the heart of the Chinese literati tradition." Paul Gladston (University of Nottingham), principal editor of the Journal of Contemporary Chinese Art and author of Contemporary Chinese Art: A Critical History. "In The Inner Landscape: The Paintings of Gao Xingjian, Jason C. Kuo offers his readers a multifaceted lens through which to frame an engagement with the remarkable pictorial, filmic, and literary art of the Chinese writer and 2000 Nobel laureate in literature, Gao Xingjian. A central theme in his oeuvre is reflection on his life as a writer in self-exile in France, a life at once burdened with the memory of his homeland and yet artistically liberating. Kuo illuminates our understanding of the meaning and significance of his art by situating it within a critical discussion of the contemporary context of global modernity, a context that challenges our notions of national cultural identity in an age of mobile subjectivity and the deterritorialization of cultural practices." Stephen J. Goldberg (Hamilton College), author of Dislocating the Center: Contemporary Chinese Art Beyond National Borders. "The Inner Landscape: The Paintings of Gao Xingjian presents almost 300 paintings by the contemporary artist, poet, film-maker, author, and Nobel Laureate Gao Xingjian. Jason C. Kuo's erudite study not only details Gao's development as an intellectual, but also contextualizes and explores his attitudes toward writing, painting, and film-making in the interstices of 'East' and 'West'." Katharine P. Burnett (University of California, Davis), author of Dimensions of Originality: Essays in Seventeenth-Century Chinese Art Criticism. "The Inner Landscape: The Paintings of Gao Xingjian by Jason C. Kuo is a most thought-provoking and intelligent study of the art of Gao Xingjian. Kuo, driven by a desire for synthesis in his scholarship, brings a modernist practice to bear on a long tradition of intellectual discourse in China." Frances Klapthor, Baltimore Museum of Art.

This stunning catalogue presents The Courtauld's outstanding collection of works by Renaissance artist Girolamo Francesco Maria Mazzola, better known as Parmigianino (1503-1540). This catalogue accompanies a display of works by Parmigianino at The Courtauld, including his famous and enigmatic painting of the Virgin and Child, as well as drawn studies for his most ambitious projects such as the Madonna of the Long Neck and the frescoes of the church of Santa Maria della Steccata in Parma. The latter was the last and most important commission of his life and would have been his triumphal homecoming. Instead, Parmigianino became entangled in his experimental processes and failed to complete it, leading to his brief imprisonment for breach of contract. Fundamentally a draftsman at heart, Parmigianino drew relentlessly during his relatively short life, and around a thousand of his drawings have survived. The Courtauld's collection comprises twenty-four sheets. In preparation for the catalogue, new photography and technical examinations have been carried out on all the works revealing two new drawings that were previously unknown, hidden underneath their historic mounts. They have also helped to better identify connections between some of the drawings and the finished paintings for which they were conceived. The catalogue illustrates the whole Courtauld collection, which also includes two paintings and more than ten prints. As a printmaker, Parmigianino is considered to have been the first to experiment with etching in Italy and was a pioneer of the chiaroscuro woodcut technique. His refined and graceful compositions were much appreciated by his contemporaries and exalted by the artist and biographer Giorgio Vasari (1511-74). This catalogue and display have been curated by Gottardo and Rebecchini in collaboration with former and current research students at The Courtauld, and technical research has been conducted by members of The Courtauld Conservation Institute. A truly collaborative project, the catalogue sheds light on an artist who approached every technique with unprecedented freedom and produced innovative works which were studied and admired by artists and collectors for many years to come.

Melanie Smith: Farce and Artifice is the publication that takes up the idea of the exhibition organised by the MACBA, jointly with the MUAC Museo Universitario Arte Contemporaneo and UNAM, in Mexico City, and the Museo Amparo, in Puebla, Mexico. It is the largest organised to date in Europe about the work of an artist who defies easy classification, born in England (Poole, 1965) but active on the Mexican art scene since the nineties.

The myth of Van Gogh today is linked as much to his extraordinary life as it is to his stunning paintings. His biography has often shaped the way that his self-portraits have been (mis)understood. Van Gogh. Self-Portraits reconsiders this aspect of his production and places the artist's self-representation in context to reveal the role it plays in his oeuvre. It also explores the power and profound emotion of these highly personal paintings. Van Gogh. Self-Portraits is the first time this theme has been exclusively addressed. Self-portraits painted during Van Gogh's time in Paris (February 1886 - February 1888) have been the subject of two exhibitions (in 1960 at Marlborough Fine Arts in London and in 1995 at the Kunsthalle in Hamburg) but never has the full chronological range been explored. The exhibition at The Courtauld Gallery, which this volume accompanies, features paintings from both the Parisian and Provencal periods. It brings together half of Van Gogh's thirty-five known self-portraits to examine the ways the artist approached this particular subject-matter. On a practical level, painting himself provided Van Gogh with the cheapest and most patient of models and represented an important conduit for stylistic experimentation. He also used self-portraiture as an homage to his illustrious Dutch predecessor Rembrandt, as well as a way of fashioning his own identity and presenting himself to the outside world. Of particular interest is the striking way the evolution of Van Gogh's self-representation over the short years of his artistic activity can be seen as a microcosm of his development as a painter. In addition to the world-famous Self-Portrait with Bandaged Ear in The Courtauld's collection, the exhibition showcases a group of major masterpieces brought together from international collections, including the Van Gogh Museum in Amsterdam, the Muse d'Orsay in Paris, the Art Institute of Chicago and the National Gallery of Art in Washington, D.C., among others. This beautifully illustrated catalogue includes detailed entries on each work, an appendix illustrating all of Van Gogh's self-portraits and three insightful essays on the theme.

A pictorial chronology of Professional Fine Artist Sandy Garnett's First 1000 Career Paintings.

This important publication accompanies a major exhibition at The Courtauld Gallery, London, of paintings by Edvard Munch, one of the world's greatest modern artists. The exhibition and catalogue showcase 18 major works from the collection of KODE Art Museums in Bergen. The works span the most significant part of Munch's artistic development and have never before been shown as a group outside of Scandinavia. KODE houses one of the most important collections of paintings by Edvard Munch (1863-1944) in the world. The collection was assembled at the beginning of the 20th century by the Norwegian industrialist, mill owner and philanthropist Rasmus Meyer (1858-1916), who was one of the first significant early collectors of Munch's work. Meyer knew Munch personally and was astute in acquiring major canvases by the artist that chart his artistic development. Edvard Munch: Masterpieces from Bergen explores this group of remarkable works in detail and considers the important role of Rasmus Meyer as a collector. The exhibition and publication include seminal paintings from Munch's early 'realist' phase of the 1880s, such as Morning (1884), which was made when the artist was just twenty years old, and Summer Night (1889), a pivotal work that shows the artist's move towards the expressive and psychologically charged work for which he became famous. These paintings launched Munch's career and set the stage for his renowned, highly expressive paintings of the 1890s when his compositions became powerful projections of his emotions and imaginative states. Such works are a major feature of the exhibition that includes remarkable canvases from Munch's famous 'Frieze of Life' series, such as Evening on Karl Johan (1892), Melancholy (1894-96) and At the Death Bed (1895). Through his 'Frieze of Life' works, Munch intended to address profound themes of human existence, from love to death. The artist used his own experiences as source material to make visceral depictions of the human psyche, which he hoped would help others understand their own life. Munch's powerful use of colour and form to convey his subjects marked him out as one of the most radical painters at the turn of the 20th century. This fully illustrated publication includes a catalogue of the works, with contributions by leading experts in their fi eld from KODE and The Courtauld.