Over his long and successful career David Remfry MBE RA RWS has achieved a mastery of watercolour that few have matched. Unusually for the medium, he works on a large scale and often focuses on people, exploring the dance hall and the nightclub in breathtaking images that are at once beautiful and edgy. This book is the first full-length monograph devoted to the artist's watercolours. Its author, James Russell, is well known for his writing on 20th-century British artists. Russell brings his scholarship, humour and fascination for people and their lives to his study of Remfry's career, tracing the evolution of a remarkable talent, looking in depth at the most significant works and placing Remfry in the context of both the British watercolour tradition and international contemporary painting. This is at once a glorious art book and an intimate portrait of city life. Having spent 20 years living and working at the legendary Chelsea Hotel in New York, Remfry has a following on both sides of the Atlantic. New Yorkers - often in party mode - feature in many of his watercolours, and his recollections of people and places add colour to the text.

Not only Mao before the masses, but also dozens of housewives armed with brooms, scores of Gillette razors and hundreds of Mon Cheri chocolates. In a play on perceptions in which nothing (or everything) is what it seems, in the midst of a profusion of food tins, cleaning products, cars, reinforced concrete buildings and motorways that populate the works of Thomas Bayrle (Berlin, 1937). Acclaimed as one of the voices of Pop Art in Germany, the truth is that Bayrle's ironic, repetitive, almost grotesque visual displays ultimately subvert the paradigms of the Pop movement. His works are practically psychedelic maps constructed from mosaics of images and hallucinatory to a point far beyond pop's hypnotic and surface effects. This book, based on the first retrospective devoted to this artist of artists, reproduces part of his work.

Parisian churches are revered around the globe. Their stunning stained-glass windows and intricate Gothic architecture are accomplishments of unrivalled elegance. Churches of Paris gathers 37 of the finest in the City of Light, spanning the 12th to the 19th centuries. Each entry is embellished with beautiful colour photography and behind-the-scenes historical commentary. Offering insight into the buildings' construction and genesis, this book narrates how each church was shaped by war, revolution and time. With information on restoration and preservation, this is an invaluable guide for Francophiles and curious armchair travellers alike. Featured churches include: Basilique du Sacre-Coeur de Montmartre, Basilique Sainte-Clotilde, Basilique Cathedrale de Saint-Denis, Notre-Dame Cathedral, La Chapelle de l'Epiphanie des Missions Etrangeres et la Salle des Martyrs, La Chapelle Notre-Dame de la Medaille Miraculeuse, La Chapelle Saint-Vincent-de-Paul, La Madeleine, Notre-Dame-de-Lorette, Notre-Dame-des-Blancs-Manteaux, Notre-Dame-des-Victoires, Cathedral Saint-Alexandre-Nevsky, Saint-Augustin, La Sainte-Chapelle, Sainte-Elisabeth-de-Hongrie, Sainte-Marguerite, Saint-Etienne-du-Mont, La Sainte-Trinite, Saint-Eugene-Sainte-Cecile, Saint-Eustache, Saint-Francois-Xavier, Saint-Germain-des-Pres, Saint-Germain l'Auxerrois, Saint-Gervais-Saint-Protais, Saint-Jacques-du-Haut-Pas, Saint-Joseph-des-Carmes, Saint-Julien-le-Pauvre, Saint-Louis-en-l'Ile, Saint-Merry, Saint-Paul-Saint-Louis, Saint-Pierre de Montmartre, Saint-Roch, Saint-Severin, Saint-Sulpice, Saint-Thomas-d'Aquin, Saint-Vincent-de-Paul, The American Cathedral in Paris

This book is a retrospective volume on Latin American new media arts, arising from the Cities in Dialogue exhibition that was held in in FACT in conjunction with the University of Liverpool and the Liverpool Independents Biennial in 2014. There is also plenty of detail about the other events that were held during 2014 and into 2015, including workshops, artist talks, Twitter galleries and the Artist in Residence and his activities. One chapter is dedicated to each artist and the works they presented at the exhibition: Brian Mackern from Uruguay, Barbara Palomino from Chile, Marina Zerbarini from Argentina, and Ricardo Miranda Zuniga from the US. There is also an extensive chapter about the exciting new residence artwork created by Artist in Residence Brian Mackern. Entitled This Too Shall Pass// Affective Cartographies, this work is based on footage obtained through a series of unplanned journeys along Liverpool's urbanscape. The gathering of information and recording of sound and visual material during these journeys is then remixed in this artwork by different parameters (volume levels, transparencies, zooms, fragmentations, crossfadings, speeds of timelines, etc.) controlled by Liverpool's "socio economic historic curve" of the last century. In this book you can find out about all of these works, and other pieces by these artists. The book includes full colour images throughout, including exclusive images of works in progress, as well as excerpts of interviews with the artists. At the back of the book you can find links to online resources, including the art works themselves, audio interviews with the artists, image galleries, and more.

Presented in a beautiful gift format and filled with a wealth of new photography, this engaging book aims to introduce to a general audience the National Trust's vast collections - a treasure chest of history. Arranged chronologically, starting with Roman sculpture and ending with 20th-century design, it focuses on museum-quality objects as well as important examples of decorative arts, furniture, textiles, books and items with fascinating stories behind them. Selected by the National Trust's curators from more than 1.5 million objects in its collections, the featured highlights include an ancient-Egyptian obelisk; Cardinal Wolsey's purse; the first English globe; one of the earliest surviving sofas; an incredible 18th-century dolls' house; an elephant automaton; a tent made for a sultan; a dress made of beetle-wing cases; hand-written manuscripts by Beatrix Potter and Virginia Woolf; Rodin's bust of George Bernard Shaw; rare, early colour photographs of the Sutton Hoo discovery; a sculpture by Barbara Hepworth and paintings by Holbein, Rubens, van Dyck, Rembrandt, Velazquez, Reynolds, Stubbs, Burne-Jones, Monet and Sargent. Each featured object is accompanied by an illuminating, easy-to-read caption, a timeline of key moments in the Trust's history and a list of properties housing important collections items appear at the end.

This handsome catalogue accompanies an exhibition celebrating the bicentenary of the 60-year reign of King George III. It presents one mezzotint portrait for each year of his reign. Mad about Mezzotint traces the history of mezzotint in the reign of King George III by looking at three aspects of the art form: the astonishing method of mezzotint, the absorbing history of the form in the late eighteenth century and Regency period and the endless fascination with London as a subject. Although the mezzotint originated in Germany as early as 1642, its golden age came in England in the eighteenth century. Its beauty lay in its ability to create the subtlety of tone found in an oil painting. Crowds marvelled at the new technique and seized upon the opportunity to popularize their work and disseminate their images more widely. Conditions in eighteenth-century London were ripe for this revolution in printing. England had a new king and queen on the throne, an ever-expanding court and flourishing commercial interests overseas. The city of London was expanding at an astonishing rate and money was pouring into the capital. This fully illustrated publication includes an introduction on the history of mezzotint and full catalogue of the works, as well as indexes of artists and persons depicted. Artists featured include Valentine Green, John Hoppner, John Jones, Joshua Reynolds, George Romney and Charles Turner. People depicted include King George, George, Prince of Wales, the Duke and Duchess of Marlborough, Admiral Horatio Nelson and Earl and Lady Spencer.

Kettle's Yard, Cambridge, exhibition catalogue on the internationally renowned Chinese artist Ai Weiwei (b. 1957, Beijing) in which new and existing work will be shown alongside historic Chinese objects. The exhibition will explore notions of truth, authenticity and value, as well as globalisation, the coronavirus pandemic and the current geopolitical crisis. Ai Weiwei will reflect upon the liberty in the West, in contrast to China and other authoritarian regimes, to question truth and authority, express doubt and seek transparency in political matters. However, in relation to art appreciation, the Chinese have a long tradition of a more fluid and less fixed view in relation to authenticity than is the case in the West, often valuing the act of copying.

This book reveals that Pablo Picasso wasn't simply a figurehead of the Modern Age. He grew up in the 19th century: the extraordinary mixture of values that was fin de siecle Europe penetrated deep into his personality, remaining with him through his life. While he was the quintessential Modern in so many ways, he was also a Victorian, and this duality explains the complexity of his genius. He was simultaneously looking forwards and backwards, and feeding off the efforts of others, before developing his own idioms for depicting the contemporary world. The young artist recognised that society was increasingly in a process of transformation, not in a transitory or temporary way, but permanently, under the inexorable pressures of modernisation. He realised that the emergence of Modern art through the last quarter of the century was a product of this transformation. Throughout his life, Picasso would feel the tension between modernity and the histories it replaced. He would also struggle with the role of the individual, and subjectivity, in this new environment. Each chapter shows how the young artist embraced successive styles at large in the art world of his time. By the age of 14 well capable of drawing in a highly competent Beaux Arts mode, he drew in a Classicist manner of redolent of Ingres, or early Degas. He then moved through various forms of Impressionism, Symbolism, and Post-Impressionism, before arriving in his early twenties at his first wholly individual style, the Blue period, albeit that all these earlier sources were still evident. The Rose period followed, after which the artist began a truly seminal period of experimentation which culminated in the development of Cubism. By 1910, Cubism had become a fully mature vision, practiced by a wide range of artists. It was to provide the springboard for much Modern art across the disciplines, and it positioned Picasso as perhaps the single most important artist of the new century.

Join Chris Ayers and his menagerie as they make their Parisian debut on the walls of Galerie Daniel Maghen. Fifty-eight pieces were created especially for the gallery show in year six of The Daily Zoo and they are all captured in this book in their full glory. Do not miss meeting Le Chic Sheep, Le Penseur (The Thinker), Alien Accountant and Rosie On Skates, to name only a few, as they are certain to become close cartoon friends.

This publication emanates from an exhibition by the same title, displayed for the first time at the Alliance Francaise de Delhi. It is an attempt to trace the development of photography and the other allied visual arts in Pondicherry spanning the late 19th and early 20th centuries. Drawn exclusively from The Alkazi Collection of Photography, at the core of this initiative is the unpublished album by renowned photographer Henri CartierBresson, co-founder of Magnum Photos, who visited the Sri Aurobindo Ashram in April 1950. He took the last pictures of Sri Aurobindo Ghose in the company of his spiritual companion, 'the Mother'. In addition, he meticulously penned his observations almost daily, creating a meta-text around the images, which presents a biographical and anecdotal supplement for his photographic endeavour. The visual material is further enhanced by some extraordinary images of Indian photographers from the same period such as Tara Jauhar and Venkatesh Shirodkar at Aurobindo Ashram, published here for the first time. In this catalogue a conscious effort has been made to bring out a non-linear, yet credible history of how Pondicherry has been witness to the development of a unique visual trajectory. The use of images as 'evidence' and 'document' create a subtle interplay between cultural context and artistic intent, a conceptual linking of mannerisms and tropes those of landscape, architectural and portrait photography.

The Merton library is rightly known for its antiquity, its beautiful medieval and early modern architecture and fittings and for its remarkable and important collection of manuscripts and rare books, yet a nineteenth-century plan to tear the medieval library down and replace it was only narrowly frustrated. This brief history of Europe's oldest academic library traces its origins in the thirteenth century, when a new type of community of scholars was first being set up, through to the present day and its multiple functions as a working college library, a unique resource for researchers and a delight for curious visitors. Drawing on the remarkable wealth of documentation in the college's archives, this is the first history of the library to explore collections, buildings, readers and staff across more than 700 years. The story is told in part through stunning colour images that depict not only exceptional treasures but also the library furnishings and decorations, and which show manuscripts, books, bindings and artefacts of different periods in their changing contexts. Featuring a timeline and a plan of the college, this book will be of interest to historians, alumni and tourists alike.

Eileen Cooper OBE RA has been consistently successful across her 50-year career, the influence of her art seen in the range and depth of her work as well as in her contribution to art education. Cooper's artistic experiences - which, in the words of Linsey Young, disrupt the neat patriarchal understandings of women - are brought together in this thoughtfully designed and elegant hardback. Early works are illustrated alongside previously unseen drawings, paintings, prints, ceramics and portraits, many of which will surprise readers. The authors also consider Cooper's work in relation to the collections of Leicester Museum & Art Gallery, including works by Peter Doig, Paula Rego, Pablo Picasso, Dame Laura Knight and Lotte Laserstein.

WOW - a collaboration between Liss Llewellyn and the Laing Art Gallery - showcases 38 British women artists working on paper between 1905 and 1975, a transformative period for women in the arts. The featured artists approached the medium in vari ous ways, using traditional as well as innovative techniques to transform paper into beautiful and complex works of art. The exhibition celebrates the diversity of these approaches and highlights the ways in which paper provided artists with a rich arena for artistic innovation. Paper's adaptability allows for a multitude of techniques. Using paper in its traditional role as a support for drawings and prints, or creating collage and sculpture, the fea tured artists responded to the medium's inherent qualities - malleable, smooth and sensuous - to test ideas, express feelings or create a finished work. It is often in the more formative moments that the works in this exhibition most resonate; through these studies we bear witness to the seed of an idea in germination, as in Clare Leigh ton's iconic Southern Harvest, or Evelyn Dunbar's celebrated works for the War Artist's Advisory Committee. Selecting hand-made, mould-made or machine-made papers in various weights, tex tures and tints - depending on their intentions - artists worked with a variety of media from pencil, ink and pastel, to watercolour, tempera and oil, sometimes incorporating extraneous elements such as gold leaf and metallic forms. Working on monumental sheets, such as Winifred Knights' cartoon for St Martin's Altarpiece or tiny pages such as Edith Granger-Taylor's Small Grey Abstract, women's choices were nevertheless some times dictated by circumstance: the propensity of Frances Richards and Tirzah Gar wood - by no means isolated cases - to work on paper on a small scale was in part a result of not having access to a studio. From portraits, landscapes, botanical studies and genre scenes, many of the works in WOW highlight the artist's skill and dexterity in drawing on paper, which was at the core of artistic training and practice. Some artists have used the traditional techniques of etching, screen printing and woodblock to create a diverse range of images. Others highlight the ethereal properties of paper through precise cuts, resulting in elaborate collages combining shapes, patterns and designs, or compact and manipulate paper to create inventive and surprising sculptures. Featuring both famous and lesser-known talents, WOW celebrates the many ways in which women artists expressed themselves through works on, and with paper and highlights their unique contribution to the graphic arts in 20th century Britain.

Who were the young woman and child buried with magnificent gold and luxurious finery in an Egyptian mummy dated around 1550 BC? Evidence suggests the woman may have been a queen. If so, the National Museums Scotland houses the only Egyptian royal burial seen anywhere outside Cairo. Sixty-five stunning funerary items, coffins, mummy-cases, masks, portraits, jewelry and other adornments of the well-equipped mummy are illustrated and annotated in this new hardcover that is as reader-friendly as it is comprehensive. We are reminded of the humanity here these coffins began with a life and text provides a glimpse into their stories. Included are the coffin of the priest Iufenamun and the double mummies of half-brothers, Petamun and Penhorpabik. Annotations include item owner, dating, dimensions, materials, description, provenance and mode of acquisition. Organized sequentially, the expert authors explain styles and techniques and the changes in each epoch taking their story from the age of the pyramids around 2,000 B.C.to the time of Roman Rule ending in the third century A.D., after which Egypt would transform into a Christian society. Concordances, chronology of Egypt, and a glossary are included. *For the Egyptologist - laypeople and professionals alike, for collectors, curators, historians, archeologists *Unveils information on a superb collection