While there have been monographs on British artist-travellers in the eighteenth and early nineteenth centuries, there has been no equivalent survey of what the writer, Henry Blackburn, described as 'artistic travel' a hundred years later. By 1900, the 'Grand Tourist' became a 'globe-trotter' equipped with a camera, and despite the development of 'knapsack photography', visual recording by the old media of oil and watercolour on-the-spot sketching remained ever-popular. Kenneth McConkey's exciting new book explores the complex reasons for this in a series of chapters that take the reader from southern Europe to north Africa, the Middle East, India and Japan revealing many artist-travellers whose lives and works are scarcely remembered today. He alerts us to a generation of painters, trained in academies and artists' colonies in Europe that acted as creches for those would go on to explore life and landscape further afi eld. The seeds of wanderlust were sown in student years in places where tuition was conducted in French or German, and models were often Spanish, Italian, or North African. At fi rst the countries of western Europe were explored afresh and cities like Tangier became artists' haunts. Training that prioritized plein air naturalism led to the common belief that a well-schooled young painter should be capable of working anywhere, and in any circumstances. At the height of British Imperial power, and facilitated by engineering and technological advance, the burgeoning tourism and travel industry rippled into the production of specialist goods and services that included a dedicated publishing sector. Essential to this phenomenon, the artist-traveller was often commissioned by London dealers to supply themed exhibitions that coincided with contracts for colour-illustrated books recording those exotic parts of the world that were newly available to the tourist, traveller, explorer, emigrant, or colonial civil servant. These works were not, however, value-neutral, and in some instances, they directly address Orientalism, Imperialism, and the Post-Colonial, in pictures that hybridize, or mimic indigenous ways of life. Behind each there is a range of interesting questions. Does experience live up to expectation? Is the street more desirable than the ancient ruin or sacred site? How were older ideas of the 'picturesque' reborn in an age when 'Grand Tours' once confi ned to Italy, now encompassed the globe? McConkey's wideranging survey hopes to address some of these issues. This richly illustrated book explores key sites visited by artist-travellers and investigates artists including Frank Brangwyn, Mary Cameron, Alfred East, John Lavery, Arthur Melville, Mortimer Menpes, as well as other under-researched British artists. Drawing the strands together, it redefi nes the picturesque, by considering issues of visualization and verisimilitude, dissemination and aesthetic value.

A draughtsman of remarkable ability, matching even his mentor Augustus John, Henry Lamb (1883-1960) was a founder-member of the Camden Town Group, exhibiting at their inaugural exhibition in 1911. He was a powerful and original War artist, and an engaging and sensitive portrait painter, whose group portraits in particular are as successful as those by any British painter of the age. To date unfairly eclipsed by the glamorous and culturally infl uential circle around him, Lamb is now probably best known through these fi gures and his many compelling portraits of them, amongst them Lady Ottoline Morrell, Evelyn Waugh and Lytton Strachey, whose monumental full-length portrait by Lamb in Tate Britain is probably the artist's best-known work. Lamb abandoned a promising medical career in Manchester to pursue his training as an artist at the London art school run by William Orpen and Augustus John. He found inspiration in the rural simplicity of Brittany, and a later visit to Ireland inspired his great genre painting Fisherfolk, Gola Island of 1913 - not seen in public since the last major retrospective in 1984. Following active service during the First World War as an army medical offi cer (for which he was awarded a Military Cross), he contributed two of the greatest artworks to the proposed National Hall of Remembrance a year after armistice in 1919. Following a productive period in Poole after the War, where he produced some evocative townscapes of its streets and skylines, he eventually settled in Coombs Bissett near Salisbury. Here he established a reputation as a sought-after portrait painter, executing a constant stream of landscapes, still lives, genre pictures and fi ne domestic subjects. Accompanying an exhibition at Salisbury Museum in 2018 and Poole Museum in 2019, Henry Lamb: Out of the Shadows will focus on over 50 works by the artist from across his career. As well as loans from major national collections, the group will include signifi cant works from private collections, including a substantial archive from the artist's family and a number of re-discovered masterpieces. The catalogue will also feature an introductory essay by Lamb's cousin, the writer Thomas Pakenham who knew the artist well.

A Financial Times Book of the Year 2022 A landmark volume presenting the history of Indian art across the subcontinent and South Asia from the late 19th century to the present day, published in association with Art Alive. Recent decades have seen significant growth in the interest, acquisition and exhibition of modern Indian and South Asian art and artists by major international museums. This essential textbook, primarily aimed at students, presents an engaging, informative history of modern art from the subcontinent as seen through the eyes of prominent Indian academics. Illustrated throughout with strong narrative content, key experts contribute multiple perspectives on modernism, modernity and plurality, and expansive ideas about contemporary art practices. A range of subjects and topics feature including Group 1890, the Madras Art Movement, Regional Modern and Dalit art, as well as artists such as Amrita Sher-Gil and Raqs Media Collective. This book also has sections devoted to the art of Pakistan, Nepal, Bangladesh and other parts of South Asia. Together with lively academic discussions and a selection of absorbing interviews with artists, this title meets a clear demand for a comprehensive and authoritative sourcebook on modern, postmodern and contemporary Indian art. It is the definitive reference for anyone with an interest in Indian art and non-Western art histories. Published in association with Art Alive

The texts gathered in this volume embrace women artists-only exhibitions, festivals, collective art projects, groups and associations, organised in the long 1970s in Europe (1968-1984). These all-women art initiatives are closely related to developments within the political and politicized women's movement in Europe and America but what emerges is the varied and plural manner of their engagements with feminism(s) alongside their creation of `heterotopias' in relation to specific sites/ politics/ collaborative art practices. This book presents examples from Italy, Spain, UK, Portugal, Austria, Poland, Denmark, Germany (East and West), The Netherlands, France and Sweden. While each chapter is largely devoted to one country, the authors point to how the local and specific political situation in which these initiatives emerged is linked to global tendencies as well as inter-European exchanges. Each chapter of this book thus assesses the impact of travelling views of feminism, by considering connections made between women artists (often when travelling abroad) or their knowledge of art practices from abroad. Distinct and highly varied attitudes towards political activism (from strong engagement to a clearly pronounced distance and even hostility) are shown in each essay and, what is more, they are shown as based on radically different premises about feminism, politics and art.

How to Read Modern Buildings is an indispensable pocket-sized guide to understanding the architecture of the modern era. It takes the reader on a guided tour of modern architecture through its most iconic and significant buildings, showing how to read the hallmarks of each architectural style and how to recognise them in the buildings all around. From Art Deco and Arts and Crafts, through the International Style and Modernism to today's environmental architecture and the rise and fall of the icon, all the major architectural movements from the 1900s to the present day are traced through their classic buildings. Examining the key architectural elements and hidden details of each style, we learn what to look out for and where to look for it. Packed with detailed drawings, plans, and photographs, this is both a fascinating architectural history and an effective I-spy guide, it is a must-read for anyone with an interest in modern design and architecture.

Phenomenal Difference grants new attention to contemporary black British art, exploring its critical and social significance through attention to embodied experience, affectivity, the senses and perception. Featuring attention to works by the following artists: Said Adrus, Zarina Bhimji, Sonia Boyce, Vanley Burke, Chila Burman, Mona Hatoum, Bhajan Hunjan, Permindar Kaur, Sonia Khurana, Juginder Lamba, Manjeet Lamba, Hew Locke, Yeu-Lai Mo, Henna Nadeem, Kori Newkirk, Johannes Phokela, Keith Piper, Shanti Thomas, Aubrey Williams, Mario Ybarra Jr. Much before scholars in the arts and humanities took their recent 'ontological turn' toward the new materialism, black British art had begun to expose cultural criticism's overreliance on the concepts of textuality, representation, identity and difference. Illuminating that original field of aesthetics and creativity, this book shows how black British artworks themselves can become the basis for an engaged and widely-reaching philosophy. Numerous extended descriptive studies of artworks spell out the affective and critical relations that pertain between individual works, their viewers and the world at hand: intimate, physically-involving and visceral relations that are brought into being through a wide range of phenomena including performance, photography, installation, photomontage and digital practice. Whether they subsist through movement, or in time, through gesture, or illusion, black British art is always an arresting nexus of making, feeling and thought. It celebrates particular philosophical interest in: - the use of art as a place for remembering the personal or collective past; - the fundamental 'equivalence' of texture and colour, and their instances of 'rupture'; - figural presence, perceptual reversibility and the agency of objects; - the grounded materialities of mediation; - and the interconnections between art, politics and emancipation. Drawing first hand on the founding, historical texts of early and mid-twentieth century phenomenology (Heidegger; Merleau-Ponty), and current advances in art history, curating and visual anthropology, the author transposes black British art into a freshly expanded and diversified intellectual field. What emerges is a vivid understanding of phenomenal difference: the profoundly material processes of interworking philosophical knowledge and political strategy at the site of black British art.

Celebrated children's book illustrator Fritz Wegner (b.Vienna 15th September 1924, d. London 15th March 2015,). Early work included assignments for Lilliput, Dorothy L.Sayers and Enid Blyton, with book covers for Raymond Chandler and J.D.Salinger. In the late 1950s he moved away from advertising and commercial art to focus on children's literature. Significant titles include The Hamish Hamilton Book of Princes and Princesses (1963), The Marvellous Adventures and Travels of Baron Munchausen (1967), Fatipuffs and Thinifers (Andre Maurois), to books by Alan Ahlberg, Michael Rosen and Brian Alderson in the 1980s and '90s. He also created over thirty stamp designs for the Royal Mail.The Fritz Wegner Archive documents phases of his work from the 1950s to the 2000s, and includes comprehensive images scanned from the originals kept ion seventeen folders in his studio. The publication is authorised by executors of the estate of the artist.

An award-winning study of England's unique and peculiarly insular variant of modernism. While the battles for modern art and society were being fought in France and Spain, it has seemed a betrayal that John Betjeman and John Piper were in love with a provincial world of old churches and tea-shops. In this multi-award-winning book, Alexandra Harris tells a different story. In the 1930s and 1940s, artists and writers explored what it meant to be alive in England. Eclectically, passionately, wittily, they showed that 'the modern' need not be at war with the past. Constructivists and conservatives could work together, and even the Bauhaus emigre, Laszlo Moholy-Nagy, was beguiled into taking photographs for Betjeman's nostalgic Oxford University Chest. This modern English renaissance was shared by writers, painters, gardeners, architects, critics, tourists and composers. John Piper, Virginia Woolf, Florence White, Christopher Tunnard, Evelyn Waugh, E. M. Forster and the Sitwells are part of the story, along with Bill Brandt, Graham Sutherland, Eric Ravilious and Cecil Beaton.

Pop art has traditionally been the most visible visual art within popular culture because its main transgression is easy to understand: the infiltration of the "low" into the "high". The same cannot be said of contemporary art of the 21st century, where the term "Gaga Aesthetics" characterizes the condition of popular culture being extensively imbricated in high culture, and vice-versa. Taking Adorno and Horkheimer's "The Culture Industry" and Adorno's Aesthetic Theory as key touchstones, this book explores the dialectic of high and low that forms the foundation of Adornian aesthetics and the extent to which it still applied, and the extent to which it has radically shifted, thereby 'upending tradition'. In the tradition of philosophical aesthetics that Adorno began with Lukacs, this explores the ever-urgent notion that high culture has become deeply enmeshed with popular culture. This is "Gaga Aesthetics": aesthetics that no longer follows clear fields of activity, where "fine art" is but one area of critical activity. Indeed, Adorno's concepts of alienation and the tragic, which inform his reading of the modernist experiment, are now no longer confined to art. Rather, stirring examples can be found in phenomena such as fashion and music video. In addition to dealing with Lady Gaga herself, this book traverses examples ranging from Madonna's Madam X to Moschino and Vetements, to deliberate on the strategies of subversion in the culture industry.