Robert Seymour and Nineteenth-Century Print Culture is the first book-length study of the original illustrator of Dickens's Pickwick Papers. Discussion of the range and importance of Seymour's work as a jobbing illustrator in the 1820s and 1830s is at the centre of the book. A bibliographical study of his prolific output of illustrations in many different print genres is combined with a wide-ranging account of his major publications. Seymour's extended work for The Comic Magazine, New Readings of Old Authors and Humorous Sketches, all described in detail, are of particular importance in locating the dialogue between image and text at the moment when the Victorian illustrated novel was coming into being.

Leiji Matsumoto is one of Japan's most influential myth creators. Yet the huge scope of his work, spanning past, present and future in a constantly connecting multiverse, is largely unknown outside Japan. Matsumoto was the major creative force on Star Blazers, America's gateway drug for TV anime, and created Captain Harlock, a TV phenomenon in Europe. As well as space operas, he made manga on musicians from Bowie to Tchaikovsky, wrote the manga version of American cowboy show Laramie, and created dozens of girls' comics. He is a respected manga scholar, an expert on Japanese swords, a frustrated engineer and pilot who still wants to be a spaceman in his eighties. This collection of new essays-the first book on Matsumoto in English-covers his seven decades of comic creation, drawing on contemporary scholarship, artistic practice and fan studies to map Matsumoto's vast universe. The contributors-artists, creators, translators and scholars-mirror the range of his work and experience. From the bildungsroman to the importance of textual analysis for costume and performance, from early days in poverty to honors around the world, this volume offers previously unexplored biographical and bibliographic detail from a life story as thrilling as anything he created.

This book is the first to examine Henry Darger's conceptual and visual representation of "girls" and girlhood. Specifically, Leisa Rundquist charts the artist's use of little girl imagery-his direct appropriations from mainstream sources as well as girls modified to meet his needs-in contexts that many scholars have read as puerile and psychologically disturbed. Consequently, this inquiry qualifies the intersexed aspects of Darger's protagonists as well as addresses their inherent cute and little associations that signal multivocal meanings often in conflict with each other. Rundquist engages Darger's art through thematic analyses of the artist's writings, mature works, collages, and ephemeral materials. This book will be of particular interest to scholars in art history, art and gender studies, sociology, and contemporary art.

What did it mean for painter Lee Krasner to be an artist and a woman if, in the culture of 1950s New York, to be an artist was to be Jackson Pollock and to be a woman was to be Marilyn Monroe? With this question, Griselda Pollock begins a transdisciplinary journey across the gendered aesthetics and the politics of difference in New York abstract, gestural painting. Revisiting recent exhibitions of Abstract Expressionism that either marginalised the artist-women in the movement or focused solely on the excluded women, as well as exhibitions of women in abstraction, Pollock reveals how theories of embodiment, the gesture, hysteria and subjectivity can deepen our understanding of this moment in the history of painting co-created by women and men. Providing close readings of key paintings by Lee Krasner and re-thinking her own historic examination of images of Jackson Pollock and Helen Frankenthaler at work, Pollock builds a cultural bridge between the New York artist-women and their other, Marilyn Monroe, a creative actor whose physically anguished but sexually appropriated star body is presented as pathos formula of life energy. Monroe emerges as a haunting presence within this moment of New York modernism, eroding the policed boundaries between high and popular culture and explaining what we gain by re-thinking art with the richness of feminist thought. -- .

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. Text in French.

Get swept up in the glitz and glamour of the French Riviera as author and filmmaker John Baxter takes readers on a whirlwind tour through the star-studded cultural history of the Cote d Azur that s sure to delight travelers, Francophiles, and culture lovers alike. Readers will discover the dramatic lives of the legendary artists, writers, actors, and politicians who frequented the world s most luxurious resort during its golden age. In 25 vivid chapters, Baxter introduces the iconic figures indelibly linked to the South of France artist Henri Matisse, writer F. Scott Fitzgerald, Coco Chanel, and many more. Along the way, Baxter takes readers where few people ever get to go: the alluring world of the perfume industry, into the cars and casinos of Monte Carlo, behind-the-scenes at the Cannes Film Festival, to the villa where Picasso and Cocteau smoked opium, and to the hotel where Joseph Kennedy had an affair with Marlene Dietrich. These luminaries celebrated life and created art amid paradise and this book is the ultimate guide to the Riviera s golden age."

Rosengarten explores the narrative operations of Rego's work by mobilising both psychoanalytic theory and social history. She confronts, as case studies, three complex figure paintings from different moments in Rego's oeuvre: The Policeman's Daughter (1987), The Interrogator's Garden (2000), and The First Mass in Brazil (1993). The content of the three specimen paintings links them to the political context of the Estado Novo, the fascist-inspired regime that dominated Rego's childhood. Plotting links between the spheres of the political and the personal, Rosengarten throws light on the complex intertwining of state power and parental authority in Rego's work, focusing on the "labour of socialisation and resistance" that Rego's work evinces in relation to the Freudian model of the family romance. Rosengarten unveils the political context of Portugal under Salazar, and the workings of colonial fantasy, Catholic ideology and gender construction. In prodding the inalienable link between love and authority, this study offers a reading of Rego's work that interrogates, rather than subverts, the Oedipal model structuring the patriarchal family. -- .

This is a story about rivalry among artists. Not the kind of rivalry that grows out of hatred and dislike, but rather, rivalry that emerges from admiration, friendship, love. The kind of rivalry that existed between Degas and Manet, Picasso and Matisse, Pollock and de Kooning, and Freud and Bacon. These were some of the most famous and creative relationships in the history of art, driving each individual to heights of creativity and inspiration - and provoking them to despair, jealousy and betrayal. Matisse's success threatened Picasso so much that his friends would throw darts at a portrait of his rival's beloved daughter Marguerite, shouting 'there's one in the eye for Matisse!' And Willem de Kooning's twisted friendship with Jackson Pollock didn't stop him taking up with his friend's lover barely a year after Pollock's fatal car crash. In The Art of Rivalry, Pulitzer Prize-winning art critic Sebastian Smee explores how, as both artists struggled to come into their own, they each played vital roles in provoking the other's creative breakthroughs - ultimately determining the course of modern art itself.

One of the most powerful painters of our age, Francis Bacon lived and worked for the last thirty years of his life in a modest building in London's South Kensington. After he died in 1992, access was granted to award-winning photographer Perry Ogden to work undisturbed for days on end to produce this riveting record of the house and its contents. In the studio itself, thirty years of inspired artistic endeavor had accumulated unchecked: the slashed and discarded canvases scattered across the floor; the brushes, rags, and tins encrusted with paint; the doors and walls used as impromptu palettes; the piles of photographs of friends and models; the crumpled and torn pages of magazines and books that served as a stimulus for Bacon's work; the notes, sketches, and ideas for paintings jotted down and then cast aside; the last unfinished self-portrait on the easel.

For some of those close to Bacon, the studio was a heroic statement, a work of art in its won right, secretly constructed over many years to distill and give form to his aesthetic intentions. Now in this astonishing book we are invited to take a privileged look around this private space, to become intimate witnesses to the amazing conditions in which Bacon lived and worked, to gain unrivaled insights into how, why, and what he painted.

Henri Cartier-Bresson (1908-2004) studied painting before taking up photography in his early twenties. One of the founders of the photography agency Magnum (together with Robert Capa and others), he is best known for the consummate skill with which he captured the most fleeting of scenes.This volume, introduced by Michael Brenson, includes selections from his photographs of France, Spain, America, India, Russia, Mexico and pre-revolutionary China.

An extraordinary and inventive graphic biography, Steffen Kverneland's Munch explores the relationships and obsessions that drove the artist behind 'The Scream'. Using text drawn from the writings of Edvard Munch and his contemporaries, this extensively researched and beautifully drawn graphic novel debunks the familiar myth of the half-mad expressionist painter - anguished, starving and ill-treated - to reveal the artist's neglected sense of humour and optimism. Born out of a life-long fascination with all things Munch, Kverneland's award-winning seven-year project is the funniest and most entertaining portrait yet of a complex man and a pioneering artist. "Munch is a dazzling use of sequential storytelling... Rarely have I read a more entertaining biography." The Comics Journal

Peter Paul Rubens and the Crisis of the Beati Moderni takes up the question of the issues involved in the formation of recent saints - or Beati moderni (modern Blesseds) as they were called - by the Jesuits and Oratorians in the new environment of increased strictures and censorship that developed after the Council of Trent with respect to legal canonization procedures and cultic devotion to the saints. Ruth Noyes focuses particularly on how the new regulations pertained to the creation of emerging cults of those not yet canonized, the so-called Beati moderni, such as Jesuit founders Francis Xavier and Ignatius Loyola, and Filippo Neri, founder of the Oratorians. Centrally involved in the book is the question of the fate and meaning of the two altarpiece paintings commissioned by the Oratorians from Peter Paul Rubens. The Congregation rejected his first altarpiece because it too specifically identified Filippo Neri as a cult figure to be venerated (before his actual canonization) and thus was caught up in the politics of cult formation and the papacy's desire to control such pre-canonization cults. The book demonstrates that Rubens' second altarpiece, although less overtly depicting Neri as a saint, was if anything more radical in the claims it made for him. Peter Paul Rubens and the Crisis of the Beati Moderni offers the first comparative study of Jesuit and Oratorian images of their respective would-be saints, and the controversy they ignited across Church hierarchies. It is also the first work to examine provocative Philippine imagery and demonstrate how its bold promotion specifically triggered the first wave of curial censure in 1602.

London-based artist Stephen Willats is a pioneer of conceptual art and has made work examining the function and meaning of art in society since the late 1950s. His first South London Gallery exhibition in 1998, entitled Changing Everything, brought together a body of work made in partnership with local residents over a two-year period. Aiming to create a cultural model of how art might relate to society, the work invited visitors to make their own contributions to it, shifting the way the art institution relates to the world around it. For his latest SLG show, Surfing with the Attractor, Willats re-presents material from Changing Everything alongside a new installation featuring a huge 'data stream' spanning 15 metres and made in collaboration with 14 London-based artists. Comprising hundreds of carefully ordered images in various media, the data stream documents two contrasting streets of London: Rye Lane in Peckham and Regent Street in the West End.Extending beyond the gallery space, the show also includes films from the data stream shown on monitors in shops on Peckham Road and Camberwell Church Street, and graphic stickers will be widely distributed.

Sung closely examines William Blake's extant engraved copper plates and arrives at a new interpretation of his working process. Sung suggests that Blake revised and corrected his work more than was previously thought. This belies the Romantic ideal that the acts of conception and execution are simultaneous in the creative process.

Wolfgang Beltracchi is a phenomenon of the international art world. His name is inextricably entwined with one of the greatest upheavals in the global art market. Emulating numerous world-famous artists, he developed and painted new paintings, continued their narrations and biography, and concluded them with a forged signature. His wife Helene Beltracchi then smuggled them onto the art market. Many experts were deceived by Beltracchi's stupendous skill and auctioneers cast many doubts aside in the interests of insatiable market demand, selling the paintings as authentic works by the purported artists. Reading the artistic handwriting of a painting requires an exceptional willingness and ability to be able to empathise and identify with the artist, until you "can feel what the other feels" (Wolfgang Beltracchi). Through extensive discussions with the painter and his wife, the psychoanalyst Jeannette Fischer explored this capability that is so pronounced for Beltracchi. In her new book, she places this in relation to the disappearance of Beltracchi's own signature. As with her previous highly successful book about the performance artist Marina Abramovic, Jeannette Fischer has created an exceptionally insightful portrait of a fascinating artist personality.

William Bouguereau, the most popular artist in nineteenth-century France, is rapidly becoming one of the most popular realist artists of all time. This book is an exploration of the four main types of paintings that were most prevalent throughout Bouguereau's body of work. This includes his mythological works, religious works, peasants, and portraits. This final section on portraits focuses on paintings of heads and hands, which gave the artist the opportunity to concentrate on the subtleties of capturing human emotion, something at which the artist was a consummate master, and is a primary factor in what makes his works, in general, so compelling. Although each section of the book discusses the importance of the individual genera within Bouguereau's oeuvre, and includes painting analyses to highlight his most important works, this book is a true showcase of the master's lifetime achievement through beautifully illustrated full-page plates of over 120 of his greatest masterpieces.

Antonio Lopez Garcia's Everyday Urban Worlds: A Philosophy of Painting is the first book to give the famed Spanish artist the critical attention he deserves. Born in Tomelloso in 1936 and still living in the Spanish capital today, Antonio Lopez has long cultivated a reputation for impressive urban scenes-but it is urban time that is his real subject. Going far beyond mere artist biography, Benjamin Fraser explores the relevance of multiple disciplines to an understanding of the painter's large-scale canvasses. Weaving selected images together with their urban referents-and without ever straying too far from discussion of the painter's oeuvre, method and reception by critics-Fraser pulls from disciplines as varied as philosophy, history, Spanish literature and film, cultural studies, urban geography, architecture, and city planning in his analyses. The book begins at ground level with one of the artist's most recognizable images, the Gran Via, which captures the urban project that sought to establish Madrid as an emblem of modernity. Here, discussion of the artist's chosen painting style-one that has been referred to as a 'hyperrealism'-is integrated with the central street's history, the capital's famous literary figures, and its filmic representations, setting up the philosophical perspective toward which the book gradually develops. Chapter two rises in altitude to focus on Madrid desde Torres Blancas, an urban image painted from the vantage point provided by an iconic high-rise in the north-central area of the city. Discussion of the Spanish capital's northward expansion complements a broad view of the artist's push into representations of landscape and allows for the exploration of themes such as political conflict, social inequality, and the accelerated cultural change of an increasingly mobile nation during the 1960s. Chapter three views Madrid desde la torre de bomberos de Vallecas and signals a turn toward political philosophy. Here, the size of the artist's image itself foregrounds questions of scale, which Fraser paints in broad strokes as he blends discussions of artistry with the turbulent history of one of Madrid's outlying districts and a continued focus on urban development and its literary and filmic resonance. Antonio Lopez Garcia's Everyday Urban Worlds also includes an artist timeline, a concise introduction and an epilogue centering on the artist's role in the Spanish film El sol del membrillo. The book's clear style and comprehensive endnotes make it appropriate for both general readers and specialists alike.

Claude Monet spent most of his life painting his own spontaneous impressions of nature and the world that was closest to him. His works provoked the description 'Impressionist', the name given to the style of art that he created together with Camille Pissarro and Alfred Sisley.

This title was first published in 2000: In their stunning simplicity, George Romney's portraits of eighteenth-century gentry and their children are among the most widely recognised creations of his age. A rival to Reynolds and Gainsborough, Romney was born in 1734 on the edge of the Lake District, the landscape of which never ceased to influence his eye for composition and colour. He moved in 1762 to London where there was an insatiable market for portraits of the landed gentry to fill the elegant picture galleries of their country houses. Romney's sitters included William Beckford and Emma Hart, later Lady Hamilton. An influential figure, one of the founding fathers of neo-classicism and a harbinger of romanticism, Romney yearned to develop his talents as a history painter. Countless drawings bear witness to ambitious projects on elemental themes which were rarely executed on canvas. Richly illustrated, this is the first biography of Romney to explore the full diversity of his oeuvre. David A. Cross portays a complex personality, prone to melancholy, who held himself aloof from London's Establishment and from the Royal Academy, of which Sir Joshua Reynolds was President, and chose instead to find his friends among that city's radical intelligentsia.

In answering the question posed by its title, and drawing on his twenty year relationship with the artists, Michael Bracewell is the first writer to engage directly with Gilbert & George to understand why they have devoted their lives exclusively and continuously - to the vision of art they conceived within months of first meeting. What emerges piece by piece is a portrait of Gilbert & George as two men who are infinitely more intense, strange, determined and alone than their longstanding public image suggests.

Genius. Anti-artist. Charlatan. Impostor! Since 1914 Marcel Duchamp has been called all of these. No artist of the 20th century has aroused more passion and controversy, nor exerted a greater influence on art, the very nature of which Duchamp challenged and redefined as concept rather than product by questioning its traditionally privileged optical nature. At the same time, he never ceased to be engaged, openly or secretly, in provocative activities and works that transformed traditional artmaking procedures. Written with the enthusiastic support of Duchamp's widow, this is one of the most original and important books ever written on this enigmatic artist, and challenges received ideas, misunderstanding and misinformation. With 172 illustrations in colour

This book investigates Jimmie Durham's community-building process of making and display in four of his projects in Europe: Something ... Perhaps a Fugue or an Elegy (2005); two Neapolitan nativities (2016 and ongoing); The Middle Earth (with Maria Thereza Alves, 2018); and God's Poems, God's Children (2017). Andrea Feeser explores these artworks in the context of ideas about connection set forth by writers Ann Lauterbach, Franz Rosenzweig, Pamela Sue Anderson, Vinciane Despret, and Hirokazu Miyazaki, among others. Feeser argues that the materials in Durham's artworks; the method of their construction; how Durham writes about his pieces; how they exist with respect to one another; and how they address viewers, demonstrate that we can create alongside others a world that embraces and sustains what has been diminished. The book will be of interest to scholars working in contemporary art, animal studies, new materialism research, and eco-criticism.

One of the best-loved painters in English history, Thomas Gainsborough (1727-1788) was also one of the most personally engaging. Bon vivant, wit, amateur and enthusiastic musician, he charmed sitters and friends alike. His ebullient, if not always reliable, personality comes to life in these two memoirs, written by two very different friends.

A landmark new presentation of the work of J.M.W. Turner, repositioning the great painter as a pioneering chronicler of contemporary life, and exploring what it really means to be a modern artist. J.M.W. Turner's career spanned revolution and the Napoleonic War, Empire, the explosion of finance capitalism, the transition from sail to steam and from manpower to mechanisation, political reform and scientific and cultural advances that transformed society and shaped the modern world. While historians have long recognised that the industrial and political revolutions of the late eighteenth century inaugurated far reaching change and modernisation, these were often ignored by artists as they did not fit into established categories of pictorial representation. This extraordinary new publication shows Turner updating the language of art and transforming his style and practice to produce revelatory, definitive interpretations of modern subjects. This is J.M.W. Turner as he has never been seen before.