First published 1990, this volume consists of an introductory essay by Ian Lowe and a comprehensive catalogue of all Wilfred Fairclough's prints, some 140, from 1932 to the present (1990). Al the prints are illustrated in the body of the catalogue for ease of identification and 48 are also reproduced as large format duotone illustrations. From the Royal College of Art, Wilfred Fairclough won the Rome Scholarship in Engraving in 1934 and was elected an Associate of the Royal Society of Painter-Etchers and Engravers in the same week. His engravings, inspired by his travels in Italy, Spain and Germany in the 1930s, were succeeded by etchings of British subjects and topography, notably of Oxford, until, with a Leverhulme grant, he returned to Italy in 1961. Increasingly, thereafter he has found his subjects and his inspiration in Venice, in concerts, restaurant interiors, and the Carnival, and in Lucerne, in markets and the human figure. Wilfred Fairclough has exhibited consistently at the Royal Society of Painter-Etchers and Engravers and at the Royal Academy (where his most recent Venetian subject, Venice Carnival. Clowns, sold out in three days). Now aged 83 he is still working. There has been no slackening off in his productivity nor in the quality of his work since he retired from teaching at the Kingston College of Art in 1972. The Catalogue is based on his own meticulous records. It will be an essential source of information for all who are interested in his work as a printmaker. Elected an Honorary Member of the Royal Society of Painter-Etchers and Engravers in 1975, Ian Lowe worked in the Ashmolean Museum in Oxford from 1962 until 1987. There he was responsible for the collection of nineteenth- and twentieth-century British prints. He arranged and catalogued numerous exhibitions including those devoted to ~F.L. Griggs, R.S. Austin, Robin Tanner, Alan Gwynne-Jones and Richard Shirley Smith. His association with Wilfred Fairclough dates from 1974. His introductory essay is both biographical and an appreciation of Fairclough's achievement as a printmaker. It is based on their correspondence, lectures, and meetings as well as on the study of the archives and records of the last sixty years.

Alternately praised as "an American original" and lampooned as an arbiter of kitsch, the regionalist painter Thomas Hart Benton has been the subject of myriad monographs and journal articles, remaining almost as controversial today as he was in his own time. Missing from this literature, however, is an understanding of the profound ways in which sound figures in the artist's enterprises. Prolonged attention to the sonic realm yields rich insights into long-established narratives, corroborating some but challenging and complicating at least as many. A self-taught and frequently performing musician who invented a harmonica tablature notation system, Benton was also a collector, cataloguer, transcriber, and distributor of popular music. In Thomas Hart Benton and the American Sound, Leo Mazow shows that the artist's musical imagery was part of a larger belief in the capacity of sound to register and convey meaning. In Benton's pictorial universe, it is through sound that stories are told, opinions are voiced, experiences are preserved, and history is recorded.

Ronnie Wood is one of the foremost rock guitarists in the world, but his artistic talents extend beyond music. Throughout his stellar musical career from The Birds to the Faces and the Rolling Stones, Ronnie has never lost his passion for painting, drawing and sculpture. Exuding the same irrepressible energy as Ronnie himself, Ronnie Wood: Artist is the first ever comprehensive collection of his paintings and other artworks, created to mark the occasion of his seventieth birthday. The bright, bold volume brings together the fruits of a lifetime in the arts, brimming with six decades of memorable and diverse work, from his art college portfolio (he studied alongside Pete Townshend) to the intimate work of his personal life today. Inside, a generous selection of his Stones work, including rare watercolours of Mick, Keith and Charlie backstage, meets acrylics of contemporaries Rod Stewart, Jeff Beck and Keith Moon. Portraits of formative jazz innovators Count Basie, Miles Davis and Billie Holiday sit alongside blues heroes Howlin' Wolf, Muddy Waters and Big Bill Broonzy. Paintings of Hollywood's elite - Paul Newman, James Dean and Marilyn Monroe - juxtapose real-time fashion sketches of Kate Moss and Naomi Campbell and deft pastel compositions from his residency at the Royal Ballet. The artist himself provides the captions and insights into the thought and motivation behind each piece. With an introduction by Emmanuel Guigon (director of the Museu Picasso, Barcelona, where Ronnie will be beginning a residency in 2018) and an afterword by none other than Keith Richards, Ronnie Wood: Artist exists where fine art and rock 'n' roll collide. This extensive and eclectic collection offers unique insights into the entire world of Ronnie Wood, and, with close to 400 works, is a fitting testament to the artistic range and ambition of rock 'n' roll's most successful artist

"In this admirable work, at once passionately argued and lucidly written, Professor Garrard effectively considers the social, psychological, and formal complexity of the shaping and reshaping not only of the artist's feminine and feminist identity in the misogynistic society of the seventeenth century, but also of that identity in the discipline of art history today."--Steven Z. Levine, author of "Monet, Narcissus, and Self-Reflection

"Mary Garrard's detailed investigation into attribution problems in two Artemisia Gentileschi paintings brilliantly interweaves connoisseurship, constructions of gender and artistic identity, and historical analysis. The result is a richer and more nuanced vision of the best-known female artist in western history before the modern era, and an important contribution to feminist studies." --Whitney Chadwick, author of "Women, Art, and Society

"In her new book, Garrard has taken two bold steps that challenge much received opinion in the 'discipline' of art history. Analyzing two of Gentileschi's least violent but most moving images, Garrard argues that the painter's personality is discernible no less in the subjects and their interpretation than in the 'style' of the works; consideration of both aspects is essential to understanding the meaning of these extraordinary pictures and her authorship. Perhaps even more important, Garrard makes crystal clear that Artemisia Gentileschi, far from a 'good woman painter, ' was one of the major visual thinkers of her time."--Irving Lavin, co-author with Marilyn Aronberg Lavin, of "La Liturgia d'Amore: Immagini dal Canto dei Cantici nell'arte di Cimabue, Michelangelo, e Rembrandt (Modena, 2000)

"Developing herearlier methodologies and revising some conclusions, Garrard clarifies her distinct theoretical approach and voice among feminist critiques of art history. In this text, which reads in part like a forensic mystery, Garrard builds not only an argument for attributions of particular works, but a new understanding of Gentileschi herself at a particular moment in history."--Hilary Robinson, editor of "Visibly Female: Feminism and Art Today

"One of our most distinguished feminist art historians brings contemporary gender studies to bear on traditional paintings connoisseurship to show how attributions to female artists have often been governed by tacit cultural assumptions about the limitations of women. Her case makes compelling reading for anyone interested in early modern society, culture, women and art in Italy, and in the problematics of feminism and art history."--Kathleen Weil-Garris Brandt, author of "Leonardo e la Scultura

"By revealing a great woman painter's ways of expressing uniqueness while negotiating expectations, Mary Garrard helps each of us with the subtleties of remaining authentic while living in the world. Artemisia Gentileschi around 1622 is art history to live by."--Gloria Steinem

Over the last forty years, renewed interest in the career of Henry Ossawa Tanner (1859-1937) has vaulted him into expanding scholarly discourse on American art. Consequently, he has emerged as the most studied and recognized representative of African American art during the nineteenth century. In fact, Tanner, in the spirit of political correctness and racial inclusiveness, has gained a prominent place in recent textbooks on mainstream American art and his painting, The Banjo Lesson (1893), has become an iconic symbol of black creativity. In addition, Tanner achieved national recognition when the Philadelphia Museum of Art in 1991 and the Pennsylvania Academy of the Fine Arts in 2012 celebrated him with major retrospectives. The latter exhibition brought in a record number of viewers. While Tanner lived a relatively simple life where his faith and family dictated many of the choices he made daily, his emergence as a prominent black artist in the late nineteenth century often thrust him openly into coping with the social complexities inherent with America's great racial divide. In order to fully appreciate how he negotiated prevailing prejudices to find success, this book places him in the context of a uniquely talented black man experiencing the demands and rewards of nineteenth-century high art and culture. By careful examination on multiple levels previously not detailed, this book adds greatly to existing Tanner scholarship and provides readers with a more complete, richly deserved portrait of this preeminent American master.

Birds & Words is a true reflection of Charley Harper, that rare species of a man with twinkling eyes and smile, with wit as infectiously keen and light-hearted as his paintings. Harper the humorist is as captivating in the self composed stories that accompany his serigraphs as Harper the artist. This boxed reissue of the highly collectible 1974 classic is perfect for every bird lover, art collector and Charley Harper fan alike. Specially made cloth wrapped boxes open to reveal a numbered cloth bound book and one of four beautiful silk-screen prints, each estate stamped and hand numbered. A perfect gift for any occasion.

By turns hilarious, satirical, and brilliant, David Shrigley's full-page illustrations a combination of drawing, comics, photography, and sculpture are sui generis: uproariously funny, pleasantly unnerving, and, most of all, really, really cool. Neither "graphic novel" nor "art book," What the Hell Are You Doing? celebrates the surreal world of the artist who created Ants Have Sex in Your Beer and To Make the Meringue You Must Beat the Egg Whites Until They Look Like This the man Dave Eggers calls "probably the funniest gallery-type artist who ever lived."

An illustrated exploration of the artist, Rembrandt van Rijn, his life and context, with a gallery of 300 of his finest works. This is a fascinating biography that explores his early years, his personal life and the historical context of the early 17th century. It analyzes his creative progress and the artistic influences that led him to develop his work from the grand Baroque to a less exuberant style.

How are you feeling? Are you alright? If you could open your mind like a handbag and show us what was inside, what would we see? A bit of a mess? Don't worry. This is a self-help book. You'll feel better very soon.

The first biography of sculptor Chana Orloff. In Sculpting a Life, the first book-length biography of sculptor Chana Orloff (1888-1968), author Paula Birnbaum tells the story of a fiercely determined and ambitious woman who fled antisemitism in Ukraine, emigrated to Palestine with her family, then travelled to Paris to work in haute couture before becoming an internationally recognized artist. Against the backdrop of revolution, world wars, a global pandemic and forced migrations, her sculptures embody themes of gender, displacement, exile, and belonging. A major figure in the School of Paris, Orloff contributed to the canon of modern art alongside Picasso, Modigliani and Chagall. Stories from her unpublished memoir enrich this life story of courage, perseverance, and extraordinary artistic accomplishments that take us through the aftermath of the Holocaust when Orloff lived between Paris and Tel Aviv. This biography brings new perspectives and understandings to Orloff's multiple identities as a cosmopolitan emigre, woman, and Jew, and is a much-needed intervention into the narrative of modern art.

Often understood as primarily moral works, William Hogarth's oeuvre is in truth made up of innumerable interwoven strands of significance. By focusing on Hogarth's four greatest series, 'A Harlot's Progress', 'A Rake's Progress', 'Marriage-a-la Mode', and 'Industry and Idleness', Soulier-Detis tugs at one of the least-studied of these half-hidden threads - Masonic symbolism. Hogarth's many classical and biblical references, whose ambiguity and apparently paradoxical relation with the eighteenth-century situations depicted have often been underlined, gain coherence and unity when they are analysed in the symbolic framework of freemasonry and alchemy Hogarth was busy both using and concealing in his prints. The coded meaning that emerges is often entirely at odds with that on the surface, a dissonance frequently suspected but never conclusively proved by critics. Beneath the author's incisive eye, a veritable secret language of imagery emerges to form a coherent whole, offering an entirely new perspective on so familiar an artist. An original and titillating book for academic and general audiences alike, "Guess at the Rest" fascinates as it explores Hogarth's intricate mythological, biblical and Masonic symbols and the hidden codes they form. Even as she unearths this particular reading of the great painter and engraver, however, Soulier-Detis ultimately reminds us that though we may wish to think we know Hogarth well, his dictum at the end of the caption to The South Sea Scheme will always hold true - "Guess at the Rest you find out more." About the Author: Elisabeth Soulier-Detis has just retired from chair of British Eighteenth-Century Literature at the Paul-Valery University of Montpellier. She was director for France of a research network on eighteenth-century Europe. Her major academic interests are eighteenth-century British novelists (Defoe, Richardson, Fielding, Sterne), as well as eighteenth-century British art. She also founded 'The European Spectator', a bilingual collection.

A gorgeous new edition with the cover printed on silver. Towards the end of his life and much inspired by Japanese water gardens, Monet spent a great deal of time in his beloved Giverny. Adorned with poppies, blue sage, dahlias and irises, the waters were disturbed only by bamboos and water lilies. His water garden was originally created to satisfy a need to be near water, and to provide a visual feast that could be enjoyed from his house. The pond was fed by the river Ru, and weeping willow and silver birch hung over its edges, caressing the fronds of the greenery and blossoms below. Its famous green wooden footbridge was built across the water and it became the central focus of many of his works. He said, 'It took me some time to understand my water lilies. I planted them for pleasure.' and so he began to work on what is probably the most famous series of paintings the world has ever seen.

This collection of writings by specialists from many disciplines explores a wide range of topics relating to English painter George Romney (1734-1802). The contributors to the book address not only Romney's personality and artistic practice, but also aspects of the cultural context of his work, such as its relation to theater and its diffusion through prints. Key essays discuss the central themes of the artist's work, his rivalry with Sir Joshua Reynolds, and his painting technique. Alex Kidson offers in the introduction a survey of previous writings about Romney and their impact on the artist's reputation two centuries after his death. Published for the Paul Mellon Centre for Studies in British Art

Stevenson introduces this book of a collection of the famous painter and drawer 'Rubens' artwork. This book is brought together with reproductions, notes and origins of the photographs.

'In our time, Bernard Leach has done for pottery what Henry Moore has done for scuplture. This... infinitely rewarding book is an account of his pilgrimage through life.' "Times"

Bernard Leach (1887-1979) was as renowned in Japan and the East as in Europe and America, both as an artist-craftsman and as a thinker. His interpretation of the traditions of the Orient in the making of pots - and in evolving a philosophy of life - was a lodestar for many potters in the West.

"Beyond East and West," first published in 1978, is more than an autobiography. Full of sharply-etched and amusing recollections, it contains much of Leach's deeper thought and a great deal too about the practical application of his ideas. Its recurrent theme is the meeting of East and West at all levels - artistic, cultural, social, political.

Somewhere within the iconic images, carefully-made personae, star-studded milieu, million-dollar price tags and famous quotes lies the real Andy Warhol. But who was he? Robert Shore unfolds the multi-dimensional Warhol, dissecting his existence as undisputed art-world hotshot, recreating the amazing circle that surrounded him, and tracing his path to stardom back through his early career and his awkward and unusual youth. After Warhol, nothing would be the same - he changed art forever. Find out how with his remarkable story.

Vanguard follows last year's hit Fantastic Paintings of Frazetta book by J. David Spurlock with definitive reference on Frazetta Book Cover Art. Frazetta is the revolutionary fantasy artist of Conan, King Kong, Death Dealer, Edgar Rice Burroughs, Lord of The Rings and more, whose original art sells for millions. This new 2022 Frazetta book follows last year's hit, Fantastic Paintings of Frazetta and is similar to Vanguard's earlier Frazetta Definitive Reference book. But, it is superior in at least one regard. Instead of cataloging Frazetta items with mostly smaller illustrations, this new book is devoted solely to the artist's single, most beloved venue, Book Cover Art. By focusing on this specific area, the book boasts room enough to feature every single one of Frazetta's famous and highly collectable illustrated book covers, beautifully and authentically reproduced at a larger size on a page to itself. All are presented in chronological order which, gives readers a unique ability to follow Frazetta's evolution as an artist. Accompanying text includes commentary, original publication titles, publishers, dates, and rare quotes from the artist himself. For this Definitive Reference to feature the Complete Collection of Frazetta's decades of book cover illustrations, in a single beautifully produced volume, is a dream come true for Frazetta fans, art and book collectors and historians alike.

Beginning with a dissertation on Raphael's drawings, Oskar Fischel made it his endeavor, with an ever growing knowledge of Raphael, to arrive at a comprehensive representation, and this he has left behind this book. The illustrations gathered together by him over a period of many years are intended, in the selection here provided, to induce the reader to seek out the works of the artist. The book speaks of Raphael's influential manner on society.