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Books > Arts & Architecture > Art forms, treatments & subjects > Art treatments & subjects > Individual artists > General
'Ought to become a classic. It is an enshrinement of [Meades's]
intense baroque and catholic cleverness' Roger Lewis, The Times
'One of the foremost prose stylists of his age in any register . .
. Probably we don't deserve Meades, a man who apparently has never
composed a dull paragraph' Steven Poole, Guardian 'There are more
gems in this wonderful book than I could cram into a dozen of these
columns' Simon Heffer, Daily Telegraph 'Such a useful and important
critic . . . He is very much on the reader's side, bringing his
full wit to bear on every single thing he writes' Nicholas Lezard,
Spectator This landmark publication collects three decades of
writing from one of the most original, provocative and consistently
entertaining voices of our time. Anyone who cares about language
and culture should have this book in their life. Thirty years ago,
Jonathan Meades published a volume of reportorial journalism,
essays, criticism, squibs and fictions called Peter Knows What Dick
Likes. The critic James Wood was moved to write: 'When journalism
is like this, journalism and literature become one.' Pedro and
Ricky Come Again is every bit as rich and catholic as its
predecessor. It is bigger, darker, funnier and just as impervious
to taste and manners. It bristles with wit and pin-sharp eloquence,
whether Meades is contemplating northernness in a German forest or
hymning the virtues of slang. From the indefensibility of
nationalism and the ubiquitous abuse of the word 'iconic', to John
Lennon's shopping lists and the wine they call Black Tower, the
work assembled here demonstrates Meades's unparalleled range and
erudition, with pieces on cities, artists, sex, England, France,
concrete, faith, politics, food, history and much, much more.
A new understanding of Francis Bacon’s art and motivations.
The second in a series of books that seeks to illuminate Francis
Bacon’s art and motivations, and to open up fresh and stimulating ways
of understanding his paintings.
Francis Bacon is one of the most important artists of the 20th century.
His works continue to puzzle and unnerve viewers, raising complex
questions about their meaning. Over recent decades, two theoretical
approaches to Bacon’s work have come to hold sway: firstly, that Bacon
is an existentialist painter, depicting an absurd and godless world;
and secondly, that he is an anti-representational painter, whose
primary aim is to bring his work directly onto the spectator’s ‘nervous
system’.
Francis Bacon: Painting, Philosophy, Psychoanalysis brings together
some of today’s leading philosophers and psychoanalytic critics to go
beyond established readings of Bacon and to open up radically new ways
of thinking about his art. The essays bring Bacon into dialogue with
figures such as Aristotle, Hegel, Freud, Lacan, Adorno and Heidegger,
as well as situating his work in the broader contexts of modernism and
modernity. The result is a timely and thought-provoking collection that
will be essential reading for anyone interested in Bacon, modern art
and contemporary aesthetics.
Nicholas Hilliard has helped form our ideas of the appearance of
Elizabeth I, Mary Queen of Scots, Sir Francis Drake and James I
among others. His painted works open a remarkable window onto the
highest levels of English/British society in the later years of the
sixteenth and the early years of the seventeenth century, the
Elizabethan and Jacobeans ages. In this book Karen Hearn gives us
an intimate portrait of Nicholas Hilliard, his life, his work and
the techniques he used to produce his exquisite miniatures. Karen
Hearn is curator of Sixteenth and Seventeenth-Century Art at the
Tate Britain. She has written on Marcus Gheeraerts II, Dynasties:
Painting in Tudor and Jacobean England 1530-1630 and In
Celebration: The Art of the Country House.
Newly published in paperback to coincide with the Barbara Hepworth
retrospective exhibition at Tate Britain in 2015, this fascinating
book combines a fully illustrated catalogue of the sculptor's
surviving prototypes in plaster (and a number also in aluminium and
wood), generously gifted to The Hepworth Wakefield by the Hepworth
Estate, with a detailed analysis of her working methods and a
comprehensive history of her work in bronze. The Hepworth's
collection of over forty unique, unknown sculptures are the
surviving working models from which editions of bronzes were cast.
They range in size from works that can be held in the hand to
monumental sculptures, including the Winged Figure for John Lewis's
Oxford Street headquarters. The majority are original plasters on
which the artist worked with her own hands and to scale. It was in
plaster that Hepworth experimented most as she made the transition
from stone and wood to bronze, testing the potential of her new
material as she went. Sophie Bowness's illuminating text describes
the different means by which this increasingly important artist
made her plaster works, and why. Drawing extensively on archival
records and photographs, this publication is an important source of
information about a significant collection of work, the gallery
which houses it and Hepworth in general. The catalogue illuminates
the histories of Hepworth's sculptures through fascinating archival
photographs, which demonstrate everything from the varied tools
used by Hepworth to the logistical problems of transporting her
monumental pieces through the narrow streets of St Ives. The book
provides a much-needed account of Hepworth's studio practice, her
relations with foundries, and the evolution of her public
commissions.
In this volume, Portuguese multimedia artist Juliao Sarmento (born
1948) showcases the archive of the film critic Rui Pedro Tendinha,
which features indefinably odd photos of Tendinha posing awkwardly
(and often with the same hand gestures) with celebrities such as
Christian Bale, Joan Cusack, Mike Myers, Will Smith, Kevin Spacey,
Jon Voigt and Emily Watson.
The first comprehensive research guide and bibliography to the
large literature surrounding the life and work of one of the 20th
century's greatest artists, this volume includes information on
more than 1,100 books and articles as well as a chronology,
biographical sketch, and list of exhibitions. The secondary
bibliography is arranged by topic and includes citations on the
artist's life and career, his relationships with contemporary
artists (notably Picasso), his influence on subsequent artists, his
work in diverse artistic media as well as his oeuvre in general,
iconography, and more. While concentrating on printed materials,
this guide also includes selected manuscripts and audio-visual
materials. Following a biographical sketch and chronology, the
primary bibliography lists articles, essays, letters, interviews,
manuscripts, and sketchbooks of Braque. The main part of the
secondary bibliography lists monographs, catalogues, dissertations,
theses, periodical articles, films, and selected newspaper
articles. Substantial book reviews and exhibition reviews are also
cited. Arranged by topic, this bibliography includes citations on
Braque's career and development as an artist, his relationships
with contemporary artists, a section on Braque/Picasso, his
influence on other artists, his work in various media including
paintings, drawings, prints, illustrated books, papiers decoupes,
sculpture, jewelry, theatre designs, and other commissions. Georges
Braque first came to world attention as Picasso's friend during the
formative years of Cubism. Long overshadowed by his more famous
contemporary, in the quarter-century after his death Braque is
beginning to be evaluated accurately. Major retrospective
exhibitions over the past decade, accompanied by a considerable
body of new criticism and scholarship, have brought Braque into the
spotlight.
An authoritative introduction to one of the most influential
painters in the history of art, written by the pre-eminent
authority on the subject and informed by the latest research. More
versatile and less idiosyncratic than Michelangelo, more prolific
and accessible than his mentor Leonardo da Vinci, Raphael, though
he died at only thirty-seven, is considered the single most
influential artist of the Renaissance. Here, art historian Paul
Joannides explores the different social and regional contexts of
Raphael's work and discusses all aspects of his artistic output. He
traces Raphael's career from his origins in Urbino, through his
altarpieces made in Umbria in the shadow of Perugino, to the first
flowering of his genius in Florence where he painted a series of
iconic Madonnas that are among the most beloved images in Western
art. Raphael's employment by the dynamic and demanding Pope Julius
II gave him opportunities without parallel and encouraged the full
expansion of his genius. As a sophisticate entrepreneur, he
dominated Rome's artistic life and extended the range of his
activities to that of architect, designer, pioneer archaeologist
and theoretician. The foundation of Raphael's versatility and range
was his supreme clarity of mind as a draughtsman. Knowledge of his
drawings, on which Joannides is a leading expert, is central to
understanding of his achievement, and they are thoroughly explored
here.
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Lives of Tintoretto
(Paperback)
Giorgio Vasari, Pietro Aretino, Carlo Ridolfi, Andrea Calmo, Veronica Franco, …
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R277
Discovery Miles 2 770
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Ships in 10 - 15 working days
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The most exhilarating painter of the Renaissance and arguably of
the whole of western art, Tintoretto was known as Il Furioso
because of the attack and energy of his style. His vaunting
ambition is recorded in the inscription he placed in his studio: l
disegno di Michelangelo ed il colorito di Tiziano ("Michelangelo's
drawing and Titian's colour"). The Florentines Vasari and Borghini,
and the Venetians Ridolfi and Boschini wrote the earliest
biographies of the artist. The four accounts are related to each
other and form the backbone of the critical success of Tintoretto.
Borghini is the first one to give some information about Marietta
Tintoretto, also an artist, and Ridolfi is the richest in anecdotes
about the artist's life and personality - including the one about
the inscription which he may, however, have invented. Boschini, a
witty Venetian nationalist, wrote his account in dialect verse. El
Greco, whose marginal notes to Vasari are included for the first
time in English, Calmo and Franco knew Tintoretto personally and
their writings give a real flavour of this complicated man.
Unavailable in any form for many years, these biographies have been
newly edited for this edition. They are introduced by the scholar
Carlo Corsato, who places each in its artistic and literary
context. Approximately 50 pages of colour illustrations cover the
full range of Tintoretto's astonishing output.
Jonathan Richardson (1667-1745) was one of 18th-century England's
most significant cultural figures. A leading portrait painter and
influential art theorist, he also amassed one of the period's
greatest collections of drawings. But there was another, highly
unusual dimension to his pursuits. In 1728, at the age of 61 and
shortly before his retirement from professional life, Richardson
began to create a remarkable series of self-portrait drawings. Not
intended for public display, these works were unguarded
explorations of his own character. In one of the most astonishing
projects of self-examination ever undertaken by an artist, for over
a decade Richardson repeatedly drew his own face. His self-portrait
drawings are usually dated precisely, and they document, from month
to month, his changing state of mind as much as his appearance.
Many were drawn in chalks on large sheets of blue paper, from his
reflection in the mirror. Some of these are bold and
psychologically penetrating, while others, in which he regards his
ageing features with gentle but unflinching scrutiny, are deeply
touching. A further group of self-portraits is drawn with graphite
on small sheets of fine vellum, and in these Richardson often
presents himself in inventive and humorous ways, such as in
profile, all'antica, as though on the face of a coin or medal; or
crowned with bays, like a celebrated poet. Sometimes, too, he
copies his image from oil paintings made decades earlier, in order
to recall his appearance as a younger man. In this extraordinary
series of self-portraits, Richardson offers a candid insight into
his mind and personality. Together, these drawings create nothing
less than a unique and compelling visual autobiography. This
publication - which accompanies the first ever exhibition devoted
to Richardson's self-portrait drawings, held in the new Gilbert and
Ildiko Butler Drawings Gallery at the Courtauld - tells the story
of these remarkable works Jonathan Richardson (1667-1745) was one
of 18th-century England's most significant cultural figures. A
leading portrait painter and influential art theorist, he also
amassed one of the period's greatest collections of drawings. But
there was another, highly unusual dimension to his pursuits. In
1728, at the age of 61 and shortly before his retirement from
professional life, Richardson began to create a remarkable series
of self-portrait drawings. Not intended for public display, these
works were unguarded explorations of his own character. In one of
the most astonishing projects of self-examination ever undertaken
by an artist, for over a decade Richardson repeatedly drew his own
face. His self-portrait drawings are usually dated precisely, and
they document, from month to month, his changing state of mind as
much as his appearance. Many were drawn in chalks on large sheets
of blue paper, from his reflection in the mirror. Some of these are
bold and psychologically penetrating, while others, in which he
regards his ageing features with gentle but unflinching scrutiny,
are deeply touching. A further group of self-portraits is drawn
with graphite on small sheets of fine vellum, and in these
Richardson often presents himself in inventive and humorous ways,
such as in profile, all'antica, as though on the face of a coin or
medal; or crowned with bays, like a celebrated poet. Sometimes,
too, he copies his image from oil paintings made decades earlier,
in order to recall his appearance as a younger man. In this
extraordinary series of self-portraits, Richardson offers a candid
insight into his mind and personality. Together, these drawings
create nothing less than a unique and compelling visual
autobiography. This publication - which accompanies the first ever
exhibition devoted to Richardson's self-portrait drawings, held in
the new Gilbert and Ildiko Butler Drawings Gallery at the Courtauld
- tells the story of these remarkable works and puts them into the
context of his other activities at this period of his life - in
particular the self-searching poems he wrote during the same years
and often on the same days as he made the drawings. An introductory
essay is followed by focused discussions of each work in the
exhibition. This part of the book explores the materials and
techniques Richardson used, whether working in chalks on a large
scale or creating exquisitely refined drawings on vellum. It will
also reveal how Richardson modeled some of his portraits on old
master prints and drawings, including works in his own collection
by Rembrandt and Bernini. The publication brings together the
Courtauld Gallery's fine collection of Richardson's drawings with
key works in the British Museum, the National Portrait Gallery and
the Fitzwilliam Museum.
Joan Eardley was one of the best-loved Scottish artists of the
twentieth century. Her observations of children in the back streets
of Glasgow as well as her expressionistic drawings and oils of the
elements on the north-east coast of Scotland have caught the
imagination of the Scottish public. Eardley is cherished as a
painter of the Scottish identity in both town and country, who had
a unique ability to sum up a community and the timeless drama of
the natural world. This book examines Eardley's ouevre and its
place in the international and British context and her reputation.
It includes paintings and drawings from private collections, which
have not been seen for many years, and works from the collection of
the Scottish National Gallery of Modern Art, which also holds the
Joan Eardley Archive.
William Blake and the Body re-evaluates Blake's central image: the human form. In Blake's designs, transparent-skinned bodies passionately contort; in his verse, metamorphic bodies burst from each other in gory, gender-bending births. The culmination is an ideal body uniting form and freedom. Connolly explores romantic-era contexts like anatomical art, embryology, miscarriage, and 20th century theorists like those of Kristeva, Douglas, and Girard to provide an innovative new analysis of Blake's transformations of body and identity.
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Ilya Repin
(Hardcover)
Grigori Sternine, Elena Kirillina
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R938
Discovery Miles 9 380
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Ships in 10 - 15 working days
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