Exploring the full breadth of work by British artist Adrian Berg RA (1929-2011), and drawing heavily on the artist's personal archive, this book discusses Berg's meticulous engagement with the landscape which resulted in an impressive oeuvre created over a long career. Embracing the figurative when abstraction was in the ascendancy, Berg's artistic mission was to push the boundaries of representative painting to discover new interpretations of familiar scenes. Accordingly, his paintings revisited particular places repeatedly - most notably the view of Regent's Park from his studio window at Gloucester Gate. Highly colourful and engagingly written, this book provides a long overdue appraisal and celebration of an artist who is key to the conversation around the development of British landscape painting, that most celebrated of British traditions.

'They're Not Pets, Susan, ' says a stern father who has just shot a bumblebee, its wings sparkling in the evening sunlight; a lone office worker, less than an inch high, looks out over the river in his lunch break, 'Dreaming of Packing it all In'; and a tiny couple share a 'Last Kiss' against the soft neon lights of the city at midnight.

Mixing sharp humour with a delicious edge of melancholy, "Little People in the City" brings together the collected photographs of Slinkachu, a street-artist who for several years has been leaving little hand-painted people in the bustling city to fend for themselves, waiting to be discovered. . .

'Oddly enough, even when you know they are just hand-painted figurines, you can't help but feel that their plights convey something of our own fears about being lost and vulnerable in a big, bad city.' "The Times"

It is so good, after so many years of public indifference, even hostility towards Vincent and his work, to feel towards the end of my life that the battle is won.' JO VAN GOGH-BONGER TO GUSTAVE COQUIOT, 1922 'It is a sacrifice for the sake of Vincent's glory.' JO VAN GOGH-BONGER ON THE SALE OF 'THE SUNFLOWERS' TO THE NATIONAL GALLERY, UK, 1924 Little known but no less influential, Jo van Gogh-Bonger was sister-in-law of Vincent van Gogh, wife of his brother, Theo. When the brothers died soon after each other, she took charge of Van Gogh's artistic legacy and devoted the rest of her life to disseminating his work. Despite being widowed with a young son, Jo successfully navigated the male-dominated world of the art market-publishing Van Gogh's letters, organizing exhibitions in the Netherlands and throughout the world, and making strategic sales to private individuals and influential dealers-ultimately establishing Van Gogh's reputation as one of the finest artists of his generation. In doing so, she fundamentally changed how we view the relationship between the artist and his work. She also lived a rich and fascinating life-not only was she friends with eminent writers and artists, but she also was active within the Social Democratic Labour Party and closely involved in emerging women's movements. Using rich source material, including unseen diaries, documents and letters, Hans Luijten charts the multi-faceted life of this visionary woman with the drive to shake the art world to its core.

Art. Art Criticism. This monograph traces Sonia Boyce's trajectory from early graphic work to her recent mixed-media pieces which draw on elements of British popular culture and cinema to address society's positioning of individuals in terms of race, class and gender. Unquestionably serious and with an unquestionable sense of humor, Boyce's work, ranging from photography to painting and installations, is here widely represented, and well-complemented by three intelligent essays by Gilane Tawadros, a biography of the artist, and, alongside the essays, excellently chosen excerpts from Boyce's working diaries. Tawadros' essays address cultural, racial, gender and visual/art historical issues raised over the trajectory of Boyce's artistic development, using such theorists as Homi Bhabha, Frantz Fanon, Italo Calvino, and Stuart Hall to contextualize the artist's magnificent and provocative work.

Illuminator, painter, scribe, clerk, teacher, doctor of theology, restorer and binder, Mesrop was one of the greatest Armenian artists of his and following generations. He was prolific, working for at least forty-two years in Sos (New Julfa) from 1608 to 1651. This book will be the first serious study of the 46 of his manuscripts that have survived. The focus of the book, however, is The Four Gospels, one of the few manuscripts painted entirely by Mesrop's hand and one of the most extensively illuminated in his oeuvre. It includes an extraordinary series of illuminations of both Old and New Testament scenes, with no less than twenty-three full page miniatures, and seventeen smaller miniatures. The author will shed light not only on Mesrop's career but on those of Armenian miniaturists of the sixteenth and seventeenth centuries. Through a thorough analysis of Mesrop's works Arakelyan is able to closely study the working methods of artists working in the scriptoria of Vaspurakan, Mokk' and New Julfa. He demonstrates the dramatic and exciting way in which these artists deliberately maintained a style of illumination rooted in Early Christianity. The monograph will have tremendous significance not only for Armenologists but also for Byzantinists and all historians of Christian art.

The elegant Matisse retrospective at New York's Museum of Modern Art in the fall of 1992 was the first king-sized retrospective of Matisse's work anywhere in the world for more than twenty years. Appropriately labelled "the most beautiful show in the world," this giant new look at Matisse and his pursuit of pleasure was a consummate success. Henri Matisse: A Bio-Bibliography provides the scholar, student, artist, and layperson with an extended primary and secondary bibliography with which to study and enjoy this great artist. These works cover his life, career, oeuvre, and influence on other artists. Though many of the entries are annotated, this is not meant to be a critical guide; rather, it is a way to get to know a great artist through the literature surrounding him and his art.

A new survey of the best works by the elusive and spectacular Spanish Impressionist Joaquin Sorolla. Often compared to his contemporary, the American artist John Singer Sargent, Joaquin Sorolla (1863-1923) was a master draftsman and painter of landscapes, formal portraits, and monumental, historically themed canvases. Highly influenced by French Impressionism, the Valencian artist was a master plein-air painter known for his luminous seaside scenes of frolicking youths and for vivid depictions of Spanish rural life and its pleasures and customs. This beautifully designed and produced volume brings together one hundred of Sorolla's major paintings, selected by his great-granddaughter Blanca Pons-Sorolla, the foremost authority on the artist. Benefiting from close proximity to the artist and his personal archives, she presents an in-depth essay that explores Sorolla's life, work, and remarkable international legacy. With virtually all of the artist's previous publications now out of print, this much-anticipated volume is an important addition to the literature on this great Spanish master.

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.

And the Dawn Came Up Like Thunder is the experience of an ordinary soldier captured by the Japanese at Singapore in February 1942. Leo Rawlings' story is told in his own pictures and his own words; a world that is uncompromising, vivid and raw. He pulls no punches. For the first time the cruelty inflicted on the prisoners of war by their own officers is depicted as well as shocking images of POW life. This is truly a view of the River Kwai experience for a 21st Century audience.The new edition includes pictures never before published as well as an extensive new commentary by Dr Nigel Stanley, an expert on Rawlings and the medical problems faced on the Burma Railway. More than just a commentary on the history and terrible facts behind Rawlings' work, it stands on its own as a guide to the hidden lives of the prisoners.Most of the pictures are printed for the first time in colour as the artist intended, bringing new detail and insight to conditions faced by the POWs as they built the infamous death railway, and faced starvation, disease and cruelty.Pictures such as those showing the construction of Tamarkan Bridge, now famed as the prototype for the fictional Bridge on the River Kwai, and those showing the horrendous suffering of the POWs such as King of the Damned have an iconic status. Rawlings' art brings a different perspective to the depiction of the world of the Far East prisoners. For the first time the pictures and original texts are printed in a large format edition, so that their full power can be experienced.The new edition includes an account of how Rawlings' book was published in Japan by Takashi Nagase (well known from Eric Lomax's book The Railway Man) in the early 1980s. Rawlings visited Nagase in 1980 and at last reconciled himself to his experiences as a POW.

Lali Khalid is an immigrant artist grappling with issues of identity, home, family and diaspora. In her photographs captured over a span of ten years, she illustrates complex challenges exploring new ways of retaining her identity in an environment of changing ideologies and perspectives. Khalid successfully bridges two ends of spectrum: the fading past and the vague future. The images viewed without a predetermined perception explain the evolving narrative through the veiled stories imbedded in them.

A documentary film by internationally acclaimed Chinese artist Ai Weiwei (born 1957), "Fairytale" chronicles the making of an installation-cum-performance of the same name. In 2007, Ai Weiwei invited 1001 Chinese citizens of varying ages and backgrounds to travel to Kassel, Germany, for one week each, all expenses paid. This 152-minute film describes the many challenges facing the artist and his volunteers in coordinating the work

Gilles Deleuze was one of the most influential and revolutionary philosophers of the twentieth century. Francis Bacon: The Logic of Sensation is his long-awaited work on Bacon, widely regarded as one of the most radical painters of the twentieth century.The book presents a deep engagement with Bacon's work and the nature of art. Deleuze analyzes the distinctive innovations that came to mark Bacon's style: the isolation of the figure, the violation deformations of the flesh, the complex use of color, the method of chance, and the use of the triptych form. Along the way, Deleuze introduces a number of his own famous concepts, such as the 'body without organs' and the 'diagram, ' and contrasts his own approach to painting with that of both the phenomenological and the art historical traditions.Deleuze links Bacon's work to CTzanne's notion of a 'logic' of sensation, which reaches its summit in color and the 'coloring sensation.' Investigating this logic, Deleuze explores Bacon's crucial relation to past painters such as Velasquez, CTzanne, and Soutine, as well as Bacon's rejection of expressionism and abstract painting.Long awaited in translation, Francis Bacon is destined to become a classic philosophical reflection on the nature of painting.

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.

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. -- .