'The day after my 35th birthday, I had a near death experience, caused by a sudden brain haemorrhage. Ironically, this brush with death became the conduit for the most powerful healing in my life. I connected to an eternal light which, I came to realise, is available to us all should we choose it. My wish for you in reading this book is to feel this loving light, peace and joy in your life now. The question is: how brightly do you wish to shine?' Roisin Fitzpatrick In this ground-breaking book, Roisin Fitzpatrick takes the reader on the remarkable journey of her near death experience, and shares how we can all integrate the light and love of the afterlife into our daily existence. In doing so, she lends fresh insight into our ancient Irish myths and stone monuments, connecting our past, present and future to this powerful eternal light. Taking Heaven Lightly is a book to be cherished by all those who wish to embrace and enjoy a meaningful life. 'A brilliant book with an unforgettable message' Dr Chrisine Ranck, co-author of the bestselling Ignite the Genius Within

Sue Clyne is emerging as the UK's leading fantasy artist. She grew up in the Norfolk countryside of rolling hills and woodlands. Her school books were littered with doodles and sketches in margins and on pages. She remains an intuitive artist. She has taken her lead from a varied selection of great artists including Josephine Wall, the late Susan Seddon Boulet and Salavador Dali.

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.

The paintings are grouped under various headings to take the reader through specific visual experiences beginning with some of the artist's tools, colour palettes and showing the development of texture. Seascapes and shorelines are the first stop, going through to the moors,hills and beyond.

The work of counterculture artists Tim Noble and Sue Webster, whose art is a complex punk-rock take on modern consumer culture. Enormous neon signs, intricate silhouette portraits constructed of trash heaps, and a work titled Instant Gratification: British artists Tim Noble and Sue Webster thrive on the thrills of illumination, love, language, shadows, garbage, and cash. "British Rubbish" showcases their work in all its splashy glory. Their art evokes both gaudy Vegas culture and down-and-dirty punk rock: a combination of cynical extravagance and a defiant, rebellious sensibility. Extravagant, irreverent, sometimes coarse, and always sharply clever, "British Rubbish" is both a paean to and sly denunciation of conspicuous consumption.

An illustrated biography, this book is the life story of Rachel Cassels Brown, children's illustrator and etcher.

THE SUNDAY TIMES BESTSELLER 'A burst of springtime joy' Daily Telegraph 'A springboard for ideas about art, space, time and light' The Times 'Lavishly illustrated' Guardian David Hockney reflects upon life and art as he experiences lockdown in rural Normandy On turning eighty, David Hockney sought out rustic tranquility for the first time: a place to watch the sunset and the change of the seasons; a place to keep the madness of the world at bay. So when Covid-19 and lockdown struck, it made little difference to life at La Grande Cour, the centuries-old Normandy farmhouse where Hockney set up a studio a year before, in time to paint the arrival of spring. In fact, he relished the enforced isolation as an opportunity for even greater devotion to his art. Spring Cannot be Cancelled is an uplifting manifesto that affirms art's capacity to divert and inspire. It is based on a wealth of new conversations and correspondence between Hockney and the art critic Martin Gayford, his long-time friend and collaborator. Their exchanges are illustrated by a selection of Hockney's new, unpublished Normandy iPad drawings and paintings alongside works by van Gogh, Monet, Bruegel, and others. We see how Hockney is propelled ever forward by his infectious enthusiasms and sense of wonder. A lifelong contrarian, he has been in the public eye for sixty years yet remains entirely unconcerned by the view of critics or even history. He is utterly absorbed by his four acres of northern France and by the themes that have fascinated him for decades: light, colour, space, perception, water, trees. He has much to teach us, not only about how to see... but about how to live.

This catalogue accompanies the first exhibition devoted to a fascinating group of drawings by the Anglo-Swiss Henry Fuseli (1741-1825), one of eighteenth-century Europe's most idiosyncratic, original and controversial artists. Best known for his notoriously provocative painting The Nightmare, Fuseli energetically cultivated a reputation for eccentricity, with vividly stylised images of supernatural creatures, muscle-bound heroes, and damsels in distress. While these convinced some viewers of the greatness of his genius, others dismissed him as a charlatan, or as completely mad. Fuseli's contemporaries might have thought him even crazier had they been aware that in private he harboured an obsessive preoccupation with the figure of the modern woman, which he pursued almost exclusively in his drawings. Where one might have expected idealised bodies with the grace and proportions of classical statues, here instead we encounter figures whose anatomies have been shaped by stiff bodices, waistbands, puff ed sleeves, and pointed shoes, and whose heads are crowned by coiffures of the most bizarre and complicated sort. Often based on the artist's wife Sophia Rawlins, the women who populate Fuseli's graphic work tend to adopt brazenly aggressive attitudes, either fixing their gaze directly on the viewer or ignoring our presence altogether. Usually they appear on their own, in isolation on the page; sometimes they are grouped together to form disturbing narratives, erotic fantasies that may be mysterious, vaguely menacing, or overtly transgressive, but where women always play a dominant role. Among the many intriguing questions raised by these works is the extent to which his wife Sophia was actively involved in fashioning her appearance for her own pleasure, as well as for the benefit of her husband. By bringing together more than fi fty of these studies (roughly a third of the known total), The Courtauld Gallery will give audiences an unprecedented opportunity to see one of the finest Romantic-period draughtsmen at his most innovative and exciting. Visitors to the show and readers of the lavishly illustrated catalogue will further be invited to consider how Fuseli's drawings of women, as products of the turbulent aftermath of the American and French Revolutions, speak to concerns about gender and sexuality that have never been more relevant than they are today. The exhibition showcases drawings brought together from international collections, including the Kunsthaus in Zurich, the Auckland Art Gallery in New Zealand, and from other European and North American institutions.

Enter the fantastic fantasy world of epic doodler Kerby Rosanes in his creepiest collection yet. From skulls that morph into butterflies to clockwork dragons and vine-entangled pumpkins - there's plenty of gothic-inspired scenes and creatures to bring to life in colour. As an extra challenge, seek out the search items at the back of the book - there's more to discover within these pages than you ever dreamed possible. On top of the success of Animorphia, Imagimorphia and Mythomorphia, Kerby's detailed doodle skills have already earned him a solid fan base. His Sketchy Stories Facebook page has more than 1,000,000 likes, he has had 275,000 project views on Behance and his incredible website (www.kerbyrosanes.com) is getting more hits by the day. Other books in the colouring series include: 9781910552070 Animorphia 9781910552148 Imagimorphia 9781910552261 Mythomorphia 9781910552926 Geomorphia

Brett Charles Seiler lives and works in Cape Town, South Africa, where he also graduated from the Ruth Prowse School of Art in 2015. Seiler's work has elements of painting, installation, and object art, with a strong emphasis on the use of text and language. Sometimes poetic, nostalgic, or romantic, it is an integral part of his art or stands on its own as a piece as well. In his paintings, the space is indeterminate, the figures are not located and sketchily fleeting, the writing elements seem spontaneous like statements from street art. The colour scheme moves in a narrow spectrum between black, grey, white and brown tones, often using wood. His themes are sexual interaction, oppression, homosexuality, gender, men. Originally from Zimbabwe, a state where human rights violations are commonplace, his work also makes a mark in the struggle for equal sexual orientation in education, media, and institutions. "[My work] is a deep longing for understanding. It is from the point of view of something that I've missed, something that I cannot go back to. It's a process of research." Text in English and German.

This monograph brings together the work of artist David Medalla. Born in Manila, in the Philippines in 1942, and based since 1960 mainly in London, Medalla has distinguished himself internationally as an innovator of the avant-garde. His work has embraced a multitude of enquiries and enthusiasms, forms and formats, to express a singular yet deeply coherent vision of the world.

The first substantial overview of Newling's mysterious, intriguing, and often beautiful works.

Known for his grand public murals, Diego Rivera (1886-1957) is one of Mexico's most revered artists. His paintings are marked by a unique fusion of European sophistication, revolutionary political turmoil, and the heritage and personality of his native country. Based on extensive interviews with the artist, his four wives (including Frida Kahlo), and his friends, colleagues, and opponents, The Fabulous Life of Diego Rivera captures Rivera's complex personality--sometimes delightful, frequently infuriating and always fascinating--as well as his development into one of the twentieth century's greatest artist.

Life of Newlyn/St Ives artist famed for his paintings of animals and birds.