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.

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.

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

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.

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

Considered on of the most important religious structures of the twentieth century, the Chapel of the Rosary in Vence was regarded by Matisse himself as his great masterpiece. He dedicated four years to the creation of this convent chapel on the French Riviera, and the result is one of the most remarkable and comprehensive ensemble pieces of twentieth-century art. Every element of the chapel bears the artists touch, from the vivid Mediterranean hues of the stained glass windows to the starkly powerful murals; even the vestments and altar were designed by Matisse. This beautifully illustrated volume captures the chapel in exquisite detail, allowing an unparalleled view of this iconic and sacred space. With stunning new photography that captures the dramatic effects of the changing light in the building throughout the day, this book is the first to present the experience of being within the chapel exactly as Matisse himself envisaged it, while Marie-Therese Pulvenis de Selignys authoritative and insightful text explores the extraordinary story of the chapels creation and the challenges faced by the 77-year-old artist in realising his great vision."

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.

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

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

Until well into the twentieth century, the claims to citizenship of women in the US and in Europe have come through men (father, husband); women had no citizenship of their own. The case studies of three expatriate women (Renee Vivien, Romaine Brooks, and Natalie Barney) illustrate some of the consequences for women who lived independent lives. To begin with, the books traces the way that ideas about national belonging shaped gay male identity in the nineteenth century, before showing that such a discourse was not available to women and lesbians, including the three women who form the core of the book. In addition to questions of sexually non-conforming identity, women's mediated claim to citizenship limited their autonomy in practical ways (for example, they could be unilaterally expatriated). Consequently, the situation of the denizen may have been preferable to that of the citizen for women who lived between the lines. Drawing on the discourse of jurisprudence, the history of the passport, and original archival research on all three women, the books tells the story of women's evolving claims to citizenship in their own right.

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.

Most unusually among major painters, Vincent van Gogh (1853-90) was also an accomplished writer. His letters provide both a unique self-portrait and a vivid picture of the contemporary cultural scene. Van Gogh emerges as a complex but captivating personality, struggling with utter integrity to fulfil his artistic destiny. This major new edition, which is based on an entirely new translation, reinstating a large number of passages omitted from earlier editions, is expressly designed to reveal his inner journey as much as the outward facts of his life. It includes complete letters wherever possible, linked with brief passages of connecting narrative and showing all the pen-and-ink sketches that originally went with them. Despite the familiar image of Van Gogh as an antisocial madman who died a martyr to his art, his troubled life was rich in friendships and generous passions. In his letters we discover the humanitarian and religious causes he embraced, his fascination with the French Revolution, his striving for God and for ethical ideals, his desperate courtship of his cousin, Kee Vos, and his largely unsuccessful search for love. All of this, suggests De Leeuw, demolishes some of the myths surrounding Van Gogh and his career but brings hint before us as a flesh-and-blood human being, an individual of immense pathos and spiritual depth. Perhaps even more moving, these letters illuminate his constant conflicts as a painter, torn between realism, symbolism and abstraction; between landscape and portraiture; between his desire to depict peasant life and the exciting diversions of the city; between his uncanny versatility as a sketcher and his ideal of the full-scale finished tableau. SinceVan Gogh received little feedback from the public, he wrote at length to friends, fellow artists and his family, above all to his brother Theo, the Parisian art dealer, who was his confidant and mainstay. Along with his intense powers of visual imagination, Vincent brought to the